Click on the headline to link to the North Adamsville High School Graduates page on Facebook for a picture of the current "fake" front of North Adamsville High.
Markin, Class of 1964, comment:
When you were a high school student did you ever sit on the main entrance steps of North Adamsville High and dream of your future?
Ah, literary license. Where would we be without it? At least those of us who, cursed, try to stand under its umbrella and not abuse the language and the reader’s patience too much. This particular license violation revolves around the rather seedy history of this entry. Dreams. But not just any dreams, and not anytime dreams. Those, as I have found out, and you have too, are a dime a dozen, maybe cheaper. No, I am talking about fresh dreams, fresh, creamy, minty dreams from youth, from high school, especially from the 1960s high school be-bop night of youth that I was pitching my question to, and future prospects. And, more importantly, how they, the dreams that is, if not the prospects, worked out.
In line with that question I also needed to know, and maybe that is really what I was looking for, was how hard anyone thought about the subject, and in what way and where. In short, was I among a small or large number of people who were driven to distraction, no, beyond distraction, no, had their sleep disturbed by the question. And, that simply put, was the little, very little, idea that got the ball rolling. Now this wee idea started life in this space about three years ago as a couple of paragraphs, a couple of stretched out paragraphs, ginned up, if you really wanted to know. Over time it blossomed into several paragraphs without really any effort, or any added insight into the question. And now it is going to be expanded, don’t ask me how much longer, with that same core question at the center. That tells me (and the reader) two things; someone has a little time on their hands; and, the little ball be-bop high school night dream thing was (is) of far greater import than my original cavalier notion of the theme when I first presented it would have indicated. For those who are experiencing this blockbuster entry for the first time I have left the previously outlined parameters of the question just below so you will be able to follow along, although I am not sure now if it is the original one or some later mongrel son of the original.
*****
This now seemingly benighted entry, originally simply titled ,A Walk Down “Dream” Street, started life as an equally simple question posed to fellow classmates in the North Adamsville High School Class of 1964 (although the question is also suitable to be asked of other classes, and other schools, as well) in the year 2008 on some cyberspace class site, a site that finally reconnected me with my old high school friend, Frankie, Francis Xavier Riley, be-bop king of the North Adamsville schoolboy night in the early 1960s . I had “discovered” the site that year after having gone through a series of events the details of which need not detain us right now but that drove me back to memories, hard, hard-bitten, hard-aching, hard-longing, mist of time, dream memories, of North schoolboy days and of the need to search for my old high school friend and running mate (literally, in track and cross country, as well as “running” around town doing boy high school things, doing the best we could, or trying to).
Naturally, the question was posed in its particular form, or so it seemed natural at the time for me to pose it that way, because those old, “real”, august, imposing, institutionally imposing, grey granite-quarried (from the Granite City, the unofficial, or maybe official for all I know, nickname of the town, reflecting the Italian immigrant labor-sweated quarries that dotted the outer reaches of the town and that was one of its earlier industries) main entrance steps (in those days serious steps, two steps at a time steps, especially if you missed first bell, flanked by globular orbs and, like some medieval church, gargoyle-like columns up to the second floor, hence “real”) is a place where Frankie and I spent a lot of our time, time when he wasn’t out on a single date with his ever-loving honey, Joanne, Joanne Marion Murphy, the “queen” of the be-bop night although she was never called that, and would have heaped scorn, big scorn on that idea, that was a Frankie-Markin secret shake thing), talking of this and that.
Especially summer night time talk (Joanne, lace curtain Irish, lace curtain working class Irish if you will, Joanne went “summering” with her parents and siblings for several weeks of those summers, the summers that mattered: hot, sultry, sweaty, steam-drained, no money in pockets, no car to explore the great American teenage night; the be-bop, doo-wop, do doo do doo, ding dong daddy, real gone daddy, be my daddy, let it be me, the night time is the right time, car window-fogged, honk if you love jesus (or whatever activity produced those incessant honks in key turned-off cars), love-tinged, or at least sex-tinged, endless sea, Adamsville Beach night. Do I need to draw you a picture, I think not. But we are sitting, sitting hard, granite steps bound, dream fluttering like mad men.
And some more details of that night missed for the less sex-crazed. Say, for the faint-hearted, or good, denizens of that great American teenage night how about a Howard Johnson’s ice cream (make mine cherry vanilla, double scoop, no jimmies, please) or a trip to American Graffiti-like fast food drive-in, hamburger, hold the onions (just in case today is the night that that certain she I had eyed, eyed to perdition, eyed to eyes sore, in school all spring shows her tight-bloused, Capri-panted form in the door), fries and a frappe, not wimpy milk shake (I refuse to describe that frappe taste treat at this far remove, look it up on Wikipedia, or one of those info-sites) Southern Artery night. Lost, all irretrievably lost, and no thousand, thousand (thanks, Sam Coleridge), no, million later, greater experiences can ever replace that. And, add in, non-dated-up, and no possibility of sweet-smelling, soft, rounded, bare shoulder-showing summer sun-dressed (or wintry, bundled up, soft-furred, cashmere-bloused, for that matter), big-haired (hey, do you expect me to remember the name of the hair styles, too?), ruby red-lipped (see, I got the color right), dated-up in sight. So you can see what that “running around town, doing the best we could” of ours mainly consisted in those sweat stairs nights.
Mostly, we spoke of dreams of the future: small, soft, fluttery, airless, flightless, high school kid-sized, working class-sized, North Adamsville-sized, non-world–beater-sized, no weight dreams really, no, that’s not right, they were weighty enough but only until 18 years old , or maybe 21 year old, weighty. A future driven though, and driven hard, by the need to get out from under, to get away from, to put many miles between us and it, crazy family life (the details of which need not detain us here at all, as I now know, and I have some stories to prove it, that condition was epidemic in the old town then, and probably still is). And also of getting out of one-horse, teen life-stealing, soul-cramping, dream-stealing, small or large take your pick, even breathe-stealing, North Adamsville. Of getting out into the far reaches, as far as desire and dough would carry, of the great wild, wanderlust, cosmic, American day and night hitch-hike if you have too, shoe leather-beating walking if you must, road (or European road, or wherever, Christ, even Revere in a crunch, but mainly putting some miles between).
The question, that simple question that I asked above, moreover, did not stand in isolation. As part of that search for “run around” Frankie, king of the night Frankie, for figuring out tangled roots, for hard looking at past, good or evil, for hard longing connectedness to youth, for bleeding raider red days I took advantage of that non-descript North Adamsville Class of 1964 message board to fire off, what now seems like an small atomic bombardment of entries about this and that, some serious, most whimsical. (They are, for the most part, still there if you are interested). Obviously though not every question I intended to pose there, or here, especially not this one, was meant to be as whimsical as the first one that I did about the comparative merits of the Rolling Stones and Beatles. With this long-stemmed introduction the rest of the 2008 original entry is (edited a bit) is, in the interest of keeping with its original purpose of trying give my answer the question posed, posted below:
“Today I am interested in the relationship between our youthful dreams and what actually happened in our lives; our dreams of glory out in the big old world that we did not make, and were not asked about making; of success whether of the pot of gold or less tangible, but just as valuable, goods, or better, ideas; of things or conditions, of himalayas, conquered, physically or mentally; of discoveries made, of self or the whole wide world, great or small. Or, perhaps, of just getting by, just putting one foot in the front of the other two days in a row; of keeping one’s head above water under the impact of young life’s woes; of not sinking down further into the human sink; of smaller, pinched, very pinched, existential dreams but dreams nevertheless.
I will confess here, as this seemingly is a confessional age, or, maybe just as a vestige of that family history-rooted, hard-crusted, incense-driven, fatalistic Catholic upbringing long abandoned but etched in, no, embedded in, some far recesses of memory that my returning to the North Adamsville High School Class of 1964 fold did not just occur by happenstance. A couple of months ago (December 2007) my mother, Arlene Margaret Markin (nee O’Brian), NAHS Class of 1943, passed away. For a good part of her life she lived in locations a mere stone's throw from the school. You could, for example, see the back of the school from my grandparents' house on Young Street. As part of the grieving process, I suppose, I felt a need to come back to North Adamsville. To my, and her, roots. As part of that experience as I walked up Hancock Street and down East Squantum I passed by the old high school. That triggered some memories, some dream street memories, which motivate today's question.
If my memory is correct, and I am not just dream-addled, I had not been in North Adamsville for at least the pass 25 years and so I was a little surprised to see that the main entrance steps of the high school, and central to the question posed here, were no longer there. You remember the steps, right? They led to the then second floor and were flanked by, I think, a couple of lions or some gargoyles. (I have since then, after viewing a copy of the 1964 Manet, found out that they were actually flanked by a sphere and a column on each side. (I was close though, right?) I can remember spending many a summer night during high school, along with my old pal from the class Frankie, Francis Xavier Riley, the legendary be-bop, “faux” beatnik king of the night, sitting on those steps talking about our futures. Now for this question I am only using the steps as a metaphor, so to speak. You probably have your own 'steps' metaphor for where you thrashed out your dreams. How did they work out?
A lot of what Frankie and I talked about at the time was how we were going to do in the upcoming cross country and track seasons, girls (although Frankie, when the deal went down always had his ever-loving Joanne to keep him warm against the hard edges of the teen night), the desperate need to get away from the family trap, girls, no money in pockets for girls, cars, no money for cars, girls. (Remember, please, those were the days when future expectations, and anguishes, were expressed in days and months, not years.) Of course we dreamed of being world-class runners, as every runner does. Frankie went on to have an outstanding high school career. I, on the other hand, was, giving myself much the best of it, a below average runner. So much for some dreams.
We spoke, as well, of other dreams then. I do not remember the content of Bill's but mine went something like this. I had dreams for social justice. For working people to get a fair shake in this sorry old world. That, my friends, has, sad to say, not turned out as expected. But enough from me. I will finish this entry with a line from a Bob Dylan lyric. "I'll let you be in my dream, if I can be in your dream". Fair enough?”
Wednesday, February 16, 2011
Tuesday, February 15, 2011
Out In The Be-Bop 1950s Night- Out In The Jukebox Saturday Night - A CD Review
Click on the headline to link to a YouTube film clip of The Platters performing the juke-box Saturday night classic, Only You.
CD Review
The Rock ‘N’ Roll Era: The 50’s: Keep On Rockin’, various artists, Time-Life Music, 1988
Recently I, seemingly, have endlessly gone back to my early musical roots in reviewing various compilations of a Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we had our own little world, or as some hip sociologist trying to explain that Zeitgeist today might say, our own sub-group cultural expression. I have already talked about the pre 7/11 mom and pop corner variety store hangout with the tee-shirted, engineered-booted, cigarette (unfiltered) hanging from the lips, Coke, big sized glass Coke bottle at the side, pinball wizard guys thing. And about the pizza parlor jukebox coin devouring, playing some “hot” song for the nth time that night, hold the onions I might get lucky tonight, dreamy girl might come in the door thing. Of course, the soda fountain, and…ditto, dreamy girl coming through the door thing, merely to share a sundae, natch. And the same for the teen dance club, keep the kids off the streets even if we parents hate their damn rock music, the now eternal hope dreamy girl coming in the door, save the last dance for me thing.
Needless to say you know more about middle school and high school dance stuff, including hot tip “ inside” stuff about manly preparations for those civil wars out in the working class neighborhood night, than you could ever possibly want to know, and, hell, you were there anyway (or at ones like them). Moreover, I clued you in, and keep this quiet, about sex, or rather I should say doin’ the do in case the kids are around, and about the local “custom” (for any anthropologists present) of ocean-waved Atlantic “watching the submarine races.”
Whee! That’s maybe enough memory lane stuff for a lifetime, especially for those with weak hearts. But, no, your intrepid messenger feels the need to go back indoors again and take a little different look at that be-bop jukebox Saturday night scene as it unfolded in the late 1950s and early 1960s. Hey, you could have found the old jukebox in lots of places in those days. Bowling alleys, drugstores (drugstores with soda fountains- why else would healthy, young, sex-charged high school students go to such an old-timer-got-to-get medicine-for-the-arthritis place. Why indeed, although there are secrets in such places that I will tell you about some other time when I’m not jazzed up to go be-bop juke-boxing around the town.), pizza parlors, drive-in restaurants, and so on. Basically any place where kids were hot for some special song and wanted to play it until the cows came home. And had the coins to satisfy their hunger.
A lot of it was to kill time waiting for this or that, although the basic reason was these were all places where you could show off your stuff, and maybe, strike up a conversation with someone who attracted your attention as they came in the door. The cover artwork on this compilation shows dreamy girls waiting for their platters (records, okay) to work their way up the mechanism that took them from the stack and laid them out on the player. There is your chance, boy, grab it. Just hanging around the machine with some cashmere-sweater-ed, beehive-haired (or bobbed, kind of), well-shaped brunette (or blond, but I favored brunettes in those days) chatting idly was worth at least a date (or, more often, a telephone number to call). Not after nine at night though or before eight because that was when she was talking to her boy friend. Lucky guy, maybe.
But here is where the real skill came in. Just hanging casually around the old box, especially on a no, or low, dough day waiting on a twist (slang for girl in our old working class neighborhood) to come by and put her quarter in (giving three or five selections depending what kind of place the jukebox was located in) talking to her friends as she made those selections. Usually the first couple were easy, some old boy friend memory, or some wistful tryst remembrance, but then she got contemplative, or fidgety, over what to pick next. Then you made your move-“Have you heard Only You. NO! Well, you just have to hear that thing and it will cheer you right up. Or some such line. Of course, you wanted to hear the damn thing. But see, a song like that (as opposed to Chuck Berry’s Sweet Little Rock and Roller, let’s say) showed you were a sensitive guy, and maybe worth talking to … for just a minute, I got to get back to my girlfriends, etc, etc. Oh, jukebox you baby. And guess what, On that self-same jukebox you were very, very likely to hear some of the songs on the compilation on this CD: Here are the stick outs (and a few that worked some of that “magic” mentioned above on tough nights):
Oh Julie, The Crescendos (a great one if you knew, or thought you knew, or wanted to believe that girl at the jukebox’s name was Julie); Lavender Blue, Sammy Turner (good talk song especially on the word play); Sweet Little Rock and Roller, Chuck Berry (discussed above, and worthy of consideration if your tastes ran to those heart-breaking little rock and rollers. I will tell you about the ONE time it came in handy sometime); You Were Mine, The Fireflies; Susie Darlin’, Robin Luke (ditto the Julie thing above); Only You, The Platters (keep this one a secret, okay, unless you really are a sensitive guy).
CD Review
The Rock ‘N’ Roll Era: The 50’s: Keep On Rockin’, various artists, Time-Life Music, 1988
Recently I, seemingly, have endlessly gone back to my early musical roots in reviewing various compilations of a Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we had our own little world, or as some hip sociologist trying to explain that Zeitgeist today might say, our own sub-group cultural expression. I have already talked about the pre 7/11 mom and pop corner variety store hangout with the tee-shirted, engineered-booted, cigarette (unfiltered) hanging from the lips, Coke, big sized glass Coke bottle at the side, pinball wizard guys thing. And about the pizza parlor jukebox coin devouring, playing some “hot” song for the nth time that night, hold the onions I might get lucky tonight, dreamy girl might come in the door thing. Of course, the soda fountain, and…ditto, dreamy girl coming through the door thing, merely to share a sundae, natch. And the same for the teen dance club, keep the kids off the streets even if we parents hate their damn rock music, the now eternal hope dreamy girl coming in the door, save the last dance for me thing.
Needless to say you know more about middle school and high school dance stuff, including hot tip “ inside” stuff about manly preparations for those civil wars out in the working class neighborhood night, than you could ever possibly want to know, and, hell, you were there anyway (or at ones like them). Moreover, I clued you in, and keep this quiet, about sex, or rather I should say doin’ the do in case the kids are around, and about the local “custom” (for any anthropologists present) of ocean-waved Atlantic “watching the submarine races.”
Whee! That’s maybe enough memory lane stuff for a lifetime, especially for those with weak hearts. But, no, your intrepid messenger feels the need to go back indoors again and take a little different look at that be-bop jukebox Saturday night scene as it unfolded in the late 1950s and early 1960s. Hey, you could have found the old jukebox in lots of places in those days. Bowling alleys, drugstores (drugstores with soda fountains- why else would healthy, young, sex-charged high school students go to such an old-timer-got-to-get medicine-for-the-arthritis place. Why indeed, although there are secrets in such places that I will tell you about some other time when I’m not jazzed up to go be-bop juke-boxing around the town.), pizza parlors, drive-in restaurants, and so on. Basically any place where kids were hot for some special song and wanted to play it until the cows came home. And had the coins to satisfy their hunger.
A lot of it was to kill time waiting for this or that, although the basic reason was these were all places where you could show off your stuff, and maybe, strike up a conversation with someone who attracted your attention as they came in the door. The cover artwork on this compilation shows dreamy girls waiting for their platters (records, okay) to work their way up the mechanism that took them from the stack and laid them out on the player. There is your chance, boy, grab it. Just hanging around the machine with some cashmere-sweater-ed, beehive-haired (or bobbed, kind of), well-shaped brunette (or blond, but I favored brunettes in those days) chatting idly was worth at least a date (or, more often, a telephone number to call). Not after nine at night though or before eight because that was when she was talking to her boy friend. Lucky guy, maybe.
But here is where the real skill came in. Just hanging casually around the old box, especially on a no, or low, dough day waiting on a twist (slang for girl in our old working class neighborhood) to come by and put her quarter in (giving three or five selections depending what kind of place the jukebox was located in) talking to her friends as she made those selections. Usually the first couple were easy, some old boy friend memory, or some wistful tryst remembrance, but then she got contemplative, or fidgety, over what to pick next. Then you made your move-“Have you heard Only You. NO! Well, you just have to hear that thing and it will cheer you right up. Or some such line. Of course, you wanted to hear the damn thing. But see, a song like that (as opposed to Chuck Berry’s Sweet Little Rock and Roller, let’s say) showed you were a sensitive guy, and maybe worth talking to … for just a minute, I got to get back to my girlfriends, etc, etc. Oh, jukebox you baby. And guess what, On that self-same jukebox you were very, very likely to hear some of the songs on the compilation on this CD: Here are the stick outs (and a few that worked some of that “magic” mentioned above on tough nights):
Oh Julie, The Crescendos (a great one if you knew, or thought you knew, or wanted to believe that girl at the jukebox’s name was Julie); Lavender Blue, Sammy Turner (good talk song especially on the word play); Sweet Little Rock and Roller, Chuck Berry (discussed above, and worthy of consideration if your tastes ran to those heart-breaking little rock and rollers. I will tell you about the ONE time it came in handy sometime); You Were Mine, The Fireflies; Susie Darlin’, Robin Luke (ditto the Julie thing above); Only You, The Platters (keep this one a secret, okay, unless you really are a sensitive guy).
Saturday, February 12, 2011
In Honor Of Abraham Lincoln’s Birthday- Now He Belongs To The Ages- Doris Kearns Goodwin’s Abraham Lincoln- “Team Of Rivals: Abraham Lincoln's Political Genuis”- A Book Review
Book Review
Team Of Rivals: Abraham Lincoln's Poltical Genuis, Doris Kearns Goodwin, Simon &Schuster, New York, 2005
One would think as we celebrate, and rightly so, Abraham Lincoln’s birthday that everything that needs to be said about the man has been written, and written in profusion and to exhaustion. I believe that fact is essentially true, although that has not stopped all and sundry from taking a shot at reformulating, or “uncovering” the “real” Lincoln as the fairly recent attempts to win Lincoln for the “Homintern” (the English poet W.H. Auden’s term, not mine) on the question of his sexual preferences indicates. That said, after reading Doris Kearns Goodwin’s Team Of Rivals it is apparent that there are reformulations and there are reformulations. Here Ms. Goodwin has gathered much material that I have seen in other sources and tells a very interesting and detailed politically-etched story about the way that Abraham Lincoln was able to use his sharply-honed skills to weld together a presidential cabinet that, with few defections and fewer resignations, ran the Unionist side in the American Civil War. For those already familiar with battles, military victories and personalities, and grand strategies this is a very good inside look at the mechanics of how the Union victory was won. If that fight was a close thing at times it was not Lincoln’s lack of ability to stay the course and to push the fight forward that was to blame.
As I mentioned above most of the material used here, including many of the humorous (1860s humorous) anecdotes and parables that Lincoln was famous for, have seen the light of day in other sources, especially in poet and fellow Illinoisan Carl Sandburg’s old time multi-volume study. Where Ms. Goodwin shines is on the information about the fight for the formation of the Republican Party in the 1850s and in chronicling Lincoln’s almost compulsive desire from early on to mark his name in the stars. The struggle to create that new party, and the sketches of the men that were drawn to it, including Lincoln, out of the divergent political tendencies that were coming apart in the tradition Whig and Northern Democratic parties as a result of the pressures of the slavery question represented some of the most interesting parts of the book. The mix and matches of personalities and divergent political backgrounds that came together and formed its core, men like William Seward, Montgomery Blair, and Simon Chase joined by Unionist Democrats and Whigs like Edwin Stanton and Edward Bates, were those that Lincoln had to work with in order to form a coalition, a popular front if you like, that held together under his authority to get the necessary job done.
There has been some recent controversy over the question of Lincoln’s racial views and whether he was, personally, a racist or not. While that question is more germane than the once concerning his sexual preferences I believe that Ms. Goodwin has put paid to that question by her narrative. Clearly Lincoln, as he entered the presidency, had the typical racial views of his times, his white man’s times, no question. In that sense Seward, and more so, Chase held more “advanced” views and were more comfortable with working with blacks. The beauty of Lincoln, as a kicking and screaming late covert to “high” abolitionist positions is that he was able to transcend his own personal views.
In that sense Ms. Goodwin, however, may have underestimated the influence that the “team” had on Lincoln’s racial views, as they meshed together to turn what started as a straight up, although still historically important, struggle for the Union to the more important struggle to break slavery as a reputable modern form of servitude. The ups and downs of that struggle to focus the fight on abolition form the core of this book. If you are not familiar, beyond the general high school or college history books, on the subject of the American Civil War and you are not desperate to know, in detail, every battle, skirmish, and mere looking mean at each other across every picket line, or every military commander, drunk or sober, or much about what was happening politically on the Confederate side once the war started this book is for you. And if you want to have a well written political narrative of the hows and whys of Lincoln’s growing political authority during the Civil War and understand why War Minister Stanton’s statement after his assassination “now he belongs to the ages” rings true you had better read this one.
Team Of Rivals: Abraham Lincoln's Poltical Genuis, Doris Kearns Goodwin, Simon &Schuster, New York, 2005
One would think as we celebrate, and rightly so, Abraham Lincoln’s birthday that everything that needs to be said about the man has been written, and written in profusion and to exhaustion. I believe that fact is essentially true, although that has not stopped all and sundry from taking a shot at reformulating, or “uncovering” the “real” Lincoln as the fairly recent attempts to win Lincoln for the “Homintern” (the English poet W.H. Auden’s term, not mine) on the question of his sexual preferences indicates. That said, after reading Doris Kearns Goodwin’s Team Of Rivals it is apparent that there are reformulations and there are reformulations. Here Ms. Goodwin has gathered much material that I have seen in other sources and tells a very interesting and detailed politically-etched story about the way that Abraham Lincoln was able to use his sharply-honed skills to weld together a presidential cabinet that, with few defections and fewer resignations, ran the Unionist side in the American Civil War. For those already familiar with battles, military victories and personalities, and grand strategies this is a very good inside look at the mechanics of how the Union victory was won. If that fight was a close thing at times it was not Lincoln’s lack of ability to stay the course and to push the fight forward that was to blame.
As I mentioned above most of the material used here, including many of the humorous (1860s humorous) anecdotes and parables that Lincoln was famous for, have seen the light of day in other sources, especially in poet and fellow Illinoisan Carl Sandburg’s old time multi-volume study. Where Ms. Goodwin shines is on the information about the fight for the formation of the Republican Party in the 1850s and in chronicling Lincoln’s almost compulsive desire from early on to mark his name in the stars. The struggle to create that new party, and the sketches of the men that were drawn to it, including Lincoln, out of the divergent political tendencies that were coming apart in the tradition Whig and Northern Democratic parties as a result of the pressures of the slavery question represented some of the most interesting parts of the book. The mix and matches of personalities and divergent political backgrounds that came together and formed its core, men like William Seward, Montgomery Blair, and Simon Chase joined by Unionist Democrats and Whigs like Edwin Stanton and Edward Bates, were those that Lincoln had to work with in order to form a coalition, a popular front if you like, that held together under his authority to get the necessary job done.
There has been some recent controversy over the question of Lincoln’s racial views and whether he was, personally, a racist or not. While that question is more germane than the once concerning his sexual preferences I believe that Ms. Goodwin has put paid to that question by her narrative. Clearly Lincoln, as he entered the presidency, had the typical racial views of his times, his white man’s times, no question. In that sense Seward, and more so, Chase held more “advanced” views and were more comfortable with working with blacks. The beauty of Lincoln, as a kicking and screaming late covert to “high” abolitionist positions is that he was able to transcend his own personal views.
In that sense Ms. Goodwin, however, may have underestimated the influence that the “team” had on Lincoln’s racial views, as they meshed together to turn what started as a straight up, although still historically important, struggle for the Union to the more important struggle to break slavery as a reputable modern form of servitude. The ups and downs of that struggle to focus the fight on abolition form the core of this book. If you are not familiar, beyond the general high school or college history books, on the subject of the American Civil War and you are not desperate to know, in detail, every battle, skirmish, and mere looking mean at each other across every picket line, or every military commander, drunk or sober, or much about what was happening politically on the Confederate side once the war started this book is for you. And if you want to have a well written political narrative of the hows and whys of Lincoln’s growing political authority during the Civil War and understand why War Minister Stanton’s statement after his assassination “now he belongs to the ages” rings true you had better read this one.
Thursday, February 10, 2011
Out In The Be-Bop 1960s Night- Out In The “Submarine Races” Night- A CD Review
Click on the headline to link to a YouTube film clip of The Capris performing There's A Moon Out Tonight.
CD Review
The Rock ‘N’ Roll Era: 1961: various artists, Time-Life Music, 1987
Recently I, seemingly, have endlessly gone back to my early musical roots in reviewing various compilations of a Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-60, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we had our own little world, or as some hip sociologist trying to explain that Zeitgeist today might say, our own sub-group cultural expression. I have already talked about the pre 7/11 mom and pop corner variety store street corner hangout with the tee-shirted, engineered-booted, cigarette (unfiltered) hanging from the lips, Coke, big-sized glass Coke bottle at the side, pinball wizard guys thing. And about the pizza parlor juke box coin devouring, hold the onions I might get lucky tonight, dreamy girl might come in the door thing. Of course, as well, the soda fountain, and…ditto, dreamy girl coming through the door thing, naturally, eternally naturally. And the same for the teen dance club, keep the kids off the streets even if we parents hate their music, the eternal hope dreamy girl coming in the door, save the last dance for me thing. Needless to say you know more about middle school and high school dance stuff, including hot tip “ inside” stuff about manly preparations for those civil wars out in the working class neighborhood night, than you could ever possibly want to know, and, hell, you were there anyway (or at ones like them).
Ya but see, that was all basically innocent indoor stuff. Today I want to talk about the outdoors stuff, the, hell, we are all adults, the sex stuff. And just to show I am not being just another prurient interest dirty old man I would, in reviewing this compilation, direct your attention to the very, very on point album cover art work here (as I have on others in this series as well). What could be more on point that a guy and his honey (or a gal and her honey if you want to look at it that way) sitting, star-light nighttime sitting, nighttime after that last dance high school opening shot young love sitting, in some early 1960s model convertible (maybe dad’s borrowed, maybe in new-found teen discretionary spending America his, probably the latter from the feel of the scene) in the local lovers’ lane. And one “bashful”, befuddled, “where do we go from here?” guy getting an innocent seeming kiss from said honey. Nice, right
Sure all that stuff is nice for public consumption but like I said before, we are all adults, and that cutesy eyewash will just not do. So here is my expose. Every town, hamlet, hell, any place that has at least one teen-aged couple had its local lovers’ lane where more fierce lovin’ went on that I would every have time to tell about, although Billy and Sue will be glad to fill in their friends come Monday morning in the boys’ and girls’ room at school. Our local lovers’ lane happened to also double up during the daytime as a beach, a very public beach. Can you believe that? Wasting all that good natural teenage dreamy night scene on people going swimming, digging for clams or some silly sea animals, sunning themselves, or having some ill-thought out family picnic. Christ, what a scene.
No, a thousand times no, this place was meant for the sun to go down on, a big blazing sun turning fast into the blue-pink night, boy and girl in car (or poverty-bound, not privy to that discretionary spending mentioned above, walked there and are now sitting moony-eyed on the seawall). And all car-bound or wall-bound “watching the submarine races.”
What? Yes, intensely, forthrightly, intelligently watching the submarine races. Oh come on now, you all had your own local expressions for doin’ the do. Naturally, if you are from the great plains night, or rockymountain high, or some Maine forest this was not possible but doin’ the do is. And what is doin’ the do? Oh well, yes we are all adults but I just remembered this cyberspace thing allows for small, peeking eyes, so I will leave you to figure it out. Or wait until Monday morning in the “lav” and ask grinning Billy and blushing Sue. Know this though that old car radio (or transistor radio, if seawall-bound) was blasting out tunes from this compilation: Here’s my selection for “getting in the mood” songs in the face of the great white-waved, Atlantic Ocean night:
There’s A Moon Out Tonight, The Capris (hopefully this was a double-header, the last dance at school and kingdom come mood-setter in that old convertible); Blue Moon, The Marcels (not bad as a runner up to The Capris as everybody starts to get a little swoony); Dedicated To The One I Love and Will You Still Love Me Tomorrow?, The Shirelles (incredible harmonies, and let me tell you sometime when the kids are not around about my own story of young love when the sun comes up in the morning, ya, the morning, and how I got a version of the will you still love me question); Runaround Sue, Dion (every boy, oops, young man’s dread); Hats Off To Larry; Del Shannon; Stand By Me, Ben E. King (great lyrics); and Daddy’s Home, Shep and The Limelites ( good for going home from that gentle beach night).
CD Review
The Rock ‘N’ Roll Era: 1961: various artists, Time-Life Music, 1987
Recently I, seemingly, have endlessly gone back to my early musical roots in reviewing various compilations of a Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-60, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we had our own little world, or as some hip sociologist trying to explain that Zeitgeist today might say, our own sub-group cultural expression. I have already talked about the pre 7/11 mom and pop corner variety store street corner hangout with the tee-shirted, engineered-booted, cigarette (unfiltered) hanging from the lips, Coke, big-sized glass Coke bottle at the side, pinball wizard guys thing. And about the pizza parlor juke box coin devouring, hold the onions I might get lucky tonight, dreamy girl might come in the door thing. Of course, as well, the soda fountain, and…ditto, dreamy girl coming through the door thing, naturally, eternally naturally. And the same for the teen dance club, keep the kids off the streets even if we parents hate their music, the eternal hope dreamy girl coming in the door, save the last dance for me thing. Needless to say you know more about middle school and high school dance stuff, including hot tip “ inside” stuff about manly preparations for those civil wars out in the working class neighborhood night, than you could ever possibly want to know, and, hell, you were there anyway (or at ones like them).
Ya but see, that was all basically innocent indoor stuff. Today I want to talk about the outdoors stuff, the, hell, we are all adults, the sex stuff. And just to show I am not being just another prurient interest dirty old man I would, in reviewing this compilation, direct your attention to the very, very on point album cover art work here (as I have on others in this series as well). What could be more on point that a guy and his honey (or a gal and her honey if you want to look at it that way) sitting, star-light nighttime sitting, nighttime after that last dance high school opening shot young love sitting, in some early 1960s model convertible (maybe dad’s borrowed, maybe in new-found teen discretionary spending America his, probably the latter from the feel of the scene) in the local lovers’ lane. And one “bashful”, befuddled, “where do we go from here?” guy getting an innocent seeming kiss from said honey. Nice, right
Sure all that stuff is nice for public consumption but like I said before, we are all adults, and that cutesy eyewash will just not do. So here is my expose. Every town, hamlet, hell, any place that has at least one teen-aged couple had its local lovers’ lane where more fierce lovin’ went on that I would every have time to tell about, although Billy and Sue will be glad to fill in their friends come Monday morning in the boys’ and girls’ room at school. Our local lovers’ lane happened to also double up during the daytime as a beach, a very public beach. Can you believe that? Wasting all that good natural teenage dreamy night scene on people going swimming, digging for clams or some silly sea animals, sunning themselves, or having some ill-thought out family picnic. Christ, what a scene.
No, a thousand times no, this place was meant for the sun to go down on, a big blazing sun turning fast into the blue-pink night, boy and girl in car (or poverty-bound, not privy to that discretionary spending mentioned above, walked there and are now sitting moony-eyed on the seawall). And all car-bound or wall-bound “watching the submarine races.”
What? Yes, intensely, forthrightly, intelligently watching the submarine races. Oh come on now, you all had your own local expressions for doin’ the do. Naturally, if you are from the great plains night, or rockymountain high, or some Maine forest this was not possible but doin’ the do is. And what is doin’ the do? Oh well, yes we are all adults but I just remembered this cyberspace thing allows for small, peeking eyes, so I will leave you to figure it out. Or wait until Monday morning in the “lav” and ask grinning Billy and blushing Sue. Know this though that old car radio (or transistor radio, if seawall-bound) was blasting out tunes from this compilation: Here’s my selection for “getting in the mood” songs in the face of the great white-waved, Atlantic Ocean night:
There’s A Moon Out Tonight, The Capris (hopefully this was a double-header, the last dance at school and kingdom come mood-setter in that old convertible); Blue Moon, The Marcels (not bad as a runner up to The Capris as everybody starts to get a little swoony); Dedicated To The One I Love and Will You Still Love Me Tomorrow?, The Shirelles (incredible harmonies, and let me tell you sometime when the kids are not around about my own story of young love when the sun comes up in the morning, ya, the morning, and how I got a version of the will you still love me question); Runaround Sue, Dion (every boy, oops, young man’s dread); Hats Off To Larry; Del Shannon; Stand By Me, Ben E. King (great lyrics); and Daddy’s Home, Shep and The Limelites ( good for going home from that gentle beach night).
Monday, February 7, 2011
Those Oldies But Goodies…Out In The Be-Bop ‘50s Song Night- The Teen Queens’ “Eddie My Love” (1956) - A 55th Anniversary, Of Sorts-Billie's 1956 View
Click on the headline to link to a YouTube film clip of the Teen Queens performing the classic Eddie My Love.
Markin comment:
This space is noted for politics mainly, and mainly the desperate political fight against various social, economic and moral injustices and wrongs in this wicked old world, although the place where politics and cultural expression, especially post-World War II be-bop cultural expression, has drawn some of my interest over the past several years. The most telling example of that interest is in the field of popular music, centrally the blues, city and country, good woman on your mind, hard working, hard drinking blues and folk music, mainly urban, mainly protest to high heaven against the world’s injustices smite the dragon down, folk music. Of late though the old time 1950s kid, primordial, big bang, jail-break rock and roll music that set us off from earlier generations has drawn my attention. Mostly by reviewing oldies CDs but here, and occasionally hereafter under this headline, specifically songs that some future archeologists might dig up as prime examples of how we primitives lived, and what we listened to back in the day.
EDDIE MY LOVE
(Aaron Collins / Maxwell Davis / Sam Ling)
The Teen Queens - 1956
The Fontane Sisters - 1956
The Chordettes - 1956
Dee Dee Sharp - 1962
Also recorded by:
Lillian Briggs; Jo Ann Campbell; The Sweethearts.
Eddie, my love, I love you so
How I wanted for you, you'll never know
Please, Eddie, don't make me wait to long
Eddie, please write me one line
Tell me your love is still only mine
Please, Eddie, don't make me wait too long
You left me last September
To return to me before long
But all I do is cry myself to sleep
Eddie, since you've been gone
Eddie, my love, I'm sinking fast
The very next day might be my last
Please, Eddie, don't make me wait too long
You left me last September
To return to me before long
But all I do is cry myself to sleep
Eddie, since you've been gone
Eddie, my love, I'm sinking fast
The very next day might be my last
Please, Eddie, don't make me wait too long
Please, Eddie, don't make me wait too long
(Transcribed from the Teen Queens
recording by Mel Priddle - May 2006)
**********
Billie here, William James Bradley, if you don’t know already. To “the projects” born but you don’t need, or at least you don’t absolutely need to know that is get the drift of what I have to say here. I am here to give my take on this latest song, Eddie My Love, that just came out and that the girls are going weepy over, and the guys are saying “that a boy, Eddie.” At least that’s what the wiser guys I hang around with say when they hear the record played on the radio. Except, of course, sappy Markin, Peter Paul Markin if you don’t know, my best friend at Adamsville Elementary School (or maybe best friend, he has never told me one way or the other what it was with us from his end, but sappy as he may be at times, he is my best friend from my end) who thinks Eddie should be righteous and return to his forlorn girl. What is he kidding? Eddie keep moving wherever you are, and keep moving fast. And please, please don’t go within a mile of a post office.
Why do I hold such an opinion and what gives me the “authority”, some authority like the pope of rock and roll, or something to speak this way? Well, first off, unlike Markin, I take my rock and roll, my rock and roll lyrics seriously, hell, I have written some myself. Also I have some talent in this field and have won vocal competitions (and dance ones too), although there have been a few more I should have won. Ya, should have won but the fix was in, the fix was in big time, against project kids getting a break, a chance to make something out of the jailbreak music we are hearing. I’ll tell you about those bad breaks some time but now I am hot to straighten everybody out, even Markin, on this one. Markin pays attention to, too much attention to, the “social” end of the question, looking for some kind of teenage justice in this wicked old world when there ain’t none. Get it, Peter Paul.
Look, I can read between the lines of this story just like anybody else, any pre-teenage or teenage anybody else. Parents, my parents, Markin’s parents, Ozzie and Harriet, whoever, couldn’t get it if you gave them that Rosetta Stone they discovered to help them with old time Egyptian writing and that we read about in Mr. Barry’s class. No way. But Billie, William James Bradley, who will not let any grass grow beneath his feet is wise, very wise to the scene. Hey, it’s not rocket stuff, it’s simply the age old summer fling thing. Eddie, handsome, money in his pocket, super-charged car under his feet, gas in the tank, and an attitude that he is king of the known world, the known teenage world, sees this cutie, makes his play, they have some fun, some teenage version of adult fun for any not wise kids, school days come and he is off to his next cutie. Ya, he said he would write and, personally, I think that was a mistake. A quick “I'll be in touch,” and kiss on the cheek would have been smarter.
See Eddie, love ‘em and leave ‘em Eddie, is really a hero. What did this teen queen think was going to happen when Eddie blew into town? Love, marriage and here comes the teen queen with a baby carriage. Please. Eddie, Eddie your love ain’t got no time for that. And that old threatening to do herself in or whatever she means by “my next day might be my last,” is the oldest trick in the book, the oldest snare a guy trick that is. Ya, maybe someday when things are better, and guys don’t have that itch, that itch to move on, and maybe can settle down in one place and have plenty of dough, plenty of ambition, and the old wicked world starts taking care of its own better. Whoa… wait a minute, I’m starting to sound like Markin. Jesus, no. Eddie just keep moving, okay. Billie’s pulling for you.
Markin comment:
This space is noted for politics mainly, and mainly the desperate political fight against various social, economic and moral injustices and wrongs in this wicked old world, although the place where politics and cultural expression, especially post-World War II be-bop cultural expression, has drawn some of my interest over the past several years. The most telling example of that interest is in the field of popular music, centrally the blues, city and country, good woman on your mind, hard working, hard drinking blues and folk music, mainly urban, mainly protest to high heaven against the world’s injustices smite the dragon down, folk music. Of late though the old time 1950s kid, primordial, big bang, jail-break rock and roll music that set us off from earlier generations has drawn my attention. Mostly by reviewing oldies CDs but here, and occasionally hereafter under this headline, specifically songs that some future archeologists might dig up as prime examples of how we primitives lived, and what we listened to back in the day.
EDDIE MY LOVE
(Aaron Collins / Maxwell Davis / Sam Ling)
The Teen Queens - 1956
The Fontane Sisters - 1956
The Chordettes - 1956
Dee Dee Sharp - 1962
Also recorded by:
Lillian Briggs; Jo Ann Campbell; The Sweethearts.
Eddie, my love, I love you so
How I wanted for you, you'll never know
Please, Eddie, don't make me wait to long
Eddie, please write me one line
Tell me your love is still only mine
Please, Eddie, don't make me wait too long
You left me last September
To return to me before long
But all I do is cry myself to sleep
Eddie, since you've been gone
Eddie, my love, I'm sinking fast
The very next day might be my last
Please, Eddie, don't make me wait too long
You left me last September
To return to me before long
But all I do is cry myself to sleep
Eddie, since you've been gone
Eddie, my love, I'm sinking fast
The very next day might be my last
Please, Eddie, don't make me wait too long
Please, Eddie, don't make me wait too long
(Transcribed from the Teen Queens
recording by Mel Priddle - May 2006)
**********
Billie here, William James Bradley, if you don’t know already. To “the projects” born but you don’t need, or at least you don’t absolutely need to know that is get the drift of what I have to say here. I am here to give my take on this latest song, Eddie My Love, that just came out and that the girls are going weepy over, and the guys are saying “that a boy, Eddie.” At least that’s what the wiser guys I hang around with say when they hear the record played on the radio. Except, of course, sappy Markin, Peter Paul Markin if you don’t know, my best friend at Adamsville Elementary School (or maybe best friend, he has never told me one way or the other what it was with us from his end, but sappy as he may be at times, he is my best friend from my end) who thinks Eddie should be righteous and return to his forlorn girl. What is he kidding? Eddie keep moving wherever you are, and keep moving fast. And please, please don’t go within a mile of a post office.
Why do I hold such an opinion and what gives me the “authority”, some authority like the pope of rock and roll, or something to speak this way? Well, first off, unlike Markin, I take my rock and roll, my rock and roll lyrics seriously, hell, I have written some myself. Also I have some talent in this field and have won vocal competitions (and dance ones too), although there have been a few more I should have won. Ya, should have won but the fix was in, the fix was in big time, against project kids getting a break, a chance to make something out of the jailbreak music we are hearing. I’ll tell you about those bad breaks some time but now I am hot to straighten everybody out, even Markin, on this one. Markin pays attention to, too much attention to, the “social” end of the question, looking for some kind of teenage justice in this wicked old world when there ain’t none. Get it, Peter Paul.
Look, I can read between the lines of this story just like anybody else, any pre-teenage or teenage anybody else. Parents, my parents, Markin’s parents, Ozzie and Harriet, whoever, couldn’t get it if you gave them that Rosetta Stone they discovered to help them with old time Egyptian writing and that we read about in Mr. Barry’s class. No way. But Billie, William James Bradley, who will not let any grass grow beneath his feet is wise, very wise to the scene. Hey, it’s not rocket stuff, it’s simply the age old summer fling thing. Eddie, handsome, money in his pocket, super-charged car under his feet, gas in the tank, and an attitude that he is king of the known world, the known teenage world, sees this cutie, makes his play, they have some fun, some teenage version of adult fun for any not wise kids, school days come and he is off to his next cutie. Ya, he said he would write and, personally, I think that was a mistake. A quick “I'll be in touch,” and kiss on the cheek would have been smarter.
See Eddie, love ‘em and leave ‘em Eddie, is really a hero. What did this teen queen think was going to happen when Eddie blew into town? Love, marriage and here comes the teen queen with a baby carriage. Please. Eddie, Eddie your love ain’t got no time for that. And that old threatening to do herself in or whatever she means by “my next day might be my last,” is the oldest trick in the book, the oldest snare a guy trick that is. Ya, maybe someday when things are better, and guys don’t have that itch, that itch to move on, and maybe can settle down in one place and have plenty of dough, plenty of ambition, and the old wicked world starts taking care of its own better. Whoa… wait a minute, I’m starting to sound like Markin. Jesus, no. Eddie just keep moving, okay. Billie’s pulling for you.
Saturday, February 5, 2011
Out In The Be-Bop 1960s Night- When Frankie Roamed The Teenage Dance Clubs
Markin comment:
In a recent series of entries that I did in the form of scenes, scenes from the hitchhike road in search of the great American West night in the late 1960s, a time later than the time of Frankie’s early 1960s old working class neighborhood kingly time, I noted that I had about a thousand truck stop diner stories left over from those hitchhike road days. On reflection though, I realized that I really had about three diner stories with many variations. Not so with Frankie, Frankie from the old neighborhood, stories. I have got a thousand of them, or so it seems, all different. Hey, you already, if you have been attentive to this space, know a few Frankie, Frankie from the old neighborhood, stories (okay, I will stop, or try to stop, using that full designation and just call him plain, old, ordinary, vanilla Frankie just like everybody else alright).
Ya, you already know the Frankie (see I told you I could do it) story about how he lazily spent a hot late August 1960 summer before entering high school day working his way up the streets of the old neighborhood to get some potato salad (and other stuff too) for his family’s Labor Day picnic. And he got a cameo appearance in the tear jerk heart-rendering saga of my first day of high school in that same year where I, vicariously, attempted to overthrow his lordship with the nubiles (girls, for those not from the old neighborhood, although there were plenty of other terms of art to designate the fair sex then, most of them getting their start in local teenage social usage from Frankie’s mouth). That effort, that attempt at copping his “style” like many things associated with one-of-a-kind Frankie proved unsuccessful as it turned out.
But as this story will demonstrate old Frankie, Frankie from (oops, I forgot I ‘m not doing that anymore) was not only the king of the old neighborhood but roamed, or tried to roam far afield, especially if the word "girls" was involved. So this will be another Frankie and the girls story, at least part way. The milieu though will be somewhat different for those who only know Frankie in his usual haunts; the pizza parlor, the drugstore, or hanging around the corner of one of several mom and pop variety stores. This time, in a way, Frankie goes “uptown.”
One of the other places where Frankie tried to extend his kingdom was the local teen night club (although we did not call it that then but that was the idea). You know a place where kids, late teenage kids, could dance to live music from some cover band and drink…sodas. Ya, the idea was to keep kids off the streets, out of the cars, and under a watchful eye on Friday and Saturday night so they didn’t drink booze and get all crazy and messed up. Of course, anyone with half a wit, if they wanted to get booze, had no real problem as long as there was some desperate wino to make your purchase for you. But, at least, the idea was no booze on the premises and that was pretty much the case.
Now this club, this teen dance club, that Frankie has his eye on, was the primo such place around. Sure, there were other smaller venues, but that was kids stuff, young teen stuff, no account, no matter stuff. If you had dreams of kingship then the Sea ‘n’ Surf Club was the place to place your throne. But, see, this club was several miles away from the old neighborhood, and that meant several miles of other guys who were kings of their neighborhoods, but also several miles of all kinds of different girls that Frankie (and I, as well) had no clue about. And the beauty of this, the real beauty for Frankie was that it was doable. Why? Old ball and chain girlfriend forever, girlfriend, main squeeze, Joanne was not allowed by her parents to go to teen dance clubs, period. And period meant period, to old Frankie’s smiles.
This club had the added advantage, as its name gives away, of being by the sea, by the ocean so that if the dancing got too hot, or it was too crowded, or if you got lucky then there you were handy to a ready-made romantic venue. Now American Great Plains prairie guys and dolls may not appreciate this convenience (although I am sure you had your own local lovers’ lane "hot spots") but to have the sea as a companion in the great boy meets girl struggle was pure magic. See, and everybody knew this or found out about it fast enough, if a girl wanted to catch some "fresh air" and agreed to go with you then you were “in like flint” for the night. That also meant though that, when intermission ended, or when the steamed-up couple came up for air that nobody else was suppose to cut in on their scene. This may all sound complicated but, come on now, you were all teens once, and you figured it out easily enough, right? This in any case is what Frankie wanted to be king of. The scene that is.
This club, by the way, this hallowed memory club, could not stand the light of day, although at night it was like the enchanted castle. By day it looked just like another faux Coney Island low-rent carnival, bad trip place ready for the demolition ball ballroom. But the night, oh, the night was all we cared about. And for weeks before Frankie was ready to make his big move the conquest of this place thing, the imagining of it, took on something like the quest for a holy grail.
Finally, Friday finally, summertime Friday night finally, came (he had a date with his ever lovin’ big flame Joanne for Saturday that week) and he was ready to make his move. Let me outline the plan as he told it to me. The idea, if Tommy 40 Winks (I did not make that name up; I don’t have that kind of imagination. That was his nickname, hell, mine, was, for a while, Boyo, go figure), showed up was to make the scene with whatever girl he was dancing with, at least that was the idea. 40 Winks, for lack of a better term was the “king” of the club, although by default because no one had messed with him, or his crowd before. And also he was the “boss” dancer of the universe and the girls were all kind of swoony, or at least, semi-swoony over his moves, especially when he got his Elvis thing going. Ya, now that I think about it he did seem to make the girls sweat. Sure, 40 Winks was going to be there. See Frankie was going to upset that fresh air “rule” and since nobody, not even me, ever accused Frankie of not being in love with himself, his “projects”, or his “style” he figured it was a cinch. Now, forty or fifty years later I can see where there was a certain flaw in the plan.
Why? Well, let me cut to the chase here, a little anyway. When we showed up at the club everything was fine. Everybody kind of conceded that this was “neutral” ground, at least inside, and the management of the place had employed more college football player-types than one could shake a stick at to enforce the peace. So any “turf” wars will have to be fought out on the dance floor, or elsewhere. Tonight the music, live music from a local cover band that is trying to move up in the pecking order is “hot”. They get the joint, 40 Winks, and old Frankie fired up right away with a big sound version of Good Rockin’ Tonight. Now 40 Winks eyes this one sneeze (girl, blame Frankie) from our school, although none of us, including Frankie, had even come with fifty paces of her, here or in school. Her name was Anna, but let’s just call her a Grace Kelley-wannabe, or could-be or something, and be done with it. In any case when she had finished dancing that Good Rockin’ Tonight with some goof (meaning non-Frankie friend or associate) the temperature in the place went up a collective bunch of degrees. Even I was thinking of getting closer than 50 paces from her. Okay this is going to be the prize, boys
40 Winks and Frankie both approach Ms. Wonderful for the next dance (and, hopefully, for the full dance card), a slow one it seems from the way the band is tuning up. Ya, it is, The Platters, Stand By Me. 40 Winks gets the nod. Oh, boy. First round 40 Winks. They start dancing and other couples are giving them some room because they are putting on something of a show now. I don’t tell Frankie this but he, his plans, and his crown are doomed. His look kind of says the same thing. But here is where you can never tell about Frankie. After that dance he goes back for another ask. Again, no go. And no go all the way to intermission.
Christ, Francis Xavier Riley, purebred Irish man is red, red as a Dublin rose. He is done for, especially as this national treasure of a girl takes the air, the fresh air with 40 Winks. And makes a big deal out of it in front of half the couples attending, and more importantly, in front of Frankie. Frankie, Frankie from the old neighborhood but not of the wide teen kingdom. For one of the few times in our middle school and high school careers together I saw Frankie throw in the towel. It wasn’t pretty. He didn’t show up at that club for a long time afterward, and I don’t blame him.
But here is where life, teenage life is funny sometimes. My brother, my home’s, my be-bop buddy Frankie was set up, and set up bad. How? Well, Anna, old sweet Grace Kelley wannabe Anna (and now that I think about could be), actually was smitten, or whatever you want to call it, by Frankie from seeing him around school. Yes, Frankie. But, and this is the way Frankie told me the story some time later after the event, Anna and firebrand Joanne, sweet Frankie girlfriend Joanne, had classes together and, moreover, were related to each other distantly like a lot of kids were related to each other in the old neighborhood. Anna knew that Frankie was Joanne’s honey so they talked it out and Anna passed on old Frankie. But, see, Joanne got wind of Frankie’s no Joanne teen dance club scheme and she and Anna patched this deal up to keep Frankie out of harm’s way. Women!
In a recent series of entries that I did in the form of scenes, scenes from the hitchhike road in search of the great American West night in the late 1960s, a time later than the time of Frankie’s early 1960s old working class neighborhood kingly time, I noted that I had about a thousand truck stop diner stories left over from those hitchhike road days. On reflection though, I realized that I really had about three diner stories with many variations. Not so with Frankie, Frankie from the old neighborhood, stories. I have got a thousand of them, or so it seems, all different. Hey, you already, if you have been attentive to this space, know a few Frankie, Frankie from the old neighborhood, stories (okay, I will stop, or try to stop, using that full designation and just call him plain, old, ordinary, vanilla Frankie just like everybody else alright).
Ya, you already know the Frankie (see I told you I could do it) story about how he lazily spent a hot late August 1960 summer before entering high school day working his way up the streets of the old neighborhood to get some potato salad (and other stuff too) for his family’s Labor Day picnic. And he got a cameo appearance in the tear jerk heart-rendering saga of my first day of high school in that same year where I, vicariously, attempted to overthrow his lordship with the nubiles (girls, for those not from the old neighborhood, although there were plenty of other terms of art to designate the fair sex then, most of them getting their start in local teenage social usage from Frankie’s mouth). That effort, that attempt at copping his “style” like many things associated with one-of-a-kind Frankie proved unsuccessful as it turned out.
But as this story will demonstrate old Frankie, Frankie from (oops, I forgot I ‘m not doing that anymore) was not only the king of the old neighborhood but roamed, or tried to roam far afield, especially if the word "girls" was involved. So this will be another Frankie and the girls story, at least part way. The milieu though will be somewhat different for those who only know Frankie in his usual haunts; the pizza parlor, the drugstore, or hanging around the corner of one of several mom and pop variety stores. This time, in a way, Frankie goes “uptown.”
One of the other places where Frankie tried to extend his kingdom was the local teen night club (although we did not call it that then but that was the idea). You know a place where kids, late teenage kids, could dance to live music from some cover band and drink…sodas. Ya, the idea was to keep kids off the streets, out of the cars, and under a watchful eye on Friday and Saturday night so they didn’t drink booze and get all crazy and messed up. Of course, anyone with half a wit, if they wanted to get booze, had no real problem as long as there was some desperate wino to make your purchase for you. But, at least, the idea was no booze on the premises and that was pretty much the case.
Now this club, this teen dance club, that Frankie has his eye on, was the primo such place around. Sure, there were other smaller venues, but that was kids stuff, young teen stuff, no account, no matter stuff. If you had dreams of kingship then the Sea ‘n’ Surf Club was the place to place your throne. But, see, this club was several miles away from the old neighborhood, and that meant several miles of other guys who were kings of their neighborhoods, but also several miles of all kinds of different girls that Frankie (and I, as well) had no clue about. And the beauty of this, the real beauty for Frankie was that it was doable. Why? Old ball and chain girlfriend forever, girlfriend, main squeeze, Joanne was not allowed by her parents to go to teen dance clubs, period. And period meant period, to old Frankie’s smiles.
This club had the added advantage, as its name gives away, of being by the sea, by the ocean so that if the dancing got too hot, or it was too crowded, or if you got lucky then there you were handy to a ready-made romantic venue. Now American Great Plains prairie guys and dolls may not appreciate this convenience (although I am sure you had your own local lovers’ lane "hot spots") but to have the sea as a companion in the great boy meets girl struggle was pure magic. See, and everybody knew this or found out about it fast enough, if a girl wanted to catch some "fresh air" and agreed to go with you then you were “in like flint” for the night. That also meant though that, when intermission ended, or when the steamed-up couple came up for air that nobody else was suppose to cut in on their scene. This may all sound complicated but, come on now, you were all teens once, and you figured it out easily enough, right? This in any case is what Frankie wanted to be king of. The scene that is.
This club, by the way, this hallowed memory club, could not stand the light of day, although at night it was like the enchanted castle. By day it looked just like another faux Coney Island low-rent carnival, bad trip place ready for the demolition ball ballroom. But the night, oh, the night was all we cared about. And for weeks before Frankie was ready to make his big move the conquest of this place thing, the imagining of it, took on something like the quest for a holy grail.
Finally, Friday finally, summertime Friday night finally, came (he had a date with his ever lovin’ big flame Joanne for Saturday that week) and he was ready to make his move. Let me outline the plan as he told it to me. The idea, if Tommy 40 Winks (I did not make that name up; I don’t have that kind of imagination. That was his nickname, hell, mine, was, for a while, Boyo, go figure), showed up was to make the scene with whatever girl he was dancing with, at least that was the idea. 40 Winks, for lack of a better term was the “king” of the club, although by default because no one had messed with him, or his crowd before. And also he was the “boss” dancer of the universe and the girls were all kind of swoony, or at least, semi-swoony over his moves, especially when he got his Elvis thing going. Ya, now that I think about it he did seem to make the girls sweat. Sure, 40 Winks was going to be there. See Frankie was going to upset that fresh air “rule” and since nobody, not even me, ever accused Frankie of not being in love with himself, his “projects”, or his “style” he figured it was a cinch. Now, forty or fifty years later I can see where there was a certain flaw in the plan.
Why? Well, let me cut to the chase here, a little anyway. When we showed up at the club everything was fine. Everybody kind of conceded that this was “neutral” ground, at least inside, and the management of the place had employed more college football player-types than one could shake a stick at to enforce the peace. So any “turf” wars will have to be fought out on the dance floor, or elsewhere. Tonight the music, live music from a local cover band that is trying to move up in the pecking order is “hot”. They get the joint, 40 Winks, and old Frankie fired up right away with a big sound version of Good Rockin’ Tonight. Now 40 Winks eyes this one sneeze (girl, blame Frankie) from our school, although none of us, including Frankie, had even come with fifty paces of her, here or in school. Her name was Anna, but let’s just call her a Grace Kelley-wannabe, or could-be or something, and be done with it. In any case when she had finished dancing that Good Rockin’ Tonight with some goof (meaning non-Frankie friend or associate) the temperature in the place went up a collective bunch of degrees. Even I was thinking of getting closer than 50 paces from her. Okay this is going to be the prize, boys
40 Winks and Frankie both approach Ms. Wonderful for the next dance (and, hopefully, for the full dance card), a slow one it seems from the way the band is tuning up. Ya, it is, The Platters, Stand By Me. 40 Winks gets the nod. Oh, boy. First round 40 Winks. They start dancing and other couples are giving them some room because they are putting on something of a show now. I don’t tell Frankie this but he, his plans, and his crown are doomed. His look kind of says the same thing. But here is where you can never tell about Frankie. After that dance he goes back for another ask. Again, no go. And no go all the way to intermission.
Christ, Francis Xavier Riley, purebred Irish man is red, red as a Dublin rose. He is done for, especially as this national treasure of a girl takes the air, the fresh air with 40 Winks. And makes a big deal out of it in front of half the couples attending, and more importantly, in front of Frankie. Frankie, Frankie from the old neighborhood but not of the wide teen kingdom. For one of the few times in our middle school and high school careers together I saw Frankie throw in the towel. It wasn’t pretty. He didn’t show up at that club for a long time afterward, and I don’t blame him.
But here is where life, teenage life is funny sometimes. My brother, my home’s, my be-bop buddy Frankie was set up, and set up bad. How? Well, Anna, old sweet Grace Kelley wannabe Anna (and now that I think about could be), actually was smitten, or whatever you want to call it, by Frankie from seeing him around school. Yes, Frankie. But, and this is the way Frankie told me the story some time later after the event, Anna and firebrand Joanne, sweet Frankie girlfriend Joanne, had classes together and, moreover, were related to each other distantly like a lot of kids were related to each other in the old neighborhood. Anna knew that Frankie was Joanne’s honey so they talked it out and Anna passed on old Frankie. But, see, Joanne got wind of Frankie’s no Joanne teen dance club scheme and she and Anna patched this deal up to keep Frankie out of harm’s way. Women!
Wednesday, February 2, 2011
Out In The Be-Bop 1950s Cold War Night- Mickey Spillane’s Mike Hammer Is On The Case- “Kiss Me Deadly”- A Film Review
Click on the headline to link to a Wikipedia entry for Kiss Me Deadly.
DVD Review
Kiss Me Deadly, Ralph Meeker, Cloris Leachman, directed by Robert Aldrich, 1955
Sure I‘m a film noir buff. And sure I like my film detectives that way as well, Sam Spade, Nick and Nora Charles, Phillip Marlowe and so on. Normally Mickey Spillane and his 1950s-style detective, Mike Hammer, would no hit my radar though. Believe me I did, however, spent many a misbegotten hour reading Spillane’s detective stories, maybe as much for cover art work that ran to provocative bosomy, half-clothed femme fatale dames in distress as for the insipid story line that ran heavily to Mike’s anti-communist warrior pose ready to smash heads at the drop of a hat, and grab an off-hand kiss from every dame he ran into along the way. Aside for the question of that scurrilous (now scurrilous, maybe) cover art that is better left for another day my tastes in detectives were more to the “highbrow” Raymond Chandler and Dashiell Hammet and their more knight-errant-worthy story lines, and a little more reserve in the fist department, although for a damsel in distress they were ready to duke it out with anyone, and gladly.
That said, now along comes this classic 1950s film noir Mike Hammer story line and I was hooked, well, maybe not hooked so much as intrigued by it. Moreover, director Richard Aldrich seems to have had a flair for the noir film, from those black and white filmed shots of streets scenes in the seamy Los Angeles be-bop night (and day too, come to think of it), to an incredible be-bop jazz bar scene, complete with “torch” singer where after the lost of a friend Mike gets plastered (drunk), to the endless line-up of high end “golden age of the automobile” cars on display. Of course there is the normal bevy (maybe two bevies, I didn’t count) of alluring, mysterious women just waiting to fall into Mike’s arms when he comes within fifty paces of them, and he is, as usual, ready to put on his white knight uniform when he senses that something in evil in the world, and he most definitely is willing to thumb his nose as the governmental authorities who are always just a step, or seven, behind the flow of the action. But most of that is all in a day’s work for a noir detective. What makes this one stick out is the doom’s day plot.
Of course, the 1950s was not only about the rise of the “beats” and of teen alienation and angst-driven rock and roll but the heart of the international Cold War, a scary time no question, where if things had taken a half-twist a different way. Well, who knows, but it was not going to be pretty. And part of that Cold War, a central part, was the presence of the “bomb”, and for those who are too young to remember that was nothing but the atomic and hydrogen bombs that could, at any non-be-bop minute, blow the planet away.
And it is that threat that underlines old Mickey Spillane’s tale. See, with that kind of threat, but also the power potential , private parties, evil private parties could think of all kinds of nasty ways to wreak havoc on the world. If only they could get just a little of that bomb power. And that lust, that seemingly eternal lust, for power by certain of our fellows is where we are heading. See, someone privy to the atomic secrets (no, not the heroic Rosenburgs, this guy was in it for the dough) had a little pot of the stuff ready for the highest bidder. And the highest bidder, so to speak, also happens to be a guy with plenty of dough to buy a ton of modern art (and a fondness for classic quotes). I knew there was something funny about those modern art collecting guys. Didn’t you?
And all it takes to spoil that nefarious plan is one Mike Hammer. Now, and here is the beauty of the Spillane method, this is not for governmental agents to handle, as one would think in trusting 1950s America, although they are hot on the trail but one threadworn detective. Threadworn? Yes, threadworm. See Mike is nothing but a low-rent, dirt-peddling divorce work detective (in the days when such dirt was necessary to get that desperate divorce), working this racket with his girl Friday (and lure), Velda. But see maybe Mike just fell on hard times and needed some dough (although his car, office set-up, digs… and fetching Velda belie that). But once Mike gets on the case, and only when he knows in his gut that something is wrong and he has that feeling here, then they are no limits. He faces off the mob (naturally, if there is something evil to broker they are in on it), half-mad women (one that he picked up on the hitchhike road, kind of, and her roommate) and that relentless modern art collector before he is through. I could go on but, really, this is one you have to see. And add to your list of film noir be-bop nights.
DVD Review
Kiss Me Deadly, Ralph Meeker, Cloris Leachman, directed by Robert Aldrich, 1955
Sure I‘m a film noir buff. And sure I like my film detectives that way as well, Sam Spade, Nick and Nora Charles, Phillip Marlowe and so on. Normally Mickey Spillane and his 1950s-style detective, Mike Hammer, would no hit my radar though. Believe me I did, however, spent many a misbegotten hour reading Spillane’s detective stories, maybe as much for cover art work that ran to provocative bosomy, half-clothed femme fatale dames in distress as for the insipid story line that ran heavily to Mike’s anti-communist warrior pose ready to smash heads at the drop of a hat, and grab an off-hand kiss from every dame he ran into along the way. Aside for the question of that scurrilous (now scurrilous, maybe) cover art that is better left for another day my tastes in detectives were more to the “highbrow” Raymond Chandler and Dashiell Hammet and their more knight-errant-worthy story lines, and a little more reserve in the fist department, although for a damsel in distress they were ready to duke it out with anyone, and gladly.
That said, now along comes this classic 1950s film noir Mike Hammer story line and I was hooked, well, maybe not hooked so much as intrigued by it. Moreover, director Richard Aldrich seems to have had a flair for the noir film, from those black and white filmed shots of streets scenes in the seamy Los Angeles be-bop night (and day too, come to think of it), to an incredible be-bop jazz bar scene, complete with “torch” singer where after the lost of a friend Mike gets plastered (drunk), to the endless line-up of high end “golden age of the automobile” cars on display. Of course there is the normal bevy (maybe two bevies, I didn’t count) of alluring, mysterious women just waiting to fall into Mike’s arms when he comes within fifty paces of them, and he is, as usual, ready to put on his white knight uniform when he senses that something in evil in the world, and he most definitely is willing to thumb his nose as the governmental authorities who are always just a step, or seven, behind the flow of the action. But most of that is all in a day’s work for a noir detective. What makes this one stick out is the doom’s day plot.
Of course, the 1950s was not only about the rise of the “beats” and of teen alienation and angst-driven rock and roll but the heart of the international Cold War, a scary time no question, where if things had taken a half-twist a different way. Well, who knows, but it was not going to be pretty. And part of that Cold War, a central part, was the presence of the “bomb”, and for those who are too young to remember that was nothing but the atomic and hydrogen bombs that could, at any non-be-bop minute, blow the planet away.
And it is that threat that underlines old Mickey Spillane’s tale. See, with that kind of threat, but also the power potential , private parties, evil private parties could think of all kinds of nasty ways to wreak havoc on the world. If only they could get just a little of that bomb power. And that lust, that seemingly eternal lust, for power by certain of our fellows is where we are heading. See, someone privy to the atomic secrets (no, not the heroic Rosenburgs, this guy was in it for the dough) had a little pot of the stuff ready for the highest bidder. And the highest bidder, so to speak, also happens to be a guy with plenty of dough to buy a ton of modern art (and a fondness for classic quotes). I knew there was something funny about those modern art collecting guys. Didn’t you?
And all it takes to spoil that nefarious plan is one Mike Hammer. Now, and here is the beauty of the Spillane method, this is not for governmental agents to handle, as one would think in trusting 1950s America, although they are hot on the trail but one threadworn detective. Threadworn? Yes, threadworm. See Mike is nothing but a low-rent, dirt-peddling divorce work detective (in the days when such dirt was necessary to get that desperate divorce), working this racket with his girl Friday (and lure), Velda. But see maybe Mike just fell on hard times and needed some dough (although his car, office set-up, digs… and fetching Velda belie that). But once Mike gets on the case, and only when he knows in his gut that something is wrong and he has that feeling here, then they are no limits. He faces off the mob (naturally, if there is something evil to broker they are in on it), half-mad women (one that he picked up on the hitchhike road, kind of, and her roommate) and that relentless modern art collector before he is through. I could go on but, really, this is one you have to see. And add to your list of film noir be-bop nights.
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