building strength

 

Some videos on You Tube teach us about "grooming" - how a person will "groom" you, coax you along into believing you have a friendship with them, when really they are positioning you so that they can "extract" something from you.

It's interesting.

My dad told me, more than once during my growing-up years, to "be skeptical."  Like, not believing people, so much.  (I don't think we had the term "grooming" back then.  But I guess that's what he was trying to warn me against.)

        

        I sort of understood, up to a point.

        What does a child know?

"Love-bombing" is another tactic that You Tube videos explain to us.

It's educational.

Now I want to play the song by The Who called "Won't Get Fooled Again."

-30-

"large puffs of smoke" - ? ?

 

Besides the Cab Calloway display, my memories of Mugar Library at Boston University are mostly going there to read, and study, and write a paper (before typing it out, later).

It was quiet, and nobody bothered you.  You could work.  And get done.

        There was one time when there was an event, in my freshman or sophomore year, for students to attend and be social.  I went to it, and it was - OK, but then there were these Middle Eastern guys around, and - if someone wants to talk to me, I will probably talk to them, but if they are too pushy and overbearing, then - no. ...

This one guy was sort of - leaning in, talking - at me, rather than to me, and - not listening, just talking, not waiting for an answer. ... and then - not asking for, but rather, demanding my phone number.

        I kind of resisted giving him my phone number.  And then he became more adamant, and demanding.  I thought fast, and said to myself, 'I can say No again and listen to him continue to argue, or I can give him a wrong phone number...'

I gave him the phone number of Mugar Library (I don't know why I knew that number from memory, but I did...).

-30-

"the roughest, toughest frail"

 

Cab Calloway performing in The Blues Brothers  1980 film

        The song "Minnie The Moocher" used to be sung by an entertainer named Cab Calloway.  He lived from 1907 to 1994.

At Boston University, in Mugar Library, there was a glass case with photographs of Cab Calloway, and a history of his career and accomplishments that you could read, through the glass.

        Mr. Calloway must have left his papers to B.U.

        That was the first I had ever learned of Cab Calloway, although I had heard the song "Minnie..." on That Girl reruns I watched in summers, in fifth and 6th grade.

Mr. Calloway performed "Minnie The Moocher" in the 1980 film, The Blues Brothers.  That movie came out while I was in Boston going to school:  I still have not seen it.  Some time, I will.

        In the 1980s when I was working in country music radio, one of our part-timers told me, "Oh, you have to see that movie!

       On You Tube, there's a video showing Cab Calloway's Blues Brothers performance.  In the Comments under it, one person wrote, "He's an old man, but he got swag."

Another one said, "Man I just love how this music makes you think of big city, small alleys, large puffs of smoke and shared drinks."

(?)

-30-

saving the moment

 

In the last post here, I put in the famous poem "Casey At The Bat" - I was reminded of it by a "That Girl" episode where Ann gets sort of drafted to be the director of the country club variety show in her hometown of Brewster, New York.

The one guy recites the "Casey" poem in the show every year;  Ann's father, Lew Marie (portrayed by actor Lew Parker), sings "Minnie The Moocher" - ...she was a low-down hoochie coocher - she was the roughest, toughest frail - but Minnie had a heart as big as a whale - hodey, hodey how, bah-dee-dah de-dah...

        At Ann's suggestion, they do an intense drama instead of the variety show -  afterwards she tells her father she is proud of him for "the creative genius you showed in that final scene, when everything was at its highest emotional pitch."

Lew:  You liked that, huh?

Ann:  Are you kidding?  Not even Alfred Lunt or the great John Barrymore would have handled that situation the way you did.

Lew:  Well, when Bob forgot his lines right in the most important part of the show, I thought it was all over!  

Ann:  So did I.  Only my father, Lew Marie, would think fast enough to have a dead man jump up off the floor and sing two full choruses of "Minnie The Moocher" - ! ...

-30-

no joy in Mudville

 The outlook wasn't brilliant for the Mudville nine that day;

the score stood four to two, with but one inning more to play.

And then when Cooney died at first, and Barrows did the same,

a sickly silence fell upon the patrons of the game.

A straggling few got up to go in deep despair.  The rest

clung to that hope which springs eternal in the human breast;

They thought, if only Casey could get but a whack at that -

they'd put up even money, now, with Casey at the bat.

But Flynn preceded Casey, as did also Jimmy Blake,

and the former was a lulu and the latter was a cake,

So upon that stricken multitude grim melancholy sat,

for there seemed but little chance of Casey's getting to the bat.

But Flynn let drive a single, to the wonderment of all,

and Blake, the much despised, tore the cover off the ball;

And when the dust had lifted, and the men saw what had occurred,

there was Jimmy safe at second and Flynn a-hugging third.

Then from five thousand throats and more there rose a lusty yell;

it rumbled through the valley, it rattled in the dell;

It knocked upon the mountain and recoiled upon the flat,

for Casey, mighty Casey, was advancing to the bat.

There was ease in Casey's manner as he stepped into his place;

there was pride in Casey's bearing and a smile on Casey's face.

And when, responding to the cheers, he lightly doffed his hat,

no stranger in the crowd could doubt 'twas Casey at the bat.

Ten thousand eyes were on him as he rubbed his hands with dirt;

five thousand tongues applauded when he wiped them on his shirt.

Then while the writhing pitcher ground the ball into his hip,

defiance gleamed in Casey's eye, a sneer curled Casey's lip.

And now the leather-covered sphere came hurtling through the air,

and Casey stood a-watching it in haughty grandeur there.

Close by the sturdy batsman the ball unheeded sped -

"That ain't my style," said Casey.  "Strike one," the umpire said.

From the benches, black with people, there went up a muffled roar,

like the beating of the storm-waves on a stern and distant shore.

"Kill him!  Kill the umpire!" shouted someone on the stand;

and it's likely they'd have killed him had not Casey raised his hand.

With a smile of Christian charity great Casey's visage shone;

he stilled the rising tumult; he bade the game go on;

He signaled to the pitcher, and once more the spheroid flew;

but Casey still ignored it, and the umpire said:  "Strike two."

"Fraud!" cried the maddened thousands, and Echo answered "fraud!";

but one scornful look from Casey and the audience was awed.

They saw his face grow stern and cold, they saw his muscles strain,

and they knew that Casey wouldn't let that ball go by again.

The sneer is gone from Casey's lip, his teeth are clenched in hate;

he pounds with cruel violence his bat upon the plate.

And now the pitcher holds the ball, and now he lets it go,

and now the air is shattered by the force of Casey's blow.

Oh somewhere in this favored land the sun is shining bright;

the band is playing somewhere, and somewhere hearts are light,

And somewhere men are laughing, and somewhere children shout;

but there is no joy in Mudville - mighty Casey has struck out.

--------------------------------------------------------------

"Casey at the Bat"

by Ernest Thayer

1888

-30-

groovy fashions and dreamy Donald Hollinger

 

I was reading an article about the current polarization in American politics.

After a while I stopped, and went to Amazon Prime Video and started binge-watching episodes of That Girl.

        It seemed to make more sense.

-30-

shadow of a doubt

 
Joseph Cotten in Shadow Of A Doubt    1943

Recently I have been re-watching Shadow Of A Doubt, an Alfred Hitchcock-directed film.  It was the third movie he made after moving to America from England, with his wife Alma and tiny daughter Patricia.

They moved to America because Hollywood was the location of the most comprehensive movie business.

At first Hitchcock worked with David O. Selznick (producer of Gone With The Wind) but they couldn't really stand working together.

        Shadow Of A Doubt is a movie with quirks and unexpected hints and clues.  And moments that might seem a little like clues, but they might just be quirks.

It's mysterious.

        I go back and watch again, and also listen to some videos and podcasts on You Tube where people talk about the movie.

It was filmed in Santa Rosa, California - which was a small town back then.

Santa Rosa

'The Artist on the Road'

-30-

Mick Jagger is "in the house" - !

 Speaking of Mick Jagger, some years ago there was a kid (a young man) working where I work, who looked like Mick Jagger.  

        It was kind of surprising.  

        The manager of his department came in my office one day and asked if the kid was in yet, I looked it up in the computer, and no, he was not in yet.  Then I added, "You know what?  That kid kind of looks like Mick Jagger."

        The manager was not expecting that.  (Well, neither was I.)  He looked at me for a second, thought about it, and then shook his head, and kind of laughed.

A short bit later, the kid arrived at work - I saw him - and I called his boss on the two-way radio:  "Rick Schulz, you got a copy on me? - 'Mick Jagger's' here. ..."

One day I mentioned to the kid, when he stopped in, that he looked like Mick Jagger.  He hadn't been told that, before.  He was kind of like - 'o-kay'... He was more interested in my sunglasses that I had at the time.

        He asked me if he could try them on.  He said, "I just want to see if they look as badass on me, as they do on you."

This unexpected outburst of hep-cat lingo was startling to me, in a not unpleasant way....

"Badass."

...  badass...?!?

-30-

...but I like it...

 
Merle Haggard

Considering the Rolling Stones recently, and thinking about Mick Jagger, it occurred to me, as it has before, how some people in show business have names that are exactly right for their genre, and those are their actual, real names:  they aren't names that were selected, or dreamed up, to use as their stage name.  (To me, it's a marvelous coincidence.)

        Now, there isn't anything wrong with having an invented stage name - you know, I'm not criticizing that, at all.  Some of them take a stage name because it's easier to spell, pronounce, remember, than their real name.

        In earlier times - more in the 20th Century than our current Century - some actors and actresses with "ethnic"-sounding names were pressured by studios to change to a more Anglo-Saxon sounding name:  hence, Anna Maria Louisa Italiano became "Anne Bancroft."

And some of them take a different name because when they go to get their Screen Actors Guild card, to work professionally, sometimes it happens that someone already in the Guild has that name already, so the person selects a different name, or a variation, or uses a middle initial.

        For example, I read that when Julia Roberts was going to get her SAG card, her name was Julie Roberts, & there was already an actress registered with that name.  So the "Pretty Woman" changed hers from Julie to Julia.

But the ones I'm thinking of here, are people who are show-business performers and they use their real name and it's absolutely perfectly fitting for the type of entertainment they do.  I can think of three, and they're all singers:

Mick Jagger

Loretta Lynn

Merle Haggard

--------------------------- I mean, imagine - if you were born with the name Merle Haggard, you can't really become a minister, or a bond trader, or a college professor - you just have to be a country singer!  LOL - I mean, it just fits.

Loretta Lynn - great name for a country singer.  And Lynn is her real married name.  (Her family name was Webb.)  The alliteration - both the first and last name starting with the letter "L" - helps make it memorable.

        And Mick Jagger - born with that moniker, you're going to have to grow up to be a force to be reckoned with in Rock & Roll, that's it.  

        His name is Michael Philip Jagger.  Mick is a common nickname for Michael, in the UK.  (In the U.S., we use "Mike" more often....)

Mick.  Jagger.

Would it be enough for your cheatin' heart, child? - I said, 

I 

know, 

it's only rock and roll but I like it.  I know, it's only rock and roll, but I like it, like it, yes I do. 

Well I like it - I like it - I like it - I said, can't you see, this ol' boy's been a-lonely?

...

If I could sing - a love song so divine -

Would it be enough for your cheatin' heart,

If I broke down and cried?

I said, I know - it's only rock and roll - but I like it, like it.......................

-30-

whatever that was...

 

A much younger Mick Jagger, in an early-1960s Rolling Stones performance of the song "It's All Over Now" - is working out his dance style, influenced by both Tina Turner and, incidentally, James Brown.

A :38-second clip is on You Tube:

video titled -

Birth Of The Chicken Dance

uploader / channel:  Jim Cim

        when you play it and view it, you get a sense of the vibe...

My favorite Viewer Comment under the video:

"Whatever that was he owns it lol"

-30-

never stop, never stop

 

----------------------- [excerpt from I, Tina - written by Tina Turner with Kurt Loder.  Copyright 1986, Harper Collins] --------------------------

        Tina:  Mick wanted to learn the pony.  He said, "How do you guys do that?"  

So we all started dancing - and I finally saw what he had been doing onstage.  

        I said, "Look at the rhythm on this guy!  God, Mick, come on!"  

I mean, we laughed.  Because Mick was serious - he wanted to get it.  

He didn't care about us laughing at him.  

        And finally he got it, in his own kind of way.

-------------------------------------------------

That was in 1966.  

        Fifty-eight years later - there's a tape of Mick practicing in his home studio - it's on You Tube.  You type in 

Mick Jagger's Dance Moves at Age 80

It's quite the inspiration, for us all, to continue moving, as we age.

-30-

onstage; offstage

 

-------------------- [excerpt from I, Tina - written by Tina Turner and Kurt Loder, copyright 1986, Harper Collins] ----------------------

Tina:  Well, the first night of the Stones tour, at the Albert Hall, I was nervous - we'd never worked a hall that big.  But we went out and did what we did, and the people loved it.  They didn't like "Please, Please, Please" - we cut that immediately - but they accepted us.  And from there on, I became more comfortable.

        We were something a little different for British audiences then - four wild women up there onstage. ...

        After a while, I started noticing this face offstage when the girls and I were out there.  I said, "God, who's that boy with the big lips?"  It was unusual to see a white person that looked like that, you know?  

He would just stand behind the speakers and all you could see would be this white face and these eyes and this mouth.  

        Finally, Ike brought him into the dressing room one night - they were really fans of Ike Turner - and I said, "Ike, who's that boy standing there?"  

He said, "Oh, that's Mick."  Mick went like, "Heyyy," and I was startled by the way he spoke.  He had the English accent, of course, but you could also hear in his voice that he was really into black music and black people. ...

        After that, Mick would come into the dressing room and we would sing a lot together.  He never  knocked, so you'd always have to stay kind of dressed, because he was friendly enough with Ike that he could just walk in.  

But we'd sing and talk and laugh - everything was funny in those days, with Mick around.  He'd be telling me about Keith Richards, too...and it'd be Keith-this and Keith-that, and we'd laugh it up some more.

-30-

do I love you, my oh my

 on You Tube, video titled

Ike & Tina Turner - River Deep Mountain High (original 1966 promo, edited)

channel / uploader:  amajor2002

                -  play -

-30-

wall of sound

 

Jeff Beck

--------------------- [excerpt from I, Tina - written by Tina Turner, with Kurt Loder.  Copyright 1986, Harper Collins] -----------------

        It was an uproarious excursion.  The Rolling Stones launched their tour at the Albert Hall with tape recorders running to capture the show for a projected in-concert album, Got Live if You Want It.  

Six songs into their set, though, the house erupted into a near-riot, with fans clambering up onstage....  For chitlins-circuit veterans who thought they'd seen it all, that opening night offered the Revue members a new kind of eyeful.  And, for Ike and for Tina, an earful, too.

        Tina:  I remember I was in the dressing room and I heard somebody playing guitar - and were they ever playing it!  I followed the sound out into the hallway, and I came to this other dressing room, and there was Jeff Beck, just sitting there, playing.  He was the lead guitarist for the Yardbirds, who were also on the bill.  Jeez, you should've heard him!  I couldn't believe it.

        Ike said, "Man, these guys can play over here!"  He was really blown away. ... I think maybe Ike should've just moved to England then, because he could've really got into a rush with those guys.  But, well . . .

        Mick Jagger:  I think we worked much harder after Ike and Tina had been on, you know?  Because they would really work the audience very, very hard.  But that's the reason we had them on.  

There's no point in having some jerk band on before you - you have to have somebody that'll make you top what they do.  And Ike and Tina Turner certainly did that job admirably.  

Tina's voice was very powerful, and also very idiosyncratic - easy to pick out.  "River Deep-Mountain High" was an excellent record because she had the voice to get out in front of Phil Spector's so-called wall of sound.

-30-

available, right now

 

Tony Curtis and Burt Lancaster in Sweet Smell Of Success (1957)

On Amazon Prime, now:

Sweet Smell of Success

and

Goodbye, Columbus

on Netlifx, now:

The Sting

enjoy

-30-

"man, I was so scared..."

 
Bill Wyman, bass player for the Rolling Stones, from 1962 to 1993

------------------- [excerpts from I, Tina - copyright 1986, Harper Collins] -----------------------------

Bill Wyman:  We realized that they were a great visual act, that that was the magic thing about them.  And that's what we used to admire in people, if they could be really good visually as well as on records - which was what we tried to do.  I mean, some people made great records, and then when you saw them, they were a load of old crap, you know?  With Ike and Tina, the visual thing was as important as anything else about them.  So we got them to come over.

__________________________

        By the time the Stones tour came up, the Revue was already on its second set of post-original Ikettes.  After Robbie, Jessie, and Venetta walked out, Ike had quickly scooped up two inexperienced L.A. girls, Maxine Smith and Pat "P.P." Arnold, and a young club singer from Palo Alto named Gloria Scott....

Maxine Smith:

We went up to their house to audition.  We just sang a little bit, and then Tina said, "Okay, let's start rehearsing."  And we rehearsed from eleven o'clock in the morning till three in the morning for three whole days.  The fourth day we were on the road, and that night we were onstage.  Man, I was so scared.  And from there we just kept on going, doing one-nighters. ...

___________________________

        And then "River Deep" became a hit in England, and suddenly Ike and Tina were off to tour with the Rolling Stones.

        The Stones tour, twelve dates in all, was booked to run from September 23 through October 9.  In addition, the Ike and Tina Turner Revue would be playing another dozen or so dates on the side, many at the enormous Mecca clubs that then catered to British youth.

-30-

river deep, mountain high

 

------------------- [excerpt from I, Tina - 1986, HarperCollins] -----------------------

[1966]

        "River Deep-Mountain High" climbed to number eighty-eight in the pop charts in the first week of June, then tumbled back down. ...

        While the song misfired in the States, it created a sensation across the Atlantic, rocketing to number three on the British charts in mid-June and remaining in the Top 50 for thirteen weeks.  

George Harrison, guitarist with the then-regnant Beatles, was quoted as calling it "a perfect record from start to finish - you couldn't improve on it."  

America had deep-sixed the single, and here were the Brits, waxing ecstatic....

        "River Deep" 's reception in Britain...was no mystery, however.  The new breed of British rock bands that ruled the charts was fascinated by black American music.  Lacking a native equivalent of blues and R & B, the British groups and their audiences had become connoisseurs of the American scene.  

Such pop-oriented acts as the Beatles and Manfred Mann and Herman's Hermits reveled in covering black girl-group hits.  Grittier stuff became the province of the more blues-oriented Yardbirds, Animals, and, especially, the Rolling Stones....

        The Stones were already well acquainted with the work of Ike and Tina Turner by the time "River Deep" arrived.  As it happened, they were then gearing up for a fall tour of the U.K.  Why not, they decided, invite the Ike and Tina Turner Revue along?

-30-

opening acts

 

After listening to the hit song "Arizona" several times, I checked out an interview with Mark Lindsay, on You Tube - at one point he was a member of the band Paul Revere and the Raiders (pictured above).

It's a band whose name is familiar to me, but I haven't studied them, don't know much about them.  According to the online encyclopedia, they had hit songs and a lot of live-performance success in the late 1960s and early 1970s.

        I didn't think I knew any of their songs, but then I clicked on one called "Kicks" and I've certainly heard that! - I know it...

...Oh don't it seem that

Kicks just keep gettin' harder to find,

You know the kicks ain't bringin' you peace of mind

Before you find out it's too late, girl,

You better get straight....

In the Mark Lindsay interview (from the '80s or '90s, I think) he told a brief anecdote about the "Raiders" playing a TV show called "Where The Action Is", in Pittsburgh, where the - Rolling Stones - opened for them...!?!

Like - Wait.  What??!

        I googled that, apparently it's true.  The Internet explained that who the opening act was and who the main attraction was, could vary, according to what part of the country the bands were playing in, based on who had a hit song that was popular locally, at that point in time.

It made a funny story in the interview, because you just wouldn't expect the Rolling Stones to be "opening" for anybody.  They would be the main attraction.  

Mark Lindsay sort of imitated Mick Jagger's accent - "Who are these guys?!"

But it was 1965, when this occurred - the Stones' most iconic albums, Let It Bleed, Exile On Main Street, Sticky Fingers, and Beggars Banquet were all still in the future, at that time - they hadn't been written or recorded, yet.

The Rolling Stones were still on their way up.

        I got to thinking about opening acts, at concerts.  A Bob Dylan concert I attended in the early 2000s had the country band Asleep At The Wheel as the opening act.  I loved that.

        And I thought about the Ike and Tina Turner Revue opening for the Rolling Stones in England, in the late '60s.  (How incredible that must have been!)  The Ike and Tina Turner Revue - musicianship, singing, showmanship would have been on a par with the Stones - they would have been just as wild, and tight, and they would have out-danced even Mick Jagger, because that was part of their style.

I remember hearing Mick in an interview saying that when Ike and Tina opened for them, "we had to work harder" to put on a great show, so as not to be "outshone" by their opening act.

-30-

sensational melody

 

viewer comments under the

Mark Lindsay - Arizona video on You Tube:

*  I love this song - Mark Lindsay is a natural born talent with amazing lyrics and music in all the songs he has done.

*  The brass section in this song blows you away.  I remember it across the decades.

*  DAMN!!!!  We just had too much brilliant music in the late 60's and early 70's!!

*  I've never heard this before.... I just heard it on my car radio

*  The Good Vibes

*  Love the good vibes songs.

*  I heard the song on the radio in 1971 when I was 13.  I ran right out and got the single.  What a killer freakin' song.  The lyrics, the vocals, the sound..  The whole thing.

*  ...We always sang when this came on the radio.

*  I remember this playing on the store radio when I was hired at my current job 6 years ago.

*  A great memory.

*  Damn hippies....

*  Great lyrics and melody!

*  Still slaps.

*  I've always loved this song

*  Man just really love this song.  Thnx for sharing it.

*  I was in high school and remember this and SIlverbird which got me to You Tube when I heard it while watching the Grey Man on Netflix

*  This song I truly love.

*  ...the melody is sensational.  Can't stop playing it

*  A good powerful sound.

*  Awesome horn section.

*  ...It was such a great time to grow up in.  Woodstock was the largest peaceful protest ever assembled....

*  The time will be our time

*  Those born in the 40s and 50s had an incredible Era.  They got to be part of the Counterculture and that must have been wild.

*  Energy & hope galore!

*  great video and song

*  It just doesn't get any better than this!

*  Amen!

*  Awesome

*  The visual was excellent.

*  Written by Kenny Young

*  Love the brass section in this song.  It adds so much to an already great song.

-30-

"Arizona"

 

As I was listening to news reports about the apparent kidnapping of Savannah Guthrie's 84-year-old mother out of her house in Tucson, Arizona, I started thinking about Arizona.

It's a state I've never been to.

But there's a song - "Arizona."

I started thinking about that song last night, at work:  "AIR-ah-ZON-AH!!"

...the irresistible "hook" in the chorus:  "AIR - ah - ZONN - AH!"

        While working, I thought of the chorus of that song, and I thought, who sang it, and I came up with "Mark Lindsay."

I get home, Google it, and, uh, yeah - it's been 56 years, but - Yes, that's the song, and that's the guy.

I remember it from hearing it on my friend's :45, on the record player at her house:  "Ari - zona!"

It had a jubilant attitude.

I sensed, at the time, 'My life is out there, waiting for me.'  I don't believe I thought about it in those exact words, but - I remember the feeling.

on You Tube, video titled:

Mark Lindsay  Arizona

uploader / channel:  John1948NineA

        -  play and enjoy  -

-30-

cascading conjectures

 
"Detective paintings"  |  Saatchi Art

Off and on, I've been listening to reports about the investigation into the disappearance of Nancy Guthrie, in and around Tucson, Arizona.

        The story gets a lot of attention in the media because of the "celebrity element" - Mrs. Guthrie is the mother of Savannah Guthrie, who is a television personality.

        One commentator, a retired FBI agent, said because the search has gone on for so long (since the first of this month) conjecture runs rampant - people want to know what happened, and there haven't been answers yet, and so they come up with theories - scenarios, conjectures. ...

These ideas get typed into social media, and now it's sort of a worldwide mystery.

The FBI guy said we have "cascading conjectures."

Cascading is kind of a great word.  I like it.

        A podcast host suggested that investigators contact Walmart stores in the area and find out who purchased 

a backpack,

a burner phone,

and a ski mask.

-30-

going where the weather suits my clothes

 

--------------------- [excerpt from Chronicles, by Bob Dylan] ---------------

        ...What I did was come across the country from the Midwest in a four-door sedan, '57 Impala - straight out of Chicago clearing the hell out of there - racing all the way through the smoky towns, winding roads, green fields covered with snow onward, eastbound through the state lines, Ohio, Indiana, Pennsylvania, a twenty-four-hour ride, dozing most of the way in the backseat, making small talk.  My mind fixed on hidden interests . . . eventually riding over the George Washington Bridge.

        The big car came to a full stop on the other side and let me out.  I slammed the door shut behind me, waved good-bye, stepped out onto the hard snow.  The biting wind hit me in the face.  At last I was here, in New York City, a city like a web too intricate to understand and I wasn't going to try.

        I was there to find singers, the ones I'd heard on record - Dave Van Ronk, Peggy Seeger, Ed McCurdy, Brownie McGhee and Sonny Terry, Josh White, The New Lost City Ramblers, Reverend Gary Davis and a bunch of others - most of all to find Woody Guthrie.  New York City, the city that would come to shape my destiny....

        When I arrived it was dead-on winter.  The cold was brutal and every artery of the city was snowpacked, but I'd started out from the frostbitten North Country, a little corner of the earth where the dark frozen woods and icy roads didn't faze me.  I could transcend the limitations.  It wasn't money or love that I was looking for.  

        I had a heightened sense of awareness, was set in my ways, impractical and a visionary to boot.  My mind was strong like a trap and I didn't need any guarantee of validity.  I didn't know a single soul in this dark freezing metropolis but that was all about to change - and quick.

        The Cafe Wha? was a club on MacDougal Street in the heart of Greenwich Village.  The place was a subterranean cavern, liquorless, ill lit, low ceiling, like a wide dining hall with chairs and tables - opened at noon, closed at four in the morning.  Somebody had told me to go there and ask for a singer named Freddy Neil who ran the daytime show at the Wha?. ---------------------------------------------- [end / excerpt]

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Fred Neil wrote the song "Everybody's Talkin'" which was recorded by Harry Nilsson, and became a hit in 1969.

I'm going where the sun keeps shinin' -

Through the pourin' rain

Goin' where the weather suits my clothes...

On You Tube, video titled:

Everybody's Talkin' (1989 Remastered)

uploader / channel:  Harry Nilsson

        -  play and enjoy  -

       

Greenwich Village in 1961

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must be the company...

 

When I was seventeen, I went on a trip that was called "the U.N. Trip."  Sponsored and organized by the Methodist Church, it was so that high school students could learn about the United Nations - and other parts of history and current events, too.

        For example, on the way from the Midwest to New York City (by bus), we stopped and saw Gettysburg, and the Liberty Bell in Philadelphia.

        The group included high school students from all over the state - a boy named Arnie, two girls in my group named Dawn, and Rhonda, and one kid from a big town near where I lived, who wanted to have a career as a minister - and many more.

        When we got to New York City, it was just fantastic.  We went a lot of places, and did a lot of things.  It was fun, and interesting, and you got really tired, because you were going, all the time.

One night, we saw a show at the very famous Radio City Music Hall.  

As we were coming out of the theater, into the lobby, I knew I was going to yawn, and put up my hand to cover my mouth, of course - but people can still see if you are yawning - and this man wearing a uniform (maybe he was an usher, or some other type of employee at the theater) just chanced to see me cover my yawn, and he said, with a sort of jaunty insouciance, "Must be the company, can't be the hour!"

He said it as if it were an old, well-known expression.

And with that Manhattan accent -

        "Must be da company, can't be dee ow-ah!"

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