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  • Re: The Last Shows (#)
  • .
    

    Ah yes, remember??? as in reattach. People who know me know that I don't seem to remember the past well, or maybe it's that I remember things as I want them to have been a bit more than how they were. For details of my childhood, I ask my sister. For details from 1974-1984, I ask Bernie Spilm (I was where? Who gave me back my pants?). Since then, I can rely on Katie or my kids (watch out, kids skew things too, especially childhood slights and the simplest of joys, which is why I so heartily support the idea of getting kids out into truly wild nature - Gold Bluffs should do nicely). I don't regret my condition- I just like to think that I am really good at now. And I'm splendid at current details, like getting the ten two-cent stamps we need.

    But I do fondly remember going to the show - in performance, I enjoyed Flamnigan's recitations above all else; I liked getting my little Japanese 45 sleeve autographed and being able to briefly greet and meet and just feel accepted into the clan, especially due to the appropriately brief yet sincere, cross-table manly near-hug of welcome. I also distinctly recall Oona telling me that she was going to start posting a few thoughts of her own here in the blue world (this dig is not meant to elict guilt, just a reminder of how that would be welcome). And it was absolutely amazing to link with Len, all the way from Atlanta! Yow??? who knew that you could have a friend in Georgia? I predict that this internet thing is really going to catch on. What a treat to simply sit down together for dinner after the show and visit with Mr. Cassamas, not to slight or take for granted the company of Splim, which is always uplifting. So thanks to all for remembering.

    By the way, while I may have been pushing 300lbs. that evening, this morning the scales report a svelt 278. The height remains unchecked.

    Abner Tripleday

    P.S. I am hitting the pool every day, so when you are ready to form another relay team, I can offer to swim the dog leg.
  • Re: The Last Shows (#)
  • It was an amazing event in my life. Meeting Mark and Bernie was like meeting a couple of celebs, and good ones, too, like Robert Downey, Jr. or Mitch Miller. It is a sad commentary on life--on mine, at least--to say how wonderful and exciting it was to meet nice people. And so many of them. First Mark and Bernie and then Phil and Ooooona. And then Phil and Ooooona's friends--whose names I have shamefacedly forgotten. When I told the lady of the pair that I had flown in from Atlanta to see the show, she said, "Oh! You must move here!" And she meant it. That moment still touches me.

    And, of course, we met The Molimo whose absolute joy in the act of living made it pretty impossible to not feel the same.

    It was a great night and a great show. Good audience. I had tears in my eyes from laughing at the above-mentioned Mr Flamnigan. I cackled at The Martha Glueitt Show. The School Lunch Menus. And everything else. It was first rate, and well worth flying zigzag around the country. The show made it worth it, but even more so, the people did. The glorious, wonderful people.

    And I have the advantage over Mr Trail. I've had friends in Northern California before.
  • Re: The Last Shows (#)
  • Hi, Phil,

    You don't know me (we met very briefly at your last show in Cerritos) and most likely never will. But I wanted to sincerely thank you for all these years of thought provoking comedy. Amazing stuff???much appreciated by both me and now my 2 sons.

    I enjoy reading your blog very much. Any chance of seeing "Tales of the Old Detective" in book form?

    All the best to you and your family, always.

    Cheers.
  • Re: The Last Shows (#)
  • If you can remember the 0's better than the 60's, it has to be an improvement.
  • Re: The Last Shows (#)
  • That is One Artistic Bombshell in the picture !!
  • Re: The Last Shows (#)
  • .
    

    I have begun my Mitch Miller goatee.

    Goatee Whiskeyers
  • Re: The Last Shows (#)
  • (Making) Friends At The Speed of Write


    The lonely child who travels through
    The fearful waste and desolate fields
    And listens to their barren tune,
    Greets as an unknown and best friend
    The terror in him, and he sings
    In darkness all the sweetest songs


    -- Chogyam Trungpa


    Always and only, somewhere there's lonely (as every country song knows). "I will walk alone," as Jerry sings in "Black Muddy River". Growing up lonely, I carried my loneliness with me like the rhinoceros does. How many angels, after having left their assigned new born human soul wing-struck in Forgetfulness, dance on the tip of a rhinoceros horn? All of them do. I'd brush myself into a great ink wash expanse of cloud, mist and mountain. I'd ride the wild duck, farther beyond the borders of species consciousness. In loneliness, there is always a friendship with the Unknown. So, we'd met before, many times ago, and as recently as the day before everyday. My best friend: the Unknown. And the Unknown, lonely without me, without us, made us friends, one of us growing up forgetful.


    Ed, retired, who, with his wife, step daughter, and son-in-law, helped start and now helps to run the Kingston Farm Market, a little road stop delight of a kindly priced produce store, just around the corner from my house, he's a Vietnam veteran, told me a story of how he and a war buddy were pilgrims to Civil War battlefields. At Antietam, I think that's the place, they sat on the battlefield, Ed's buddy explained about the sticks in the ground, planted beside and around them, each with a string, that also went into the ground, attached to a little bell: some soldiers, when buried, might not have been dead; they were buried with the string, attached to the bell above ground, in their hand, so that if they were alive and regained consciousness, they could pull on the string to alert the living above ground. That moment, out of stillness, a wind suddenly came up and sounded the little bells on the sticks around them. A wind from the Alone, from the Unknown: friend to the lonely, lonely among friends. Sudden, unexpected sympathies, from one unknown to another unknown, they move, among us, like a breeze or gentle wind. Don't know quite why, meaning it's Unknown too, but right there, that storied moment, is an epitome epiphany, of loneliness, friendship, and the Unknown, in subtle invisible motion, at the invitation of the spoken (or, in this case, written) word. The words we dwelt among, and the words became friendship.


    The Guy Who Started The Unknown began to experiment publicly with the writing that had gotten him known and a public. Known, he wrote toward an unknown, for an unknown, in the first-person unknown to persons unknown. Set in motion a subtle current of writer's wind, from City to Desert, to Island to Mountain, from adulthood to childhood, from refuge to rescue. Almost as if we had grown up separately, one of us, the writer who started it, known to the others unknown to each other, only to grow up again, this time together. Almost. As if. Together as friends in the Unknown.




  • Re: The Last Shows (#)
  • .
    

    Beautiful. It made me feel lonely/not lonely and it made me feel like I'm down here on Earth with this string on my pinky that runs way, way up through the clouds to God knows where.

    Deng Ahling, AKA Mort Alcoil
  • Re: The Last Shows (#)
  • You know, I never understood string theory until now. I guess I do now because this is a fine thread. Until I show, when it becomes a Larry Fine thread. Therefore, I say, "Heeey! Leave him alone!"On an unrelated/related topic, I--like Phil and Oona--have experience as a high school swimmer. In Rhode Island, at least in my now fading day, swim was a required course for all 10th graders. This meant that once a week, I would get the chance to be picked last for water polo instead of basketball, just enough of a change to keep life interesting.

    I really don't remember much about it, except for the final class. In order to pass, each student was required to swim the length of the Olympic-sized pool. I think you had to swim a full lap, but I'm not sure anymore. Anyway, when my turn came, I dove in as instructed and started flailing away in a poor imitation of the Australian crawl. After what seemed like six hours, I completed the assigned distance within some allotted time limit and could breath easier, not only because I was no longer in the water and in danger of drowning, but because I had passed and would never have to take swim class again.

    The funny thing is this: Several of my classmates (or jerks, as I fondly thought of them) were quick to point something out about my journey across the pool. Apparently, when I was about halfway across, I just sort of stalled for a couple of seconds. My arms and legs were flailing away just as before, but no progress was being made. I was just sort of hovering.

    The other funny thing is this: I must've learned something from that class because I still do a pretty good butterfly, back stroke, breast stroke, and side stroke. It's just that damn Australian crawl that gets me.

    Finally, I would just like to add that there is a spot on the East Side of Providence on the steps in front of what used to be a branch of the Industrial National Bank and what is now the Brown University Bookstore where one could apparently find Jerry Garcia hanging out whenever the Dead played the area. According to an article I read in the Providence Alternative Rag back around 1980, Jerry liked to sit on those steps for hours at a time, just watching the freakshow pass. It's the simple things that make life worth living.

    Swim Litman
  • Re: The Last Shows (#)
  • I hope Phil won't mind, but I've got the pee-worthy artifact right here for everyone to experience in print in case they missed it in person - taken from my copy of the 2005 tour script:

    PA: Welcome, welcome. Iím Billy Flamnigan and come along with me into the wonderful world of ìArt of the Insane,î where we try to create the kind of wonderful paintings that the insane seem to be able to turn out without having to watch TV at all. Today, weíre going to plunge into the money-making opportunities in the burgeoning field of motel art of the insane. So here we go.

    First, check into a motel, any motel, theyíre all the same. See, there I am, just choosing one at random, just the way an insane person would. Itís the Rubber and Leather Motor Hotel in Halter, Arizona and why Iím there, I just donít remember. Thatís a big woman behind the desk there and youíll want to find her equivalent wherever you go as well. No, smoking will be preferred mistress, see how she likes that? Off to your room. You can find it because itís got a number on the door that has some insane biblical meaning. Use the stupid card that makes the little light go on but then off so fast that you canít actually get into the room. Then start talking real loud and if someone comes to the door, just push your way in, then ignore whoever it is. Theyíre probably just hullabalootions anyway.

    Now here you are in a bonafide motel room and the first thing I like to do is take all my clothes off and look around for some art. There it is, above the bed. Looks way too normal, doesnít it? What is this? Skyscrapers, impressionism, autumn leaves, a steeple? A true insane artist has left these things behind. Letís get started, open your paints but donít put them down on the blanket which is crawling with lice and mites and creatures of great smallness and toxicity. Just stand up on the mattress and bounce up and down ñ incidentally you can see your naked body in the mirror behind you ñ and pick up a color from your palette. Many of my viewers ask the same stupid question, ìWhat color?î and I always say the same thing, it does not matter. Some people even have names for them, but they donít matter. Apply the color and attack, attack with the brush or whatever you think is a brush. Is that a stupid skyscraper? A stately elk? France? Donít be intimidated, paint right over it! Autumn leaves? Add a clown, give him a knife, there you go. How about some other colors. A locomotive, these look like mushrooms but they have a deeper insane meaningÖand when it comes time for the final touches, as you pee on the painting you donít even have to take it off the wall. You can just bounce up and down and get the job done knowing that some sullen poor woman with tattooed kids and not quite enough Indian blood to get her a good job at the casino will clean the whole thing up in the morning, and look at what you have, a painting fit for an outsider gallery full of confused sane people with money to burn.

    This is Billy Flamnigan wishing you luck with creating high-priced art of the insane easily and simply, without even one visit to the Split Elms mental spa. Bye, bye.

  • Re: The Last Shows (#)
  • I Have A Compass (But It's Too Polite To Point North)


    I have a compass
    Too polite to point North
    (South, West or East for that matter)
    It dreams it is really Jacob's ladder


    I have a compass
    Never really gets to the point
    Keeps to the center
    Where the circumference begins


    I have a compass
    It likes to spin
    No point better than another
    Each point
    A point of attraction


    With a map of the Unknown
    I set out, the shortest distance
    Between every point was
    The direction I set out in


    My compass
    Round and round it went
    To where nobody goes but
    That was not its intent


    My compass
    Lost in place
    Always finds the time
    For a moment to waste


    I have a compass
    Between yesterday and
    Tomorrow it can't decide
    In the spin-between
    It is content to abide


    On open ocean, safe in port
    Going long, selling short
    For my compass
    Direction is a last resort


    Like a calendar
    That won't kiss on its first date
    My days are numbered
    Up to one continuous wait


    Though time ticks by
    And the hour's late
    Like some runner-up messiah
    I can't arrive
    Until it gets the point
    And decides to navigate


    O for that journey
    That begins with a single step!
    My compass and I
    At going nowhere only
    We are adept
  • Re: The Last Shows (#)
  • .
    

    Yep, Taylor??? that's the one. I went back to my motel with a smile. Up and down, up and down- that's the ticket!

    Herman Halter
  • Re: The Last Shows (#)
  • Taylor, Taylor???

    I have Art of the Insane hanging on my wall,

    right now!!

    And, he really hasn't made any comments all day with the nails holding him up,

    some art critic????
  • Re: The Last Shows (#)
  • .
    

    I got to have a modicum of fun at work yesterday- I aim to please in a fairly large, public employment center, and I was asked to prepare a sample of a "functionally" formatted resume. So now we have a big stack of examples of the resume of one "Phil DeLapo," a graduate of Morescience High from way back in 1970. Somehow, Morescience ended up in Heater, Arizona. I will present this material in workshops and pause to see who knows/whose nose. I hope this doesn't end up in a "heated"sloppyright suedefringement lawsuit??? I really am just trying to tweak the beak of the next Bozo who needs a job.

    References available over my dead body.

    Dewey Duty
  • Re: The Last Shows (#)
  • The Lonely Compass


    "And doing something is better than not doing anythingÖ" -- Phil Austin


    The lonely compass,
    Direction unknown
    Knows how it feels
    To be on a journey
    But never leave home


    The lonely compass
    Where it is going
    Is where it has been
    Coming and going
    Share the same horizon


    The lonely compass
    A cry of tears able to
    Pass through the needle's eye
    If its ship comes in
    Its arrival won't satisfy


    The lonely compass
    In the interval
    Between night and day
    "It was evening, it was morning"
    In a "In The BeginningÖ"
    Kind of way


    The lonely compass
    Spun dizzy by the
    Magnetic call of the North
    Tethered to the pole star
    Rides the Wind Horse


    The lonely compass
    Listens to road songs
    By Roberta Joan
    Turns, turns, and describes
    The circle of its own alone


    The lonely compass
    Beyond the setting sun
    Beneath a sky so faire
    Gets closer and closer
    To never getting there
  • Re: The Last Shows (#)
  • .
    

    I find myself wondering why there are no Spaniards on this bolg. I met a guy from Georgia, now where are the Spaniards?

    Ed Quisition
  • Re: The Last Shows (#)
  • I'm figuring Escondito.

    Interestingly, there is a surprizingly large population of Frenchmen in this part of Atlanta. One comes across them at the grocery stores and on public transportation, speaking in French and disdaining everyone else. There is also a colony of Germans off Lindbergh Drive. I've seen them get on the bus in small, well-organized groups.

    Which leaves me with only one thing left to say: Ou est l'Espagnol?
  • Re: The Last Shows (#)
  • .
    

    I'll google "dido," Guido, and I'd settle for a pal in Quito. If I can get a bride from Russia, seems like I should be able to meet a Bozo from Oporto. As a favor, perhaps someone could just pretend to be from another country/planet. I'll never know the difference.

    Hume Orme
  • Re: The Last Shows (#)
  • Hey ya Joe. Who a won a Seconna Worl War you so smart?

    L. Sidney of Espana.
  • Re: The Last Shows (#)
  • :

    Phil, I enjoyed reading your latest post and I'm glad that Mac, Lum and I were able to put you and Oona in a good mood after the Marin show. If truthiness be told, I felt your performance was top drawer that night, actually, top of the dresser. I have seen Firesign performances all the way back to the 70s. Firesign was partly responsible for my intial foray into the fun fun land of 10-watt college radio. I've always enoyed good word play and obfuscation which makes me think.

    I think I blogged before that the best job of my entire life was when I served as park aide at Gold Bluffs Beach in 1978 and '79. Living there for two extended summers??? WOW! Fern Canyon, the miles of unspoiled beach, the elk, rowing the boat on Espa Lagoon??? if a way back machine was ever invented that would be the first place I'd travel to. I wish you and your new family a tremendously excellent time at Gold Bluffs.

    A. Elk
  • Re: The Last Shows (#)
  • .
    

    Dear L. Sidney-

    Welcome to the blog of the no conozco! I hope your blood orange crop is coming in really good this year so that you can make a great batch of sangria to enjoy with your tapas. As to the Fecund World War, I believe it was won by the anti-Axis powers, which must mean it was some kind of peripheral element that prevailed. Enjoy the just pretend, no-kill bullfights!

    Your pal in the USAble,

    Marco Simpathico
  • Re: The Last Shows (#)
  • CHESTER PSALMS: THREATENED WITH THE CONTENTS OF HER OWN SUITCASE


    ???I go around looking
    only for the cause, for the one cause
    and the one suffering that's
    always ready to begin -- Manuel Blas De Otero


    Has the little time he's been gone, unable to sing his estranged song, been long enough to forget that he tried? Chester Psalms had tried, really tried, and tried hard. Chester Psalms, the Privatized Detective. Chester Psalms, a man of constant strangeness. Fit to be tried. Always ready to begin. Not border-challenged, he accepted the challenge of borders. Has it been forgotten that he had abandoned the inherited, the unconsciously assumed, conditionings, the fictions of person, of character, he'd long been habituated to, and had intentionally adopted the fictional guises of others, guises that ethnically, linguistically, even poetically, were Hispanic?


    Have they been forgotten too, the unwritten consequences of real-life? The "literary agent"? The U.S. representative of the author, born in Spain, residing in Mexico, who writes in Spanish, to whom Chester Psalms had entrusted his change of character, who got his facts and fictions confused, who accused Chester Psalms of being in violation of reality? Who threatened him, actually, with the contents of his own suitcase?


    But it wasn't his suitcase, and the content perceived to have been in the suitcase was not its real content.


    A suitcase, thought to be--what? Left behind under a bed in a motel room, outside of Mexico City? Or, thought to beÖdead? Well, there was an obituary to prove it. (That a suitcase could die, it seems, was not thought impossible, however inexplicable.) In any case, mainly, a suitcase thought to be. And therefore thought that it was. Chester Psalms had certainly thought so. And Carey O. Key, her name then, whom Chester Psalms believed in as synonymous with 'the meaning of it all', she had known so. Naturally, as, originally, it had been her suitcase. For an all too brief shining time, it had been Chester Psalm's suitcase to carry, to have and to hold, though he could never fathom or predict or control its contents. And its contents only slightly revealed itself to him when he performed as a clown. He was in Venezuela at the time. Before Venezuela, he had been in the Miami airport, talking to a Hispanic character. What he'd learned, or been told, in that conversation is what sent him to Venezuela. But not before, in a men's room in the airport, he'd looked into the mirror and seen looking back at him the face of the person unanimously perceived to be Hugo Chavez, President of Venezuela.


    Chester Psalms hasn't been heard from since the last time he stood at the border of his face in a mirror, so far gone beyond has he gone, beyond the borders of where imagination and story can reach him. Gone into an exile, is the customary explanation, the only one that fits both the fiction and the facts--the whole illegal reality, in other words, where he can't understand the language or the culture of the place, call it Mexico, call it Venezuela. Where he can't make himself understood, neither to himself nor to others. He'd never really been there, call it Mexico, call it Venezuela, as himself, you see.


    He's all about the border called "in between the lines", which cannot be crossed, which can neither keep people in nor keep people out. He's there, in between the lines, in silence, piecing together a language, out of millennial failures, broken and scattered amidst us everywhere, that, when the Tower was confounded and fell, had a great fall too. Habla anything?
  • Re: The Last Shows (#)
  • .
    

    I stayed in San Blas for two weeks and there was only one market and the guy at the market had a record player but he only had one record. Gracias Dios that it was a double album - Roy Orbison's Greatest Hits. He played it all day, every day, and loud enough so that it sounded just right when you sat out in the square. When you bought things, he didn't give you change, he gave you various numbers of little, individually boxed Chiclets. I never did figure out the exchange rate.

    Now I'm here and it is too damn hot, and has been so for too damn many days in a row. It has happened - I've been reduced to whining about the weather. And to taking days and lining them up. So last night, I got home from work and fell onto the bed in the coolest room and entered the middle of an episode of Leave it to Beaver, which felt very cool with its black and white, and there he was - Larry Mondello. Larry seemed so much the way I think I was at his age that for a moment, and I recognize that it may have just beeen the muscle relaxants and Valerian root with Tapatio sauce, but I felt that I actually was Larry Mondello, and that I was inside the Cleaver house watching as Wally made the difficult phone calls that he was required to place as chairman of the Blind Date Dance Committee. But then I snapped out of it and went back to complaining about the heat.

    Otro Mondello
  • Re: The Last Shows (#)
  • You see, this is the kind of thing that happens, really happens, to Chester Psalms in his over-the-border, illegal reality. Especially that first part about the Roy Orbison record and the change-in-Chiclets. (In Chester Psalms' world, though, it's more like that there's a Chiclettes record playing and he receives his change in orbisons.)


    Chester Psalms, he's caught in the vicious cycle of reality, some experts say. It's just that, say these same experts, he doesn't believe in the power of TV to take upon itself the sins of his world, to cure him and to recycle his vicious cycle. Like a calendar that doesn't get a day off until it expires, that's Chester Psalms. Cross the border and hope to die, he thinks, fingers crossed behind his back. He doesn't know why the old woman swallowed a fly. But if she hires him to find out why, he'll take the case.


    If not, he'd settle for a vicious-cycle-built for two on which he and she who is synonymous with 'the meaning of it all' can ride off into a grainy, fading black and white sunset, without a care for which side of the projected image they're on.


    (ÖHonestly, folks, I don't know why I started this at all or why it continues to produce episodes that never get anywhere. As poet and blind roshi Philip Whalen wrote: "Some day, I'll never learn.")
  • Re: The Last Shows (#)
  • .
    

    The Chicletts are headlining at the Indian Casino near my house on Aug.1st! Sometimes the coincidences of life seeem just a bit too coincidental, if you get my drift. Just don't dip into my grift. I would not presume to expect Chester to look into it. Suddenly, I feel lonely again - something akin to an out-of-buddy experience.

    Kornfran DeEskimos
  • Re: The Last Shows (#)
  • Well. Now we're getting--not somewhere, not yet, but in the neighborhood of somewhere. I know we're in the neighborhood because I can hear a Roy Orbison song playing from the vicinity of the plaza and the central market. Incidences and the incidental, pass each other in the Night, co-dependent. A drive-by reality, with innocent bystanders. (Father Merton takes the witnesses' statements.) Drifting on the waves of the floating world. Whole continents got the drift. Got the tectonic tremors. The Geo-logos, dwelling among us, as light as the world in a grain of sound. Carey O'Key, before she became Carey O'Keh, heiress of the Okeh label, was a singer with the original Chiclettes. Yes! She performed on the chiclett circuit, long before she was even a gleam in Chester Psalms' eye and a thorn in his side. Back then she was known--in what would have been a co-incidence if there had been another incident like it, as "Our Lady of the Lonely". She so loved the logos that she gave it her first-born song. Her solo numbers she chose according to a torched-earth policy. When she torched a song, you felt so lonely it was like you were the last person alive left to witness the sundown before the end of the world. (Made the Psalms sound like a frivolous joke--Chester Psalms would think to himself, and thinking if maybe his last name was a co-incidence, years later when he heard a tape recording of her singing, owned by a private collector.) If you had heard her sing "Crying", you'd understand. And that, me amigo, would be una coincidencia.
  • Re: The Last Shows (#)
  • Coincidentally, The Logos are playing as part of the Elderly Musicians Deification Ritual and Concert Series at the OligarCo Iron Lung Ampitheater out by the bypass. Scads of Oldies are loading their blankets and picnic baskets on their wheelchairs and hightailing it out for a good spot on the lawn or, sometimes, under it. The Logos will harmonize on their 30-second classic, "Wheeze-a-Breeze-a-Rag-Tag" as well as a whole pile of songs that never made it to the top 40. Also on the bill will be The Splinters singing their folkie hit, "Give an Old Rummy a Nickel," and The Nabobs performing that ol' Spiro-tual, "A Smattering of Nattering." The evening will come to a crescendo when Sue Pine and the Layabouts take the stage featuring none of the original members.

    Bottles of wine and oxygen will be available under the tent.
  • Re: The Last Shows (#)
  • I saw an ad for this Oldies Revival Show in yesterday's Coincidental Record. The Nabobs--how they waxed and shellacked apocalyptic! It was they who developed a group-sing technique they called apocalyp-synching. Their song "The End Time Will Be Here In No Time At All", that's a song we used to sing to the kids when they had to sit in the car on long road trips). I might be mistaken, but isn't the OligarCo out near the triple by-pass? That group in black-face, the Lawn Jockeys, will also be performing, during the education part of the evening, in a revue titled "Northern Myths About Slavery". I hope y'all won't be afraid of crossing a few still-not-agreed-to borders or hopping a segregation Wall or two. I'll meet you at Ground Zero. First one there, to think of a design for a Memorial higher than the original Tower, and tall enough to tickle the backside of the seventh heaven, wins the next Occupation named after them! And as a bonus he or she will receive a copy of the re-varnished collection of time capsule '78's called "Oldies That Became Foreign Policy".
  • Re: The Last Shows (#)
  • .
    

    Whoa??? reading that really brings back some non-memories! I'm still prone to putting on a scratchy old Sue Pine LP and muttering around the house about how I need a new needle. Next time we go tail-grating in the distended-bed Dodge Detonator before one of those big concerts out at the Oli-Iron-Ampi(we shorten everything around here, for fear of not getting it out), I'll be sure to bring along some of those timed capsules to go with the Brats. I can't wait to go under-lawning again. Last time, we saw the Nilbillies and it looked to me like they still have their original members.

    And speaking of brats, we used to sing to ours too, on those inferno-ly long, tire-searing road trips across the lower Sonoran on Highway Tendency. We'd sing, "What? I have a friend in Jesus?" and they'd keep asking "Can we please go home?"and I'd threaten to pull the car over on its side and they would cry and ask when we could stop and go to the bathroom and I'd just drive on, chuckling to myself, saying only, "depends, depends."

    Heh,heh,heh??? there's only one way to make it all the way through a Lawn Jockeys encore without missing a thing, eh boys? Just remind that damn fool next to you that waving your lighter over your head during the second encore is one thing and having a leaky hose on your oxygen bottle is another. Some people don't have the brains that Allah gave a goat.

    Well, that's more than enough from me, and anyway I need to get out there and shoe the crows that keep getting into the corn.

    Gene Netticks
  • Re: The Last Shows (#)
  • Me too, I know about getting an Itch For Sue, without a needle to scratch it. And I've got her Complete Works from Scratch, released by Volk Ways. How I'd pine for Scratchy Sue! Sometimes, I'd wake up suddenly, middle of the night, and I'd swear I saw her, a pubescent visitation, enchanted siren eyes staring at me, like a raccoon's. The other day, I took my between-the-Great Wars needles down to the Needle Exchange Program. But I was told that because History had ended, these needles no longer worked after the greatest generation. It was "like a veteran trying to trade in his or her service for benefits," I was told. What I wouldn't give for a needle to play Sue's "Scratch Me Beneath The Surface," just one more time!


    Maybe, they don't need these needles to play that old time music, with its well-worn grooves of history, now they've got them smart-needles and precision-guided laser "hits".


    Our family, before it got scattered to the four winds or fled into the desert, used to drive a Chevy Dumber (instead of a hood ornament it had a divvying stick fixed to the hood). My dad drove it brand new off the lot of Lonesome Valley Motors. 'There's no car with a lonelier engine whine than this baby,' he proudly told my Mom and us kids.


    Watched the "Revival of the Fittest" music awards on TV last night (broadcast in black & white, like when there used to be history). Did you see the winner of the "It Can't Happen Hero" award? Ken "The Country Gentleman" Kampf, for his song "My Eichy Reichy Heart". What's next: Poor Tom & The Old Foggerties playing "Come On Around The Benz", while "Dr. Z", a real Uber-Mensch among Mengeles, tells a group of skeptical mud-covered kids about when profits stacked up higher than the Lost Tower, thanks to slave labor and no labor costs? In those days, the cars were much better made because they were supposed to last a thousand years, he tells the kids. The kids, they just want to know if his armband is real, and how many goats he gets to a gallon. (That ambiguous exchange rate again, Mark.)
  • Re: The Last Shows (#)
  • Needles, of course, is in the desert, not far from Nowhere (or maybe it's Baker). You take the Blue Highway to the exit for That Lonesome Road. It's easy to find, only you can't get there from here.

    We had an AMC Failure with adjustable slouching and vinyl seats with their patented Extra-Stick technology. We used to use the extra stick to discourage ferrets from weaseling away with our hubcaps, or, as we used to call them, "them shiny things." My Dad was a 600-mile-a-day kind of guy, especially once we were past Vegas, and the radio was steady-tuned to KOMA, The Station You Hate to Awake From. I remember listening to Morton Starch and His Nilhilist Strings and their slumberous versions of "Purple Haze" and "White Rabbit." Or maybe it was "Purple Rabbit" and "White Haze." I was always too drowsy to remember.
  • Re: The Last Shows (#)
  • .
    

    I see what you're getting at??? or as we used to say back in the missle days, ICBM. Point well taken. And "Goats to the Gallon" needs to be an album title, pronto.

    Hiro Welcome
  • Re: The Last Shows (#)
  • "Goats to the Gallon" has a real Nilbillies ring to it.
  • Re: The Last Shows (#)
  • THE UNAUTHORIZED MEMORIES OF CHESTER PSALMS


    Chester Psalms doesn't like to remember. It brings back not just too many memories, but memories of the most disconcerting kind, the kind that make him deeply uncertain of who he was then, who he is now. And how he got from then to now has always been a mystery to him. Ironic seeing as how mystery is his business. The memories that should be the stuff continuity is made of are more like a dream from which he tries to wake. But if he does, he asks himself, what becomes of then and now, and everything in between? Especially, what becomes of his mother and father?


    He was a child during the War To End All History. He's never been able to not feel the radical incongruity of the world he was born into, and of being born into the world at that time. Born where? In Europe, somewhere, his memory tries to tell him, but then why, too, do his earliest memories include growing up in Northern California? In his childhood of the time, he knew his father mostly by telephone, only rarely in person at home. His father would call from Washington, D.C., or sometimes from New York City. Chester Psalms' mother would only ever tell him that his father was away so much because he was "doing very important work for the War".


    The phrase "goats to the gallon" means something very different to Chester Psalms than it might to you and me. Of the memories he's certain of, one is of how, when he spoke to his father on the telephone, at night before he went to bed, he'd tell his father he was going to count sheep until he fell asleep. His father would laugh and say that while Chester was counting sheep, he'd be "counting goats".

    "Goats to the gallon" was a term found frequently used in Nazi documents captured after the War To End All History. Chester Psalms knows this because it was his father who figured it out, figured out what this phrase really meant. His father, maybe, he's not sure, but Chester Psalms thinks so, was an undercover investigator of U. S. bank and business alliances with the Nazis. The firm of Brown & Harriman, and their dealings with Silesian Coal, with I. G. Farben, and their money concealment and laundering for Fritz Thyssien, for example. The real meaning of this phrase "goats to the gallon" haunted--it's not too strong a word to use, haunted his father, years and years later even, long after the War To End All History had been revised into the History of Great War Repeating Itself.


    Is that why the only car his father ever purchased or drove was a Geneva Accord? Is that why one of his father's most treasured and loved possessions was a reproduction of the Chagall painting in which a goat plays a violin?
  • Re: The Last Shoe and the Third Foot (#)
  • In the midst of an ever-deepening sense of Prosperity, Chester Allen Oona climbed to the top of her bedroom wall, thrust her defiance at the Javanese and shouted, "Give me Them, or I'm going Over There!"

    But in 2006, on Fox Island, the Spector of Doom was rising its shrouded head in agony.

    Momo: "Das Arf!"
  • Re: The Last Shows (#)
  • .
    

    If you think the price of a gallon is bad, I'll tell you, after looking around, I've got Nubian Sticker Shock. Which is also a good name for a band. Don't you just feel like singing this morning? Isn't it fine if nothing makes sense?

    A chair is still a chair Even when itís filled with air But a chairís not worth a goat Or half a gallon for your boat When there's no one there, to hold the rope, And no oneís there, to pet the goat.

    A room is still a room Even filled with petrol fume, But a room is not a pen, And a gallon is worth ten, Of your finest stock How's that fit with, goat sticker shock???

    Hmm, hum dee dee, dum dum Hum dee dum, dee dee dum Dum dee dee, dum dum Dee dee dum dum Dumb dumb.

    Burnt Bacharach
  • Re: The Last Shows (#)
  • CHESTER PSALMS: WE'RE ALL FRIENDS HERE, RIGHT?


    In The Club Foot Club, the talked turned, as it always did, to the topic of the Ideal Shoe, also known as "the third shoe of politics, the one that never drops".


    In the bar next door to The Club Foot Club, Chester Psalms sat, nursing memories of what she used to drink. His new drinking partner, ginger ale in a glass with ice, sat in front of him, untouched, getting warmer, ice melting into ale. "Ale to the chief," the bartender had said to Chester Psalms, honorary customer no. 1, when he'd put the unordered soft drink in front of him. Meaning: it's still your place, even if you've had to learn to do your best thinking without the catalyst and company of drinking.


    The warming ginger ale, glints of melting ice in it, reflected a kind of caramel light, reminded him of what he saw when he looked into her eyes. He pushed aside the recollection.


    "Ever been in there?" the bartender asked Chester Psalms, jerking his thumb in the direction of The Club Foot Club. At first, the answer was just a chuckle. After a few minutes, Chester Psalms said, "My father went in there, once, during the War To End All HistoryÖ" Chester Psalms had a hold of a recollection whose origin he couldn't quite figure out.


    "Yeah, andÖ?" the bartender prompted.


    "And, nothing," Chester Psalms said, quickly recovering. What his father had done during the War was still a secret. The bartender stared intently at Chester Psalms for a moment, and then shook his head as if he understood. He was used to the non-sequitur apostrophes of Chester Psalms. The bartender thought for another moment. "That Club was there when I opened this joint. Goes back to before the turn of the last American century. Money in there so dirty, no amount of laundering, charity and philanthropy could clean it."


    Chester Psalms nodded. How could a glass of lukewarm ginger ale do such an uncanny job of staring at him like she did?


    "You want me to put on CSPAN 2, see who's on Book TV now?" the bartender asked.


    Chester Psalms nodded again. "Wait!" he said, as the bartender went to change the channel.


    On the screen came a commercial with America's new, loveable, kid friendly Wagenmeister. Chester Psalms tried to imagine the kind of melody a goat would play on a violin. Soto voce, he muttered into his shirt collar: 'I'd like to ask "Dr. Z." if that moustache of his is from a "goat".'


    Next door, in The Club Foot Club, that very moment there was a man who had known and worked with Chester Psalms' father during the War. What would have happened if he and Chester Psalms had met then, we'll never know.
  • Re: The Last Shows (#)
  • Oh, how I remember the War to End All Endings from movies I used to see on Channel 56! And songs, forever anesthetized on KOMA! For example, there was the great Middle European hit, "The Warsaw Stomp":

    Who needs a truce
    If you keep it loose?
    Doin' a juicy goose-
    Step!

    Every song was a march and every march was a waltz through another small bit of civilization!

    Kay Kaiser
  • Re: The Last Shows (#)
  • CHESTER PSALMS: HIS DUET WITH A GOAT THAT PLAYS VIOLIN


    Was his father lonely in his life? Was he lonely in his life? It depended, he guessed, on the definitions and conditions of loneliness. Was seeing her eyes in the caramel light reflected in the melting ice of a glass of ginger ale, a kind of lonely? Was he lonely like the loneliness in a Basho haiku, that kind of lonely, for instance? In Chester Psalms' experience, the poetry in life needed some lonely. Well, first, it needed some poetry. Though, come to think of it, which came first?


    His father had left him the reproduction Chagall painting. Actually, his father had given it to him with his own hands, taken it off the wall of his apartment, the last time, as it turned out to be, they saw each other. At the moment, the painting was in storage. Now he realized, his father had been trying to tell him something, to tell himÖeverything. He heard his father's laugh again, in his memory, the way his father laughed when he said he was "counting goats". He realized now, heard now, like he'd never heard before, even when he was a child, how much love and loneliness was in that laughter. His father, back then, couldn't say anything to him, and even if his father could have explained, the child Chester Psalms would not have understood. So his father gave him what he could, told him what he could: his laughter and some silliness about "counting goats", when Chester Psalms was a child, the Chagall painting just before he died.


    This is what I meant, his father was saying to him, in giving him the Chagall painting; this is your continuity between then and now. This is what I remember. This is how I want you to remember me.


    Chagall had painted them, father and son. Between the father of then and the Chester Psalms of now, between the Chester Psalms of then and the father of now: a continuity of unpainted lonely/not lonely melodies.


    His life was a duet with a goat that plays violin in the sky, among the stars.
  • Re: The Last Shows (#)
  • .
    

    "Lonely???lonely- tin can at my feet, think I'll kick it down the street, that's the way to treat a friend."Randy Newman

    When he sings it, it's damn plaintive, I'll give him that, but I think that what Randy it missing is that if he'd had a goat, he could have taken the tin can home and fed it to him, which would also have solved the whole lonliness issue at the same time! I predict that if you give Flamnigan five minutes alone with that Chagall reproduction, he'll leave the violin untouched and heavily paint over the rest, including the goat, with, get this, another, bigger goat! And he will use a color.

    Art P. Dickter
  • Re: The Last Shows (#)
  • Goat On A Hot Tin Hoof


    Kicked the can up the winding road to heaven
    Heaven said the can wasn't un-leavened
    Kicked the can back to me, souvenir of sacred history
    Came down humming on the wings of Michael,
    Angel of No Deposit No Return,
    Down from where the angels
    Take their praise to recycle
    Took the can, fed it to the Scapegoat,
    No Balaam's donkey he, didn't need a prophesy
    To speak his mind and chew the tin with me


    Cat got my tongue, won't give it back
    Scapegoat ate my hat (A fashion mistake,
    The hat looked better on the cat)
    The cat and the fiddle,
    The monkey in the middle,
    The Sphinx and her riddle
    Out of the lying pan and in to the Liar
    Mr. Big For The Sake of Big
    Can only get a downsized portion of a little


    Went to the Moses-cul-de-sac,
    Hid in a crevice, could only see its back
    He don't Mountain in the Desert
    Like he used to, Le bouc emissaire,
    Loaded down with every excuse not to care
    Goat on a hot tin hoof,
    Fiddles the vile ins and the vile outs
    The melody he makes full of can jangle and kick
    A goat making music is what makes heaven tick
  • Re: The Last Shows (#)
  • Randy Newman had a goat
    And he thought he'd call it Sal.
    And he lived in Terre Haute
    With his tin-can eating pal.
    Randy played around with chords
    He found in 1904
    While the goat meandered towards
    A bag of garbage near the door.
    And Randy would sing,
    Kind of mournful and unique
    While the goat ate everything
    In something under a week.
    It wasn't quite a system,
    And it wasn't quite a plan,
    But the neighbors never dissed him
    Or turned him over to the Man.
    That is how they passed their days,
    Singing/eating through the night.
    And they never changed their ways,
    'Cause they fit 'em both just right.

    Ewan Meehan
  • Re: The Last Shows (#)
  • CHESTER PSALMS: THAT WINNING SMILE IN THE WANING HOURS


    Rarely, and maybe never before, has it been recorded in writing that Chester Psalms smiled. Of course, he smiled a lot. Laughed a lot, too, especially when she was there to make him laugh. But, somehow, it had never been remarked upon or described in a story, his special smile. He was smiling that special smile now. Imagining a goat playing a violin, suspended above the earth, looking down over a little village, today no longer remembered because all those who lived there, once upon a time, are gone, his hoofs more subtle and dexterous than fingers, a Klezmer melody spreading out, like a blessing, over all creation.


    Yes, he was smiling now. All these years later, and here he was "counting goats" too, orphaned but re-parenting his childhood memories. In the bar, the lights were dimmed; the late afternoon shadows from hours ago had gradually absorbed back into the night darkness outside. At some moment during those hours he'd made a short, quick migration to a corner booth, where he could have more privacy with his memories. He could just as well have been sitting alone in the dark of his apartment, but then there might have been more memories than he wanted to attend to, and a loneliness that the next morning's light would not dispel.


    In Hebrew school--he had attended Hebrew school, if his memory was to be relied on, in Hebrew school, he'd felt sorry for the scapegoat, sent into the desert loaded with the people's sins. Sorry and sad. He wanted to run away, into the desert, with the goat, to do tricks for it, to make it smile. (As a child he could conceive of a smiling goat, but he'd not imagined a goat that played violin.) Now here he was imagining that every goat that had been made to serve as a scapegoat received, as its reward, a place in the sky where it could play the violin.


    Chester Psalms kept on smiling. What if memories turned into melodies, melodies only a goat could hear, listening intently from the silent realm of the stars, and then give them a violin's voice in this world? Or, maybe, not all memories, just memories that returned at night, never during the day, exactly like the violin playing abilities of the goat that could hear them.


    'Here I am, O goat of my people,' Chester Psalms called out in his thoughts, in silence, in the corner booth. 'I shall take upon that for which you were the scapegoat, if you'll take upon yourself these memories of mine, turn them into melodies with your violin, and play them over a little village from long ago, once upon a time, that no longer exists.'


    'I'm lonely, or I'm not lonely, Dad. It doesn't matter, and there's plenty of night in this booth for both of us,' thought Chester Psalms to himself and this made him smile too. 'Listen: the goat in your Chagall painting will play the melody of my memory of you.'
  • Re: The Last Shows (#)
  • .
    

    NO GOAT MENTIONED

    remember relive relieve believe release befriend begin

    show up shout out goof off regroup renew unscrew free swim

    go down get out get off get up cut loose go wild grow fins

    inhale intense intent in tents interr infer delimb


    Walt Witness
  • Re: The Last Shows (#)
  • Lorraine, Lorraine

    You're on the wrong train

    Lorraine, Lorraine

    You're on the wrong train

    Lorraine, Lorraine

    You're drivin' me insane

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~





    Red Greenback and the Blue Boys (1937)
  • Re: The Last Shows (#)
  • "Don't do the Appaloosa

    'till you've done it in Berlin"~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    Django Chagall and the Capris (1927)
  • Re: The Last Shows (#)
  • You Berlin Some, You Lose Some


    A goat, one little goat,
    In my maternal grandfather's overcoat,
    Colors of cloth that would make Joseph gloat,
    Grandfather's most precious possession,
    Worn by a goat, one little goat,
    Crossed the ocean in a boat,
    To escape oppression


    The goat wearing the coat
    Made it to land of the free-for-goats
    Grandfather, without his coat,
    Was not so lucky and didn't arrive,
    He only got as far
    As his last confession


    And Django used to play
    By the Seine in his three-finger way
    You Berlin some, you lose some


    A goat, one little goat
    Wearing grandfather's coat
    Up in the sky, made his violin cry
    The stars, the moon,
    From their courses awry


    Grandfather's chosen
    Escape goat wearing
    His people's music
    Woven into his coat
    Passed down goat to goat
    From the original goat
    Who entertained on Noah's boat


    The guitar speaks how we are
    But the violin is a sigh
    For the murdered, exiled or lost
    Our dearly near, our dearly far
    Those whom only a goat
    Heard their last cry


    And Django used to play
    By the Seine in his three-finger way
    You Berlin some, you lose some


    --Mr. Bodjango
  • Re: The Last Shows (#)
  • Djangoat djingled djangled djingled.
    But what about Grapelli
    Playing the fiddle
    Like an old Chagoat?
    It's enough to Chagall you.

    Reporting from Le Club Hot on the Rive Gauche
    I'm Bendon A. String
  • Re: The Last Shows (#)
  • .
    

    Are you the same Bendon who grew up in Footsweller Hollow?!? I remember going to school with the String Brothers: Bendon A. String, Bendon E. String and Bendon D. String. Their father was a crazy old coot (no offense, I hope). They had an older step-sister who had a different last name and didn't leave home very often??? more of a porch-sister really. Her name was Lorraine something-or-other. Hmmm???I'm thinking it may have been Lorraine N. Katzndahg, but we just called her Lorrie, not so much because her name was Lorraine but more because she looked a lot like Peter Lorrie. Not to be judgemental. I'm sure she was very nice. I just remember her sitting there rocking with that big jar of home-canned string beans in her lap, day after day, no matter the weather.

    Walker Rydepasaparch
  • Re: The Last Shows (#)
  • Walk:

    Lorraine was married to my Uncle Broke--Broke N. String. Her maiden name was Gee, and she went by Lorraine Gee-String. She was a lady weightlifter who was reknowned for her snatch. After marrying, though, she gave up weightlifting and took up bean culture. She kept a-rockin' and a-cannin', cannin' every bean she came across until one day when she canned Orson Bean by mistake. Well that threw her off her game pretty good, but she tried again. Only this time, she canned Kitty Carlisle and then Bill Cullen. There weren't hardly a gameshow celebrity that she didn't end up shucking and canning.

    Best Wishes,
    Bendon
  • Re: The Last Shows (#)
  • CHESTER PSALMS: IN DARKNESS ALL THE SWEETEST SONGS


    It was evening it was morning. Chester Psalms hovered over the deep of his thought, the night's last darkness upon his face. He'd fallen asleep, near dawn, in the corner booth in the bar of the day before. And then there was light. He opened his eyes, tentatively, testing them in the morning that filtered through the blinds. Alone in the dark night of the bar it was like he had been in a planetarium, in which he observed, reflected on surfaces of windows, tables, bottles, glasses, ashtrays, a slow-motion pageant of the inner planets, as the alchemists called them. He had emerged, if not exactly reborn, from his dark night of the bar, leader of an imaginary one-goat band. Glenn the Goat, he'd named him. Thirty-two short variations on Chagall's Goat, a documentary about Glenn's unique, unexplained ability to play the violin. The Immigrant Goat of Brooklyn Heights, a poignant coming of age story with mystical overtones. The Goatberg Variations (Klezmer, not Classical). Glenn the Goat, off-Broadway, in: A goat, a violin, and the stars of once upon a time.


    This kind of thinking wasn't going to get Chester Psalms anywhere today, except where he already was and another all-day retreat in the corner booth. Memories and melodies, "counting goats" with his father: that was for at night, when the day's possibilities had run out or he'd wasted what few had come his way.


    Chester Psalms needed a shave and a shower. He needed to brave his apartment, and the mirror in the bathroom. The loneliness of the solitary shaver. The woman, whose eyes looked at him from a glass of ginger-ale on the rocks, she wouldn't be there. Which is why, so often, he wasn't either. Being in his apartment, alone, made him feel like a ghost haunting his own life. He loved those Neruda poems about the lives of inanimate objects, but, as is so often the case, love makes you more and more into what you love, and he felt that every object, every thing, in his apartment was alive with her remembered presence, their life together kept alive, locked inside. Hence, he, Chester Psalms, a ghost with too, too solid flesh.


    The bar didn't open for another few hours. Surfaces, reflections, and objects as living three-dimensional silences, wood veneers and thick glass, the absence of activity, space not filled up, not broken up, by words and voices. Chester Psalms sat and listened, reluctant to leave his retreat. Dust undulated in the bands of light, a sheer elegance of movement. Outside, the City was waiting to add him into the details of its corporate life. As long as he didn't move, he didn't have to fit in.


    The shower he'd have to go home for, but a quick shave, right there in the corner booth, with the electric razor he carried in his coat pocket, meant he wouldn't have to look himself in the mirror at home. There had been times when he'd looked and it wasn't his face looking back at him. He wasn't interested in taking a missing persons case.
  • Re: The Last Shows (#)
  • CHESTER PSALMS: SOMETIMES NOTHING HAPPENS FOR A REASON


    Out of the bar and into the City of Couldn't Care Less. City of lapsed angels. And no apologies to Gregor Samsa.


    That first step was a doozy. Past the big bald muscle guy, who advertised his muscles through his t-shirt and put his cigarette behind his right ear between drags.


    A slow dance with avoidance. He knew the steps, and they led back to his apartment. What he didn't know hurt him. Why, for example. Should he entreat the objects in his apartment--the poetry of her presence locked inside them, entreat the objects, as if idols, to restore to him what he'd forsaken--or that had been taken, depending on his point of view? Part of the problem, it turned out, had been that he couldn't see past his point of view, or what it depended on. The shortest distance between two points of view was her walking to the door of their apartment and out of his life.


    His people's fear of the future, built right into the buildings all around him. He literally, concretely, structurally and architecturally, lived in fear. Way down in the Valley, of the Shadow of Death. Me and my death shadow. If he didn't keep his wits about him, one of him could get run over.


    The Corner Haranguer. Card tricks, shell games, the wisdom of the ages. Their same exchange everyday. The Corner Haranguer: "You may already be a winner and a sinner!" Chester Psalms: "You win some, you lonesome."


    Yesterday's mail. Junk. Coming home was like an unwanted memory regression. "It appears the case against him may be very light on facts," the voice of a radio informs the neighborhood.


    Standing, staring, in front of the door to his apartment. A reverie: in his absence, there had been a flood. On the door, someone had written: "Dead Body Inside". The reverie dissolved, the door to the apartment did not.


    The other side of the threshold. In streaks of light, in the unaired room: the dreamy undulation of dust. More sheer elegance of movement, the morning was full of it. 'ÖAnd a bird's chirping is heard, for all the daughters of song have been brought downÖ'


    Sometimes nothing happens for a reason, she had once told him. Chester Psalms had so many reasons.
  • Re: The Last Shows (#)
  • .
    

    If suddenly nothing happens for a reason, may I infer that eventually everything happens for no reason? That might explain a lot of things for me???like mosquitos, GeoBush and split milk.

    Hap N. Stance
  • Re: The Last Shows (#)
  • CHESTER PSALMS AND HIS CAST OF SHADOWS


    All short storiesÖare ghost stories, accounts of visitations and reckonings with traces of the past. --Michael Chabon


    It's true. There are times when Chester Psalms has been an All or Nothing guy. Sometimes, too, Lear's cry has been his as well: "Oh reason not the need!" And, like some other heart-soiled, gum-chewed Private Eyes, he doesn't scruple the metaphysics, though, like Bad Penny--his first love and girl that was no good for him, it keeps turning up. This is not to judge, as the saying goes, a Book of Life by its cover or a detective by his undercover. He's looked at both sides from the other side of now.


    And whether he's seen himself as a casualty of causality, or the accidental Occidental, or the stranger who comes into town and who leaves town, or as the Unreliable Narrator, or as some other conditioned construct of identity, they've all only been, and at best, skillful means. After all these years, the Rhinoceros Horn of Great Doubt is just a thing he hangs his hat on. He's never cared for the distinctions of glass half empty or glass half full. Rather, he's like Achaan Cha, the Thai monk, who would hold up a cup of tea and say: "To me this cup is already broken." Well, one wouldn't expect otherwise, with a last name of Psalms.

    The sporadic correspondence between Chester Psalms and Thomas Merton seems not to have survived. Father Tom, in Raids On The Unspeakable, was thinking of his friend and fellow raider Chester Psalms when he wrote that he is "not so much concerned with ethical principles and traditional answers to traditional questionsÖ[His] main interest is not in formal answers or accurate definitions, but in difficult insights at a moment of human crisis. Such insights can hardly be comforting or well defined: they are obscure and ironic." Blessed is the Chester Psalms, obscure, ironic, uncomforted, for he shall give up the ghost stories and receive insight at a moment of human crisis. It will be utterly discomforting to anyone who wants a reason.


    Another way to imagine Chester Psalms: After Pascal had received a metanoia of an insight, at a moment of human crisis, he carefully sewed into the lining of his coat a note he'd written to himself, to constantly remind himself of what he'd seen, of what he was now certain. This is something that would appeal to Chester Psalms. The reminder he would sew into the lining of his coat would be: "The solution is part of the crime."


    Here is something that won't be discovered until after Chester Psalms' death: in his coat pocket he carries a paperback book titled A Little Metaphysics of Murder. The face of the woman who wrote it, as Chester Psalms sees her, looks like how he imagines the face of the woman in the Song of Songs. A metaphysics of the Unsolved Murder, and the "holy of holies", as Akiva called it.

    Chester Psalms, written in the Book of Life for another year. He can love, but he can't hide.
  • Re: The Last Shows (#)
  • .
    

    "No matter how much cats fight, there always seem to be plenty of kittens."Abraham Lincoln

    I find it very reassuring to know that Abe had as much free time on his hands as I do.

    Fred Theslaves
  • Re: The Last Shows (#)
  • This has to be one of those, but, then again, what do I know..?

    It has to be the lack of perspective in the long view and short in stature.

    You just have to look up in a case like this, we'd like to call

    ???.. Flick Nick with a Stick,??? then pray.
  • Re: The Last Shows (#)
  • CHESTER PSALMS: AUSWANDERN


    But to them he seemed to be just joking. -- Genesis 19:14


    Chester Psalms quietly hummed the tune, and thought lyrics he had composed: 'Across the river and through a dark wood / grace falls down falls up like snow. The dead know the way / to resurrection day / as underground to Jerusalem they go.' Underground. Double agents. More to the point: the human soul as "double agent", the way, it could be concluded, the ancients of the Book, or some of them, had seen it, an entity distinct from the 'I' of the speaker. Some had even called it--the "soul" that is, a "detective", curiosus.


    It was something Chester Psalms thought about, there in his apartment whose spaces had re-adjusted, sadly, reluctantly, around her absence. Lonely was a big place, a vast space, in which to think, in which the component parts of his myriad mistakes constellated and re-constellated themselves, each time illuminating the same evitable conclusion. Lonely was a funhouse of mirrors in which, at every turn, hoping to reflect a clear image of himself instead he confronted a humorous-grotesque distortion. Chester Psalms, a man deeply familiar with his own predicament. Deeper and deeper became the familiarity, in his apartment--Predicament Central, where depths called to depths.


    Sometimes, he swore, he could feel reproach in each room. Chester Psalms in: Room With An Attitude. His apartment, certainly, did not like being a shrine for Our Lady of the Lonely.


    In his father's later years, their mutually shared distances and reticences were overcome by their equally shared need to know each other, to tell each other stories. Stories not necessarily about themselves but stories that told more about their who, what, when, where, and why, than their own stories did. During those years, his father told him stories about Odessa, about Warsaw. About Lodz. Stories not of explanation, but of presentation, brush strokes on the Void.


    One story his father had told him, of the underground in the Warsaw Ghetto, before the 1943 uprising, he'd repeat to himself daily, as if a prayer, with that same deliberate attention combined with unthinking familiarity with which one often says daily prayers.


    Some members of the Jewish resistance escaped from the Warsaw Ghetto through the sewer system and came out in another part of the city. Exhausted both from lack of sleep and fear of being captured, and with the filth and stench of sewage stuck to them, they came up into the city going about its business as usual. The people were mostly unaware of what was happening in the part of their city that had been sealed off. Streetcars that still went through the Ghetto had their windows darkened so the passengers could not see what was being done.


    These leaders of the Jewish Ghetto resistance found members of the Polish resistance who were also fighting the Nazi occupation. But these witnesses to daily extermination quickly learned that their 'allies' against the Nazis could not accept what they were being told, could not believe the extent of the systematic forced starvation and mass murder taking place just a few blocks away. They could not imagine the totality of the barbarity and that all of it was the organized murder of a people.


    The escapees from the Jewish Ghetto were stricken in their own disbelief. They too could not believe they were unable to communicate the full horror and terror of what was being done to them and their people and to make it believable, even to people who shared their struggle against the Nazis. This realization took from their hearts what the Nazis had not taken, and it was replaced with that to which previously they had been impervious: despair. They then felt guilty about fleeing and surviving while their friends and families were being killed.


    They looked around at the normality and busy indifference of business-as-usual Warsaw, and decided to go back, back to their people and what would be their end in the Ghetto. Just a few blocks away.


    Once Chester Psalms was asked for his definition of happiness. He replied: "The absence of fear or panic about the past, present, and future." Then he was asked how he "experienced God". With what almost turned into a smile, Chester Psalms answered: "That which leaves no trace of experience."


    But mostly there was the fear and the panic. He had to get out of there, to escape, he'd think, but the moment he was out, his surroundings were so uncomprehending, and thus, in turn, not comprehended, that he turned right around and went back in. Every 'out' took him deeper 'back in'. This emigration was repeated daily, or many times daily even. This emigration, it was once, long, long ago, given the name of where it began and where it ended, the Land of Nod, the place where murderers under Divine protection went to reside. A place without borders that moved on its own, a place small enough to fit inside a pair of size 9 1/2 shoes and walk around with its inhabitant. Chester Psalms, wanderer in place, in a long, long ago Place-Because-Of-Its-Name, innocent but assumed proven guilty.


    Chester Psalms, somewhere in the City That Never Blinked First. Solitary attendant of the shrine of Our Lady of the Lonely, he took comfort in a cricket's chirp, and no consolation in the dreams dreamt by philosophy. The first cricket of almost not yet fall, in a dark space between the apartment walls, not knowing it was day, alone in his one-cricket night, calling out. Later, when night did come, Chagall's goat with his violin would play a duet with the cricket.


    And Chester Psalms would resume "counting" where his father had left off.
  • Re: The Last Shows (#)
  • RIP Mike Douglas, whose weak tenor and bland demeanor got me and millions of others through many an afternoon. I remember watching Groucho on "The Mike Douglas Show" when Animal Crackers got rereleased, and Groucho talking about playing the Walnut Street Theater in Philly (where Mike's show originated from) when they were trying out I'll Say She Is in 1924.
  • Re: The Last Shows (#)
  • .
    

    My god man, how old are you? And still with the memory like a steel tarp! I know I watched a lot of Mike Douglas and Merv but all I can remember are vague images of Charo and that I always ate a whole big bag of tasty, tasty Doritos by the time the show was over. I just had a vision of Steve Allen- time for my nap.

    Vern Skirmish
  • The First Last Show, before the Next (#)
  • Let's just keep to the Life Plan.

    Remember what The Great Spirit said:

    "Follow the Peaceful Way."

    The True White Brother is bound to come.
  • Re: The Last Shows (#)
  • .
    

    Is there a band in Fresno called the Fresnomads? Are they the ones who do that song on youtube called "Bisquick in Bakersfield?" Did you bring enough gum to share with the whole class?

    Just wondering.

    Quentin Eng
  • Re: The Last Shows (#)

  • There's a Test at Four

    ???.and for those left behind, it's Three

    but you could never count on it,???.

    Only to Three, Mudhead!
  • Re: The Last Shows (#)
  • .
    

    I was reading that, while it is hard to estimate with any certainty, approximately 100 billion people have lived and died during known human history here on Earth. Give or take a few billion. I wonder who the best one was.

    Ben Liven
  • Re: The Last Shows (#)
  • CHESTER PSALMS: CONATUS


    ???the indisputable advantages of a fictitious past have become apparent. -- W. G. Sebald, The Rings of Saturn


    Streets too have their ghosts, their doppelgangers. In the City of Through A Glass Darkly, Chester Psalms saw them, ghost streets, invisible twin streets, one step today, two steps yesterday, one step forward, two steps past. Moments of suspended duration, like black and white photographs, developed from negatives buried in corroded canisters, undeveloped, for 50 years, 60 years, or more, the lights of the murdered in beatitude straining, or staining, through the rough grain of image, as if in a frozen flash, right through the chemical suspension of light, into this world. A blizzard of otherworldly light that breaks into snowflakes and falls upward.


    It's snowing upward, and Chester Psalms, rootless cosmopolitan, in the City of Manufactured Consent, sees it, the ghost streets, a composition of countless snowflakes, falling upward, their composition held together, to construct an image, only by the memories which the dead continue, in their gone beyond modes of memory, to maintain; their dimension of memory is the fourth dimension of existence for this world, and in a way similar, perhaps--the thought occurred to Chester Psalms, to how a magnet's magnetic field holds together disparate, scattered iron filings.


    And the center of the human eye is blind, and the physical eye cannot see the faculty of sight, and the faculty of sight cannot see itself. This is what it means to witness, thought Chester Psalms to complete the sequitur. The memories of the dead, their actual memories, give a 'place' to the three-dimensional seeming substance of this world. Otherwise, how could a goat play a violin and appear to the imagination of Chagall, who then painted what in imagination he saw? His father, he now realized, had never gone into the Club Foot Club. What Chester Psalms had seen was the ghost street, its memory dimension. His father had discovered how to enter this dimension of memory. It had been the 'method' of his detection. Then Chester Psalms made a discovery in memory of his own--the discovery his own, the memory his father's, with all the familiar expectation of a child waiting for his father to come home after work. His father was telling him to see as Chagall had seen; that detection for him should be what invention was for Chagall.


    Back again in the bar, next door to the Club Foot Club (whose members inside were oblivious to the reality that their lair of decorous shadow was composed of billions of snowflakes falling upward), Chester Psalms, with Spinoza's help, made the connection his father before him had made: "whatever is true about bodies is true about minds also." Spinoza, the suspected but never proved to be leader of the notorious Doppel Gang. Chester Psalms was still getting used to sitting at the same bar companioned by a glass of ginger ale with ice, so he could be excused the low comedy of words routine he performed with his thoughts, to distract himself. He'd never been a drinker, so it wasn't drinking that he'd given up. It was the persistent urge to start drinking.


    Next door, and all around him, billions of snowflakes were falling upward. So close now was he to their memory-in-motion that he could see glimmers of their reflection in the ginger ale and ice, like a film projected on the glass. Chester Psalms, snowman in the eye of the storm, amidst a swirling blizzard of black and white memory, in light belonging more to the dead than the living, from the last Crime of the Century, whose witnesses were becoming fewer and fewer.


    Out of the corner of his eye, he again caught the image, a butterfly in flight that veered of a sudden near his face, but when he turned to see it was already gone. Seeing it a second time (the first was when he thought he remembered his father going into the Club next door), he recognized it was his own image. One of those witnesses, it seemed, was becoming the memory of Chester Psalms. It occurred to him this is what Chuang Tzu had meant about not knowing whether he was dreaming a butterfly or a butterfly dreaming. When next he looked in a mirror, it wasn't himself that he'd expect to see. How long, he wondered, would he be gone, this time?
  • Re: The Last Shows (#)
  • .
    

    That's so odd, because I remember listening to my short-wave (no dwarf joke intended) radio about a year ago and on the English language station out of Thailand I heard something about a revenge eating of a hippo by a dwarf. Apparently a cousin. And in one sitting, too.

    Ty Neebutfull
  • Re: The Last Shows (#)
  • I'm really not trying to harsh on anyone's mellow, but the dwarf-eating hippo appears to be the stuff of legend. Urban legend. Read the story at snopes.com here.

    As for me, I'm blaming the Australians.

    Crocadile Donedeal
  • Re: The Last Shows (#)
  • The Future Fair!

    A Fair for All,

    and no fare to anybody!

    Yes, it's free!

    Join the expectant crowd gathering now,

    as we stop here on THE BLOG OF THE UNKNOWN! . . .
  • Re: The Last Shows (#)
  • Earlier this evening, we watched, thanks to TiVo, the episode of I Love Lucy with Harpo Marx as the guest star. As you may remember, at the end of it, Lucy and Harpo recreate the mirror scene from Duck Soup. Well, my son sat there cackling at their antics, so I asked him if I had ever shown him the scene that inspired it. I think I had, but he didn't remember it. I put Duck Soup into the DVD player and skipped over to the mirror scene. Well, he cackled even harder.

    And now I have a date to watch Duck Soup with my 7-and-11/12-year-old son over the weekend.

    We watched the mirror scene and the trial of Chicolini and the "Freedonia's Going to War" production number and Harpo riding off in Paul Revere fashion to spread the alarm. Watching it reminded me that it is the greatest of all war movies, great in the way that it shows how wars spring from egotism and lust for power and how easily patriotism is mutated into hysteria.

    However, the greatest thing about it was this: At the end of a lousy day, it made me feel better. That's what Art is all about.
  • The Last Shows until the Next Ones (#)
  • Gentlemen, gentlemen, please

    these troubled times,

    besieged as we are on all fronts . . .

    There is but one man in whom we can place with complete assurance

    our Faith, Hope and Destiny

    A man who has won more battles than he has fought!

    A man who has the confidence of his people!

    Our generated, veneered leader!

    Our own Fighting Phil! Lord Is-tin

    . . . err . . . Austin!
  • Re: The Last Shows (#)
  • We are no longer safe here.

    Let's to the Winter Palace,

    quickly!
  • Re: The Last Shows (#)
  • My son, who will turn eight on the last day of this month, has written his first set of lyrics. He did this without parental help in any way. His song is called

    Jail of Sorrows
    by
    Sam Cassamas

    It's a jail of sorrow that we're trapped in.
    It's a jail of sorrow.
    Then I saw a light,
    A confusing light.
    I walk toward the light of bright.
    I saw my way out.

    Here's the original manuscript I worked from to make this blog comment:

    Photobucket - Video and Image Hosting
  • Re: The Last Shows (#)
  • Also, I spotted this sign in front of a magnet school that's around the corner from the old abode. Join the expectant crowd gathering now:

    Photobucket - Video and Image Hosting
  • Re: The Last Shows (#)
  • .

    I have been in that jail of sorrows. I have looked for that light. Yeah, man.

    Percy Youlips