STARRY, STARRY NIGHT

My last post, The Shadow Circuit, convinced me that interest in Don McLean was very high right now. His walk out of the NRA Convention. It is the 50^th anniversary of his American Pie. His mental breakdown. His Starry, Starry Night/Vincent has surpassed American Pie in popularity today.

The Vincent Van Gogh Immersive Experience has taken major cities in the US and Europe by storm. Every time one of his paintings is auctioned off, it breaks fiscal records. To think the man died a pauper and only sold one of his works while he and his brother were living. His sister-in-law took control of his work and got him placed in the hierarchy of the Impressionists.

I thought this would be good time to re-post my blog Starry, Starry Night, from 2013. And last, but not least, it brings back fond memories of back-in-the-day, when I was a lot younger.

House lights go down for the second act of VINCENT, but the stage lights remain dark. Then Van Gogh’s painting Starry Night fades on the two picture sheets that are upstage of the set. Music fades in, Don McLean’s recording of his song, Vincent, aka Starry, Starry Night. The song continues as a montage of Vincent’s paintings appear on the screens.

In the ambient light from slides you can make out the silhouette of Leonard Nimoy. He stands off to one side, his back to the audience, looking at and enjoying the art along with the audience.

The music fades out. Starry Night reappears for a moment and then fades out also. Backlights fill the stage and Nimoy turns as the front lights fade in and he resumes as Theo Van Gogh telling us about his brother, Vincent.

Selecting the Van Gogh paintings was hard because of the volume of great works and the little time allotted to show them. Selecting the music for the interlude was harder.

Leonard wanted Don McLean singing Vincent from the very start; however he had a friend he relied on for advice who thought the song was Pop, unfit to be part of ‘serious’ art. The friend, an artistic director of a regional theater, was pretentious to say the least. He never said Shakespeare, but always said ‘The Bard’. Theater was always spelled theatre and ‘Arts’ should never be coupled with ‘Crafts’. He backed off somewhat when it was pointed out that the very same recording was played hourly at the Van Gogh Museum in Amsterdam and a copy of the sheet music was buried in the museum’s time capsule.

Don McLean, singer/songwriter, troubadour/poet, is an American treasure, but not exactly a household name. He is mostly identified with his American Pie aka The Day The Music Died, known for it’s mysterious lyrics and it’s extraordinary length. ‘Drove my Chevy to the levee and the levee was dry.’ His second most famous work is Vincent, his ode to Van Gogh. ‘And now I understand what you tried to say to me”.

American Pie represented a sad time in McLean’s life, the death of an idol, Buddy Holly. Vincent reflected the sadness of his early life especially after the death of his father when Don was only 15. It was written on a brown paper bag during a period of marital problems. McLean had always identified with Van Gogh, who was never appreciated during his lifetime, and is reflected the lyrics ‘They would not listen, they’re not listening still. Perhaps they never will’.

            Outside of an excellent rendition by Madonna, American Pie is left by other recording artists for McLean. His recording of it was voted #5 of the 365 Songs of the Century by the National Endowment for the Arts.

Vincent, on the other hand, is covered by many other artists, like Julie Andrews, Julio Ingesias, Chet Atkins, and my favorite cover, Jane Olivor.

His song, And I Love You So has been covered by the likes of Elvis Presley, Shirley Bassey, Glen Campbell, Howard Keel, a cover by Perry Como reached #1in the Easy Listening genre. His song, Wonderful Baby, was dedicated to and recorded by Fred Astaire.

In his recordings and his concerts, his repertoire includes his own compositions as well as songs identified with singers like Sinatra, Buddy Holly, his mentor, Pete Seeger, Gordon Lightfoot, and Marty Robbins.

When Ray Orbison released his song Crying, it was received just so-so. McLean cut a cover of it that hit #1 in the international market. Orbison made a rerecording of it, using some of the innovations of McLean, and it is now a classic. Orbison said McLean had the best cover of any of Orbison’s songs and said McLean had ‘the voice of the century’.

Don McLean was also responsible, indirectly, for another classic,  Killing Me Softly With His Song. Lori Lieberman, singer/songwriter, said that she was so touched by Don McLean in concert, singing his song, Empty Chairs, inspired by McLean looking at Van Gogh’s painting of The Chair,  that she wrote a poem as soon as she got home. The poem was set to music and Roberta Flack’s version was 1973’s Record Of The Year.

Dennis Babcock, Guthrie’s Special Events Producer, and the man who put the production and tour of VINCENT together, booked in Don McLean in concert during our VINCENT rehearsal period. Great concert! First time I ever worked McLean. First time Nimoy ever saw him in person and met him. McLean saved Vincent/Starry, Starry Night for the encore and dedicated it to Leonard and the upcoming tour of VINCENT.

As usual, I was house electrician for the concert. When I asked McLean about his lighting preferences, he just smiled and told me to do as I wanted. I did. Used various gels for mood, slow color transitions, sometimes just back light to silhouette him.

When we were knocking down the concert equipment, Eric, Nimoy’s dresser and the self appointed major domo for the tour, came on stage.

‘Don,’ he said, in his dramatic basso voice, ‘I know that your lighting of VINCENT is in the tradition of the stage; but frankly, it is vanilla pudding. Now your lighting of the concert tonight reflected Van Gogh and his paintings. You should incorporate that into VINCENT. Be bold! Spice it up!’

‘Well,’ I confessed, ‘I have often thought about doing just that, but I don’t know if Leonard go for it.’

‘Who do you think brought up the idea? And I agree with him. Leonard had to go out to dinner with Mr. McLean and he asked me to mention it to you. So you could perhaps have some of it in tomorrow’s rehearsal.’

I didn’t need much time at all. I had it pretty much finalized by the time rehearsals started the next day. The key was my use of colored backlights. In his last years, his most ambitious period, in and around Arles in southern France, he used a preponderance of cobalt blue and amber yellow In one of his letters to his brother, Theo, Vincent defended his use of new colors and bolder brush strokes talking of

“vast fields of wheat under troubled skies”.

The play’s set had two picture sheets a backdrop. The backlights hung downstage of them, in such a way as to avoid spilling any light on the sheets. There were three distinct parts of the set.

Stage Right was Theo’s office, a desk and chair. The backlight for this section was the cold heavy blue of Vincent’s midnight sky on cloudless nights.

“Reflect in Vincent’s eyes of china blue”

Stage Left was Vincent’s studio. A rough built table with a paint smeared smock on it. A palette and brushes. A stool. An easel. This backlight was the yellow amber of Vincent’s home and sparse furnishing at Arles. His sunflowers.

“Morning fields of amber grain”

Center stage was the neutral zone where the two colors combined. I controlled the intensity of the two backlight colors, in all three sections depending upon where  Leonard was and the mood at the time,

“Colors changing hue”

Leonard liked the new lighting. Erik liked the new lighting. Sandy, Leonard’s wife at the time, liked it.

I knew I had aced it when, on opening night, Alvin Epstein, the Guthrie’s Artistic Director, told me that my lighting was like bringing a Van Gogh painting to life.

But naturally there was a voice of dissent. The Pretentious Pal felt my lighting was vulgar, unfit to be part of serious art. He suggested that Leonard get a ‘real’ Lighting Designer. And naturally he knew the names of several of who he had used in his theater. Leonard said thanks but no thanks. When Leonard was approached by Babcock about a Guthrie production of the skeleton version Leonard first brought to town, Leonard agree and wanted me to be involved and to light it.

At the risk of bragging, theatrical reviewers seldom mention the lighting, and yet in almost all the reviews we got around the country my lights were not only mentioned but also praised. When we played a benefit for The Pretentious Pal’s theater, he really cut loose on me. After all I was a stagehand and lighting was art and the two should be kept separate. And I was not only a stagehand, I was a union stagehand!

I didn’t bother to tell him that this was not the first time this union stagehand designed lights at the Guthrie. And this union stagehand had crossed into his sacred world of ‘Art’ in another way. A few years before I won a prize in a national One-Act playwriting contest, and my play had been published and produced.

In respect of Leonard and Mrs. Nimoy, I listened his criticism and then silently walked away. After I left though. the Nimoys had quite a few words to say to him about his rudeness.

(Hey, Mr. Pretentious Pal, VARIETY  ‘The Bible of Show Business’ said in their review of VINCENT, “Donald Ostertag’s lighting was Excellent”. And they also liked the use Don McLean’s recording of Vincent, in the play.)

The entire of tour of VINCENT consisted of three separate legs. The first was produced by the Guthrie. The second was a month in Boston, Leonard’s home town, and was under Leonard’s production. Once again, The Pretentious Pal came and offered suggestions during the rehearsal. And once again, tried to get Leonard to drop Don McLean’s song and Don Ostertag’s lighting. Again, the answer was thanks but no thanks. The next year the third leg went back on the road to other cities. The third leg was produced by Leonard and another producer.

Neither Dennis Babcock nor myself took the show out on the third leg. Since it was no longer affiliated with the Guthrie, Dennis felt he should concentrate on his ‘day job’ at the theater. He found a Tour Manager to replace him.

My life had changed drastically. I had left the Guthrie and had been elected as Business Agent/Call Steward for the local as well as working off the Union Call List. My three oldest sons were working as stagehands and also going to college. In a few years, they would be joined by the two younger sons. I had missed so much of their growing up; but once I went on the Extra Board, I got something that few fathers get, a chance to work shoulder to shoulder with my sons. And over the years, I also worked with four nephews, a young cousin, and a future daughter-in-law. My days on the road were over as well as my days as a lighting designer foe the Guthrie.

When Leonard found out that I was not going out with him, he said he wanted two stagehands to replace me. I sent two out with him. Dennis and I were involved with the rehearsals, which took place in Minneapolis followed by a week of shows at the Guthrie. Then it was off to Atlanta with Dennis and I going along to help with the first real stop.

Oh, of course, The Pretentious Pal had come to Minneapolis town for the rehearsals, and again with the his suggestions to change both the lighting and the music. Again, Leonard stood firm on my lighting, but he did cave on the music. Don McLean was replaced by a classical piece of largely unknown music by an unknown composer.

The music had two things going for it. The composer had lived in Arles at the same time as Van Gogh, although they probably never met nor even knew of one other. The second thing in the music’s favor was the album cover was a Van Gogh painting of ‘A Bridge Near Arles’.

That leg of the tour ended with a filming of the production for VCR distribution and also to be shown some 50 times on the A&E network. That was also the end of Leonard Nimoy in the stage production of VINCENT.

I stayed away from the filming and left it to the two hands. I did however sit in with Leonard and a few others for the showing of the finished product.

I had been forewarned by the hands that although the credit read that the lighting was based on a concept of Donald Ostertag. Don’t believe it. It was basically, all the white lights available are turned on, then off.

As soon as the film started, Leonard wanted to know why my lighting wasn’t used. Julie, Leonard’s daughter, who was around during the filming and had worked with the camera crew on locations of  IN SEARCH OF, explained that the director said the colors and cues wouldn’t work in the film. Leonard didn’t like it that my lights were left out and said so. I just sat there, not wanting to present my view that my lights would have transferred to the film.

The excuse was bogus. Basically, this was a case of the LA boys going to fly-over-country, filming a VCR as quick as possible, and then back to L.A.. Surf’s up!

Leonard’s second comment was at the top of the second act. ‘Never should have replaced Don McLean with this music,’ he muttered. I guess you could say that The Pretentious Pal finally got his way, even if Leonard did not like it.

Thirty plus years later:

The VCR was upgraded to DVD with some added commentary and stories by Leonard for which he received a small fee. Now, he could have used it to buy photography equipment for his new profession or other things; but true to his nature, he divided up the money and sent checks to those of us who had worked on the VINCENT tour.

What a compliment to know your work was still appreciated some thirty years later.

And just recently, Don McLean’s past work was appreciated in a very big way. The notebook that he used to work out the lyrics of American Pie recently was bought at auction for $1,200,000, the third highest money ever paid for an American literary manuscript. And it couldn’t happen to a nicer, more talented artist. Just too bad he didn’t save that paper bag he used to write out the lyrics of his Vincent.

And that’s a wrap – for today.

THE SHADOW CIRCUIT

There is an area of show business that I call the Shadow Circuit. What it is people in the public eye, be it politics, arts, entertainment fields, who come to a city to appear before a closed audience at conventions, business meetings, private functions, employee thank you parties, etc. In and out and the public has no idea they were ever in town. Sometime the public is aware of the appearance, but unless they belong to the sponsoring organization, or are big donors, they can’t attend.

To work the Shadow Circuit, the person’s name must appear on a list bookers have which is available for potential clients.

I don’t recall ever seeing Bob Hope appearing before the general public in the Twin Cities in my lifetime, but he was in St. Paul on the Shadow Circuit in 1984. He cracked jokes at the dinner honoring the 80^th birthday of Herb Carlson, founder of Radisson Hotel chain, among other ventures.

He talked with the stagehands for a long time, after he asked ‘Just who is this old fart I am suppose to be best friends with’? He ate the dinner, gave a funny spiel about his ‘old friend’, and left.

Before he got into the limo that replaced the Winnebago dressing room he stopped to say goodbye to the stagehands and praise us for doing an honest days work, not like what he had just done. Lying about knowing a total stranger, just for a couple bucks and something to do.

And sometimes it more than a couple bucks. Margaret Thatcher, after she retired as British Prime Minister, let it be known, through an agent, that she would be touring the US on a speaking tour. The Minneapolis Chamber of Commerce was only too glad to be included on her stops. I worked the Iron Lady’s talk.

When I handed in the stagehand bill, the Finance Officer laughed at the small amount compared to what was paid for Thatcher to appear, 70.000 plus expenses for a 45 minute talk.

While I worked Shadow Circuit gigs with the likes of Maya Angelo, Eisner the CEO of Disney, countless politicians, and advocates pro and con on the issues of the day, entertainers were the largest group on the Circuit. Many of these entertainers I had also worked in public concerts.

Recently the National Rifle Association, NRA, the largest gun lobby in the U.S. held their annual Convention. This homage to guns was a few days and a few miles from the latest massacre of school children by a shooter armed with legally purchased guns. Both the convention and the killings took place in Texas, a state where the politicians have made the purchase and carrying of guns of all ilks, almost mandatory.

The entertainment as always was booked via the Shadow Circuit.

But when the news of the killing broke, the entertainers began to cancel out of the gig in respect of the poor children. The first to exit was singer/songwriter Don McLean, followed by the others. Lee Greenwood was the last to walk.

Rudy Giuliani offered to sing ‘God Bless The USA’; but the NRA told him just to send ‘thoughts and prayers’ like all good GOP politicians do, and canceled Entertainment Night.

Now for entertainment they only had the stand-up comic, Donald Trump, who did his usual shtick but adding a litany of the names of the murdered children, followed by a dance, before breaking into his Big Lies routine.

I worked McLean once in concert and one on the Shadow Circuit. Greenwood I worked numerous times on the Circuit.

I worked McLean at a Guthrie concert just prior to the start of the Leonard Nimoy’s Vincent tour. McLean’s recording of his song Vincent was used as background during a segment of Van Gogh’ paintings projected on the screen. The recording was also played hourly at the Van Gogh Museum in Amsterdam.

I worked McLean also on the Shadow Circuit for the Dayton Department Store at their annual fashion show to raise funds for the Children’s Hospital. At that function, he sang his biggest hit, American Pie. When I suggested to Eric, the Event’s manager that McLean should also sing Vincent, Eric said he never heard it. I told him that another title for the song was Starry, Starry Night. Eric wasn’t familiar with that either. But a few years later, McLean’s recording of it was used in a segment of the fashion show.

That show also featured Brooks Shield, emceeing off the Circuit. I am happy to report, she is as beautiful in person as in the media. And her personality and warmth are genuine.

In praising the exit of McLean from the convention, one comment was why did he ever agree to sing there in the first place. Well, an appearance at a Shadow event in no way endorses the event’s purpose. Like stagehands, (I worked events at the NRA Convention when it was held in Mpls., and had to hold back my feelings throughout the event.), people working the Shadow Circuit do so to make a living and project their job.

Don McLean had recently suffered a mental break-down that resulted in domestic violence. I image the Shadow Circuit was his only source of work.

The Shadow Circuit was the main source of work for the last entertainer to pull out of the NRA Convention, Lee Greenwood, for a good many years. I worked his show numerous times. He is a favorite Shadow Circuit singer for conservative groups who pride themselves for their love of God and Country.

His show is about 45 minutes of C&W and then a black-out just long enough to trip the kabuki drop and the lights come back up to a backdrop of his gigantic US flag.

Lee busts loose with his biggest hit, ‘God Bless The USA. The crowd goes wild. At show’s end the audience is happy and Lee pockets easy bucks on the Shadow Circuit.

By walking out, Greenwood has the most to lose. An ultra right winger who is a main-stay at Trump rallies. An avid gun lover who said in his press conference on Fox News, ‘That weapon killed children’.

Pro gun advocates never forget that kind of talk. He’s going to have to do a lot of singing at Trump rallies to get back in their good graces.

Shadow Circuit bookers find entertainers people like to hear and see, singers who once were big and now…The one that I always enjoyed the most was Chubby Checkers. The audiences loved his singing and dancing and his getting everybody to join in on the Twist. Heck, he almost had me dancing several times.

Another favorite booking was Frankie Valli singing the Four Season’s hits. This was prior to the musical, ‘Jersey Boys’ opening on Broadway in 2005. The musical features the songs and lives of the Four Seasons. After the musical made it big, Frankie and his three cohorts were back on the concert circuit, too big for the Shadow Circuit.

PS: Frankie does not speak with a falsetto voice. His voice is gravely and has the gruff of New Jerseyites. He is also easy to work with.

Some entertainers use the Circuit to show off talents that are not evident to the public. Jim Belushi, actor and younger brother of the great comic actor, John Belushi, fronts his R&B, The Sacred Hearts. (I have no idea as to why he choose that title.) For years, it was a frequent booking on the Shadow Circuit.

Jim Belushi’s musical talent, like his acting talent, is in the so-so range. His biggest asset is his the fact he is John Belushi’s brother.

But show biz is in his rear view mirror thanks to his new vocation that pays better and not much hard work. He is a California State Sanctioned cannabis grower. John would be proud of his kid brother.

Not all Shadow Circuit acts are appreciated though. I worked Doug Krenshaw, the Cajun Fiddler at a closed event. He was big in Louisiana and some of his work was getting national air time. He got a big applause for his playing, but then he decided on a little comedy relief and told, what he thought were a few funny jokes. They might have been funny in the Mississippi Delta, but in the head waters of the river, they were way too raw for the audience. They booed him off the stage.

Backstage I could hear the booker shouting at Krenshaw for using that language. And all the while the booker was screaming in worse language than what Krenshaw had had used. I never worked him again and if he still managed to work the Shadow Circuit, it would have been events in Bayou country, where he just got honored in the Louisiana Hall Of Fame.

Another example of riling up the audience was Joan Rivers in a Shadow Circuit booking for Jewish Women’s Charity Drive. When she asked, ‘Can we talk’, she talked in some very unladylike language. She went so far as to think since both she and the audience were Jewish, she was free to revert to old Jewish stereotypes. She even tried to get humor out of the Holocaust. Raunchy, racist, and tasteless, she ignored the boos and kept on digging her hole deeper.

One of the committee members ran backstage and tried to turn off my lighting consul, thinking it it controlled the mic. When she walked off stage she gave the audience a middle finger salute.

Rivers got a lot of boos and I bet a lot of bucks for that Shadow Circuit event. And a big red warning flag to any bookers via the Shadow Circuit.

I worked her show in a theater venue…once. Her public concert made her Shadow concert seem tame; but since the audience bought tickets, they should have known what kind of show they were in for.

Big companies use the Circuit for various reasons. Target Stores had a yearly event where they brought in managers of their stores from all over. The event was rich with name singers, who were releasing new CD’s. Some of the biggest names like Tony Bennett or Celine Dion would release a CD, say with tens songs and also a CD sold only at Target stores with four additional songs on. Always a lot of talent appearing before a closed audience.

Best Buy, in the years of their orginal founder, used entertainers off the Circuit for parties. For non management employees Best Buy corporate campus was turned into a festival. Free food, soft drinks, bands for dancing, and several big names like Lennie Kravitz. The management had their party in the Convention Center with food and drinks and rows of arcade game and big time entertainment. One year, Elton John headlined. Elton John… and the public never knew he was in town.

In 2007, Tom Collins, of Champions on Ice fame, rented the Target Center for a birthday party for his wife, Jane. The biggest array of greatest figure skaters in the world came and performed before the closed audience of family and friends of Janie. Everyone present knew that it would be Janie’s last birthday. She died a few months after. After the death of his wife of 41 years, Tom Collins sold Champions On Ice.

I never thought I would ever write anything in my blog praising Cosby but I have to give the devil his due. Nobody worked the Shadow Circuit like he did. He mastered it.

When he was offered a Shadow Circuit event, he contacted Mystic Lake Casino, and arranged for a day or two of two performances per day. Next, a call to Minneapolis booker to get several days of two a day performances in a Minneapolis concert venue

He was an easy sell, did not need much advance publicity, sure sell out every performance, not many stagehands.

For stagehands it was apiece of cake to set up and take down. Even on spots it was a snap. Pick him up as he came on stage. Once he sat down, you could lock down the light because he never moved until the end. His show lasted about an hour and another started an hour later. Two performance pays in the time it usually takes for one regular show.

For Cosby, it was also a snap. Sit in an easy chair, smoke a big cigar and repeat some of the old stories he has told, recorded, written in books, for years.

A Shadow Event that generates another dozen or so performances! And for over a decade, he did this n in the Twin Cities three or four times a year; and he worked Shadow Events all over the country. Cosby ruled the Shadow Circuit…until!!!

The names and faces that were on the Circuit since I worked it may have changed, but it is alive and well yet today; and it remains a big source of income for entertainers, celebrities, and stagehands..

KGB AND THE ZAMBONI

As told to me a few times by Morrie Chaflen. In his own style and his own words as I remember it. Here’s his adventure in the USSR.

“Hubert Horatio Humphrey came to the U of MN from a small, very small, town in South Dakota. The biggest business in the town was his dad’s drug store and soda fountain. The biggest events were the Church Fall Festival and the summer arrival of a traveling circus. The kind that consists of one extended family that change into the next act by changing costumes. So the lion, (one old toothless lion), tamer also was part of the high wire act, and so it went with everybody. Nobody was a one-act performer.

The one who never changed costumes was the head man. He wore his clown suit as the head clown and the emcee. Hubert said that clown was the best part of the show.. Hubert really liked clowns; and when he found out that the Moscow Circus with Popov, the Russian Sunshine Clown, was performing t the Brussels’ World Fair, he got the State Department to appoint him as a U.S. Ambassador to the fair. Once there he widened the culture exchange, got the city that had elected him mayor years before, Minneapolis, the first week engagement of the Russian Circus, and even got his old friend, me, a tour in Russia. And darn near broke up that old friendship when those two yahoos had their guns pointed at me.

But wait I’m getting ahead of myself.

The kids were all gung- ho about the tour, chance to see great ballet, art museums, Russian history and culture…but what they saw was USSR Collective farms, Collected factories, and Collected ruts on the roads we had to travel on. Each day had a short bus tour to see the sights and listen to somebody from the Propaganda Ministry drone on about how the USSR life was the best in the world. After the first couple rides, nobody wanted to go on another; but Smith, our State Department overseer, said we had to have a few go on each tour, and he suggested using a round robin so each skater went on one bus in every venue.

On the tour, our food was centered around the beet. Beets fixed every way imaginable… and dark bread, and chicken. To drink, there was water, vodka, water mixed with vodka. Most all of us stuck with the water, even if it had a gray color and a taste that varied from city to city.

But heck, we were making more money than ever before on a tour, thanks to the State Department. We had a small per diem to spend in the USSR, and the rest waiting, tax free, in our bank accounts back home. Since any money you received in the USSR had to be spent in the USSR. You couldn’t take it out of the country. You could leave it in an account and spend it when, if, you came back.

I was allowed to bring in one hand to be the stage carp to Russian hands. One wardrobe mistress to handle the Russian wardrobe gals. One sewing machine that the Russians never used…they argued they could sew better and faster by hand. And one ice-maker/Zamboni mechanic/driver…and Wee Willy was the best there was.

Wee Willy stood about 6’4”. He had a build that would qualify him to play tight end for the Vikings. Strong as a Russki weight lifter, gentle as a lamb, and a natural mechanic. I called him just Willy. Darned if I was gong to call someone wee when I to look up to talk to. I asked him once what was with the nickname Wee, and he said because he was the runt of the family. Hate to foot the food bill for that bunch.

I had hired him shortly after we got our first Zamboni. We were in Charleston, WV and the machine needed a tune-up. Our driver didn’t want to get his hands dirty and Willy, who surfaced the arena ice by hand, asked to take a shot at fixing the machine. Half hour later he was driving it like a pro. Hired him on the spot.

When the Russian tour came up, Willy had also just returned from a short visit to the factory of Peter Zamboni, the man who conceived and built the first Zamboni, the Model A.

Peter had built it just to use at the Zamboni brothers ice skating rink. Sonja Henie heard about it and demanded he build one for her tour. Now when Sonja spoke, the figure skating world listened and pretty soon Zamboni was making his machines for all the big skating shows, including Holiday.

We got one of his first Model B’s. Now, instead of just putting the ice scraper on top of a Jeep, it was on top of a frame built for it. And some new improvements to the scraper. We took a Model B on the Russian tour just like Humphrey told us to.

When we got to the first city we were briefed by Smith, the State Department liaison.

‘Glad to me you, Mr. Smith.’

‘Not Mr. Just Smith.’

‘Is Smith your first or last name?’

‘Both.’ Then he points over to the 3 men wearing black leather coats. ‘And these are your translators.’ I started to talk to them but Smith grabbed my elbow. ‘Don’t bother. They can’t speak English.’

‘Then why?’

‘Kilo. Golf. Bravo.’

‘Oh! What’s their names, Manny, Moe, and Jack? Hey, maybe…Larry, Moe, and Curly? Since they couldn’t understand English, I figured I’d get a poke at the bad ass KGB I heard so much about.

‘Yeah, the second sounds about right. If you need help talking to a Russian, go through me or Svetlana. I was told she’ll be with us all the time.’ He nodded to a woman talking to Willy. ‘Call her Svet for short.’

There was nothing short about Svet. In her work boots, she was only about two inches shy from looking Willy straight in the eyes…when she wasn’t checking him all over. That gal had plans for Willy; but so did a lot of the skaters, and they had all struck out. Willy always put them of by saying he had a fiancée back home in the mountains, but that didn’t put off Svet. His mountains where far away.

Svet became his shadow. She sat next to him when they ate, or on bus rides, and was behind him when he was tuning up or driving the Zamboni. After the first venue, she knew enough to take over for Willy, if needed.

(It didn’t dawn om me at the time but Willy had a second shadow, Moe. On bus rides, Larry and Curly sat in the last row. Moe behind the driver. Willy and Svet in the next row. If Willy and Svet were not on the ride, neither was Moe.)

On the first day of our second city, Willy complained to me because Svet kept pestering him to let her drive. ‘Boss, I keep telling her, if you want to drive, get your own. And she says she can’t. There isn’t another Zamboni in the whole USSR. And then she says but there will be soon. I figure they must have some on order with Mr. Zamboni. Oh, and Boss, she keeps volunteering me to go on those darn bus tours’.

I couldn’t help him with Svet but I knew how to keep Willy off the tours. Once I said he has piano playing fingers, long and slim. When I asked if ever played piano, he said no, just my harmonica and he played You are my sunshine. I asked On the him to play another tune but he only knew Sunshine.

Next day tour I asked him to play a song for us. When he finished playing Sunshine, everybody applauded and asked him to play again. So we got another Sunshine. A little later, I asked him to play a tune for us… Yup no more demands from Svet that they go on the day tours.

We sold out every performance in the tour. Standing room only, even in the aisles. They sure loved figure skating. Smith said they grew up with ballet and skating was ballet on ice. I laughed and asked if they had a Bolshoi Figure Skating. He gave me a small smile and commented maybe in the near future.

The audiences liked the show, but the biggest applause was always reserved for Willy, Svet, and the Zamboni. Some of the audience came early to watch the ice being surfaced for the. They stayed in their seats at intermission and waited after the show until Wee Willy finished and parked the Zamboni. I thought maybe I should have left the skaters at home and just brought the Zamboni. Smith said those Zamboni lovers were workers at Russian ice arenas.

All in all, I was very happy with the tour. I had already talked to Smith about a possible China Tour. Get a little détente going there too. And then after the last performance of the tour, I got bite where it hurt most!

Looking in the rear view mirror, I should have known! But Russian mirrors are foggy. Heck, they’re so foggy, I grew a beard, for fear of cutting my throat shaving.

I had wrapped up the paper work, aka Red Tape, and was about to check on the final load out when Slats, our head carpenter came running. He was shouting something about the Zamboni.

‘I took off running. They weren’t going to pull something like that on me. No way! But I pulled up in a hurry when the KGB’s answer to the Three Stooges came from behind the Zamboni.

Moe, with his hands in the pocket of his black leather ankle length coat, stood in the center of his two stooges. He had that come-on-I-dare-you look on his face.

Larry and Curly were wearing their black leather knee length leather coats. And each had a BIG pistol pointed at me.

Thinking back I should have been praying; but at the time all I could think of was, “What in the name of Hubert Horatio Humphrey did I get into???”

Willy was standing by the machine watching as a herd of Russians, supervised by Svet, were tearing the Zamboni apart, piece by piece. He held out his hands palms up and came toward me; but Smith, who had placed a hand on my shoulder, waved him back.

As much as I wanted to stay, the sight of those BIG guns and the look on Moe’s mug, were more than enough to allow Smith to get me in his assigned car and drive away.

I cut loose with a string of swearing for a good five minutes. Once I got my over it, I apologized to Smith for my language. He said no sweat, he had heard the words before. So then I cut loose with some I figured he never heard before because I was making them up as I went along. And I didn’t stop until we got to the hotel.

I told Smith I had already packed and brought my luggage to the arena. Why did we come back to the hotel. Smith said to pick up something I forgot.

There was an U.S. Embassy ‘translator’, complete with a BIG bulge under his suit coat sitting in front of the room door. He nodded to us and stepped aside so Smith could unlock the door. I followed Smith into the dark room. No light on. Shades down over the window. Once we were in and Smith shut the door, he turned on the light.

I used a couple words Smith had heard before! On the bed, there was U.S. greenbacks scattered around, a lot of them; and when I looked closely, they all had old Ben Franklin’s picture staring back a me. Now in those days, a hundred dollar bill was as rare as a two dollar bill today. And a flock of them were sitting on the bed.

‘Should be enough to pay for the Zamboni,’ Smith said.

‘Probably three,’ I said, ‘And enough left over for a couple steak dinners when you and I get back to the good old USA.’ Smith laughed and said it was a date.

Then I came back to Earth.

‘Hell,’ I said, ‘We have to spend it all here. There’s no way we can get it out of Russia. Damn! Damn! Damn!’

Smith laughed and put them into a large metal attache case that had US Diplomatic Pouch painted on top and bottom with a chain welded to it and a handcuff on the other end. And while he took care of the money, he told me it was tax free to do whatever I wanted with it, and said there is also a new Zamboni waiting back in Minneapolis.

‘Now, let’s go home.’

In the car he broke the news that Willy was staying in Russia for a while. He and Svet had work to do, seeing that the parts the Russians had duplicated were assembled correctly to make ‘Russian Zambonis’, and Russians were taught how to drive them. For how long he was staying, who knows. There’s a lot of arenas in the USSR, and if Svet has her way, he might never come home.

‘Nah,’ I told Smith, ‘Wee Willy’s got a girl back in the mountains waiting to marry him.’

I fell asleep in the plane as soon as I sat down and buckled up. Hours later I woke up and immediately asked Smith how much did Hubert Humphrey know and when did he find out?

‘He was briefed last week,’ Smith said, ‘And ordered not to let you know. Then your old friend did some ordering of his own. That new Zamboni waiting for you…Senator Humphrey ordered that that be added to the money you would get because you lost your Zamboni to the Russians. Then he ordered that everyone on the tour receive a nice tax free bonus on top of their wages.’

‘Sounds like the Hubert Horatio Humphrey I know’, I said. ‘How about you? Did you get a bonus too?’

Smith smiled and told me no bonus but a jump up one pay grade and all his wages during the Russian tour were made tax free.

‘Good! Great!’, I muttered and went back to sleep.

After a couple weeks vacation, we began another tour. One stop was in West Berlin, as close to the wall as possible, hoping to spread a little detente by osmosis. I was in my office wagon with my back to the door when it opened and let the sunlight in, briefly, then disappeared because of the large man entering. Wee Willy was back!

‘Come to tell you, Boss, I’m back. Smith had told me I would still have a job when I was ready.’

I didn’t bother to look up. ‘Since when is Smith telling me who I have to hire?’ I said in the gruffest manner I could without letting on how happy I was. He began to hem and haw and I jumped up and gave him a hug. Well, as much as I could, my arms were too short to wrap my arms all around him.

I made him sit and tell me what happened after we left.

Seems the mechanics were working in 12 hour shifts turning out the machines. Soon as they built one, Svet would try it out. She had last say on whether it passed the test. Next was to line up the would-be driver and Willy would be the instructor. If any of the mechanics or drivers screwed up, Svet’s brother, Ivan, would ship them off to a collective farm.

‘He sounds like a real bad ass.’

‘He was bound and determined I was going to marry Svet. He didn’t want me to go back home because that would mean Svet would take charge of all the Zambonis in Russia and he didn’t want to see her with that kind of authority. Said he was going to see that I could never leave Russia.’

‘A Real bad ass. Glad I didn’t have him around on the tour.’

‘Boss. You did! Only you called him Moe’

‘Little Moe was big Svet’s brother! Must have had different fathers. So how did Svet take it when you said you were leaving?

‘She loved it. Forgot all about trying to marry me. She said with me gone she’d be number one Zamboni expert in the whole USSR.’

‘So when is my number one Zamboni expert ready to get back to work?’

If it’s ok with you, I’d like some time yet. See I’m flying home and marrying Li’l Lou.’

I had to laugh. Wee Willy and Li’l Lou. ‘Lil’ Lou? She the runt of her family?’

‘Oh, no, Boss. She’s regular size. Li’l Lou is nickname. Her folks were thinking their first born to be a boy and name him Amos after his Pa, and have nickname of Junior. So when the first born was a girl, they named her after Lou Ella, her mom. And they nicknamed her Li’l Lou instead of Junior. They saved the nickname Junior for their first boy.

‘And what does Li’l Lou think about having a husband on tour most of the time?

‘Well, Boss,’ Willy said, ‘I know you have a hard time finding good wardrobe people and then keeping them. Li’l Lou can sew by hand or by machine. Can make a dress from a pattern or just from a drawing…’

Willy had it all figured out.

‘Tell you what, Willy,’ I said, ‘Get married and go on a four week paid vacation for my wedding present to you. Then come to Minneapolis and I’ll give Li’l Lou her present. A job so you both will be on the same tour. Now get moving.’

He wanted to say more but I waved him out. ‘Oh! Just one more thing, Willy. Play me a song.’

That sure made him smile and he launched into You Are My Sunshine. I never thought he had time to learn anything else to play like maybe the Russian National Anthem.

So now, anytime you watch a Russian win a medal for figure skating or a Russian score a goal in hockey, you can bet that the ice they learned on was surfaced courtesy of a descendant of the Zamboni the KGB got from me.

Of course, if you mention the word Zamboni to a Russian, he’ll tell you, with a straight face, it’s another earth-shaking invention the Russians came up with.”

And then when Morrie finished his story would hum a little of

You Are My Sunshine.

Like I said

Morris, (Call me Morrie} Chaflen was

One-Of-A-Kind

a risk taker, a warm human being, and

a great story teller.

If you ever met him, you would never forget him’

I know that for a personal fact.

ON ICE PART III

The other of the big three ice productions came about when Maurice Chaflen took his ten year old roller blade touring show, Skating Vanities and converted the idea to an ice show, Holiday On Ice. It differed from the other two in that it had several productions traveling all at the same time and it carried it’s own ice making equipment, which meant they didn’t have to confine the tours to cities with ice arenas in the US or around the globe.

Holiday began it’s US operation in 1945. The first international company was called Ice Vogues and started with a tour of Mexico in 1947 and toured Mexico and South America. In 1956, the name was changed and Holiday On Ice now toured all over the globe.

Except for a few years when Sonja Henie joined the company, the show did not use big name skaters. It featured the spinning wheel, skaters linked arms one by one, ending in the spokes of the wheel skating from a central hub. Each performance ended with a kick line and fireworks.

To attract a new audience the reviews introduced kiddie themes like Bugs Bunny, Peter Pan, Ali Baba, and the like, the first of the costumed ice show that led to today’s Disney On Ice.

In 1964, the North American show was sold to Madison Square Garden, leaving Chaflen as owner of Holiday International, which grew to have three companies traveling around different countries at the same time breaking new ground in Russia and China. The US version ended in 1985, but the International shows are still touring.

Tom Collins, a Canadian skating champion, joined Holiday, and when his skating days ended, he and Morrie Chaflen started Champions On Ice. No sets or chorus lines. Just figure skating champions performing the routines that brought them fame.

Morrie Chaflen sold out his share to Tom, but not until he married Tom’s sister, Martha, also a Canadian champion skater.

At first Tom could use only amateur champions but when the rules were changed to allow professionals he brought in names like Brian Boitano, Katrina Witt and Michelle Kwan, and every big name skater in the 40 years he had Champions. Sometimes he used skaters that hadn’t made their mark yet, just talent and promise. One such promising youngster was 12 year old Dorothy Hamil.

When he staged his final tour in 2007 and sold his company, shortly after his wife died, he was regarded as the most powerful person in figure skating.

Tom’s father had been a gold miner, but never found a mine as rich as his son found in figure skating. He was grossing over 50 million a year. But when he was sitting backstage talking to hands like myself you would think he just one of the guys.

But Tom Collins wasn’t one to sit back and enjoy retirement. He went on tour with Neil Diamond and revolutionized the selling of swag at concerts. No more just a CD was for sale. Tom had T shirts and caps, posters and autographed pictures. Swag was now big business. He went on tours with other performers and bands. His brother, Butch, had been working for me as a stagehand and Tom got him involved in selling Swag for Sesame Street Live whose headquarters are in Minneapolis, and I lost a good hand in Butch.

The big shows of Ice Follies and Ice Follies are now just show business memories like Ziegfeld Follies and Vaudeville. Their time maybe over but they broke ground in figure skating. They proved there was a market for skating shows, and a career for skaters even if they never became household names giving a reason for the hours needed in the grueling task of becoming a figure skater. And they introduced the art of figure skating to a new audience, an audience that continues to support the ice shows that followed.

The people behind ice shows, past and present, had for the most part, one thing in common, ice skating was a big part of their life since they were old enough to have skates laced on.

But one of the biggest mover and shaker in the business was a non- skater, Morris Chaflen, a true entrepreneur. Chaflen, ‘call me Morrie’, was a man who dove into things without worrying about the depth of the water. Once you met him, you never forgot him.

Morrie grew up in Minneapolis. He was still in knee pants when he started his first business, selling newspapers and candies on a street corner. His first big-boy enterprise was a combination pool hall and bowling alley.

‘I knew a lot about hawking newspapers and playing pool. That’s how I grew up, not shooting basketballs or ice skating.’

In 1947, he and his partner, Ben Berger, bought the Detroit Gems, a professional basketball team, to Minneapolis and renamed it the Minneapolis Lakers. Luck of the draft brought them George Mikan when the Chicago team he played for two years folded. Mikan helped establish the NBA into a major sports organization and was name the Greatest Basketball Player of the 1^st half of the 20^th Century.

In 1957, he and Berger sold the team to Bob Short, another Minneapolis entrepreneur and politician, who moved the team to Los Angeles, three years later’. It broke a lot of hearts including your truly.

‘Yeah, Short was always running in state or federal elections. Running but never winning. Maybe some voters figured he’d sell them out just like he did with the Lakers. You think?’

Morrie was active in politics also. A behind- the- scenes worker. Never a candidate. In 1944, he was in the liberal arm of the MN Democratic Party when, under the leadership of Hubert Humphrey, merged with the larger MN Farmer Labor Party. He became friends with Humphrey from the time Humphrey came to study at the University of Minnesota and he worked for Humphrey’s city, state, and federal campaigns, as Humphrey went from Mayor of Minneapolis, to MN’s Senator in DC, to Vice President under Johnson, and back to Senator. The two remained close throughout their lives.

US Senator at that time, Hubert Humphrey met with Morrie Chaflen at the 1958 Brussels’s World Fair and the meeting resulted in a warm up of the Cold War and the beginning of the Cultural Trade Treaty between the USA and Russia as it was originally intended to be.

‘When Hubert worked out that exchange of the Moscow Circus and Holiday On Ice, a lot of people said it wouldn’t work, but we showed ‘em. Up til’ then it was just we’ll send you a piano player and you send us a cello player. After we went to Russia, the exchange went big time with theater groups, museum things, opera, and ballet. Just think, without ballet companies coming over, all those dancers never would have defected.’

Humphrey had purposed that the US would send over the Ringling Brother’s Circus with America’s famous clown Emmett Kelly, even though Kelly was no longer with Ringling. In return, Russia would send the Moscow Circus with it’s great clown, Popov. The USSR said da and nyet. They would send Popov and the circus to the US, but they wanted Holiday On Ice, instead of a circus…and it had to bring everything including the ice making equipment and the machine that shaves the ice.

Without asking Chaflen, he quickly signed the agreement, He knew Morrie would be more than happy to take the show to Russia. Humphrey had a caveat though. The first stop on the tour would be a week’s engagement in Minneapolis, MN where he started his political career.

Soon after the Russian adventure, Holiday broke the barrier of another closed nation, China.

Chaflen traveled around the world with his Holiday On Ice shows playing before European Royalty and World leaders like Nikita Khrushchev, and a Who’s Who of celebrities at the time like Princess Diana and Elvis Presley.

Morrie lived a life he never could have imagined as that ten year old kid standing on that corner in Minneapolis back in the day.

But it also had two tragedies that could have had driven him into a life changing depression, if he had been a weaker man.

On St. Patrick’s Day 1960, his wife, Martha Collins Chaflen and their three children, ages 2, 6, 7, were flying to Miami when the plane broke into pieces in the air and crashed. Morris Chaflen’s beloved wife and children were among the 63 people who lost their lives in that still unexplained horror.

On Oct 31^st, 1963, at the Indiana State Fairgrounds Arena, just as the opening night performance of Holiday was into the finale, a leak from a LP tank, stored under the bleachers, was ignited by an electrical short and blew up, killing 81 and injuring some 400 more. Morrie was not there and none of the cast or crew were hurt; but the fact that there was 81 deaths and so many of the over 4,000 in the audience, and a statement from the sheriff stating that if the show had not started 15 minute late, the deaths and injuries would not have been as great, hit Morrie hard.

Criminal charges against six of the arena’s staff were dropped after more investigation. The arena reopened and hosted a cattle show six weeks later, and The Beatles a year later, followed a month later by a return of Holiday On Ice, which broke the arena’s attendance records.

It took Morrie quite awhile to get back to being the easy going person he was before, but slowly he reverted to the man who was so much fun to be around. He remarried and had two sons with his second wife. He lost his ownership in Holiday International by a court ruling over a stock issue. He started Chaflen International and dabbled in various businesses. He died in 1949 at the age of 72, a year after the death of his good friend, Hubert Humphrey.

Morrie was a natural story teller, and you never forgot him or his stories. He loved to sit backstage and regale young stagehands like your truly.

‘Now did I ever tell you about…’

You probably heard the story before but any story Morrie told was worth hearing again. He had a twinkle in his eye and just a slight accent. He used his hands in telling a story. He could have had a career as a story telling comedian.

He had that gift of entertaining through the art of telling stories that seems to be second nature to those who lived in the shtetls of Eastern Europe. Like the Boston barber, Max Nimoy, father of Leonard Nimoy, who told stories of living in and escaping from a shtetl in Ukraine.

And like Myron Cohen who came to the US from Russia at the age of two. Cohen was a traveling salesman who endeared himself to his customers by telling them funny stories. He was talked into performing at comedy clubs and soon became a household name because of his appearances on the TV variety shows of the 50’s.

And like Zero Mostel,’If I were a rich man’, who, when cast as the original Tevye in Fiddler On The Roof’, balked at the concept that the original stories by Sholem Aleichem, who lived in a shtetl in the Ukraine before coming to the US, being ‘too Jewish’ to succeed. Using stories he heard from his father of life and dreams of the inhabitants of an East European shtetl, he crafted the Fiddler we know today. And over the years his Tevye was adhered to by actors like Herschel Bernardi, Theodore Bikel, Leonard Nimoy among others.

Morrie’s favorite story was what happened on that first Russian tour. It also is my favorite Morrie story.

‘I took off running. They weren’t going to pull something like that on me. No way! But I pulled up in a hurry when the KGB’s answer to the Three Stooges came from behind the Zamboni.

Moe, with his hands in the pocket of his black leather ankle length coat, stood in the center of his two stooges. He had that come-on-I-dare-you look on his face.

Larry and Curly were wearing their black leather knee length leather coats. And each had a BIG pistol pointed at me.

Thinking back I should have been praying but at the time all I could think of was, “What in the name of Hubert Horatio Humphrey did I get into???”

Whoa! Whoa! Morrie’s story needs a post of it’s own.

Stay tuned for KGB AND THE ZAMBONI.

MUSIC/MEMORIES/MEDICINE

CBS TV showed parts of the Tony Bennett/Lady Gaga concert at Radio City in Special touted as the last time you will see Tony Bennett, who is 95 and has Alzheimer’s. What a cold way to sell a show!

I watched one song in it. Tony was standing in the crook of the piano singing ‘Love For Sale, while Gaga danced. I turned it off. I felt that it was a case of taking advantage of Bennett. See the old man try to remember the words. Kind of like going to an auto race hoping to see a crash. Going to a hockey game hoping to see a fight. Slowing down driving by an accident to see if it was more than just a fender bender.

But Danny Bennett praised both the concert and the special. Said it was good for his father. And Danny loved his father. He gave up a musical and producing career to save his father’s life and get him back to being the man that Tony Bennett was before he hit rock bottom.

In an interview on CBS’s Sixty Minutes, Lady Gaga also said that working with his music again helped Tony Bennett. She described how during rehearsals and the first of the concerts, Bennett sang his Standards without missing a beat; but she said he was oblivious to her and everything else. But then when she came on stage in the second concert to do her duets with him. Tony watched her as she approached him. He broke out in a big smile and said, ‘Lady Gaga’. He remembered her.

Her words were a breakthrough in my understanding how the music helped Tony Bennett, even if only for a short while. I thought back on the countless times I held a fussy baby in my arms and sang,’Hush, little baby, now don’t you cry.’ Or cuddled a little one in my lap and sang,’You are my Special Angel, sent from up above’. While the song brought to the little one it also helped the singer’s disposition.

Familiar music brings back warm memories of bits and pieces of my life when I hear a certain song. There isn’t a day that I don’t tell Alexa to play songs from my library.

Jan and Dean were pioneers in Surfing Rock music. One of their biggest hits was Dead Man’s Curve. It dealt with a dangerous curve in a highway outside of L.A.. At the peak of their career, Jan Berry, driving his usual dangerous speed rammed into a parked truck a few miles from the curve. He was thought dead at the scene; but he manged to live, even if it took years before he could regain a semblance of his past life.

During these rehab years, Jan went on tour with Dean. One of the concerts was at Orchestra Hall in Minneapolis. I worked the lights from the stage right wing. Prior to half hour I went into the green room to get a cup of coffee. Both performers were sitting there. Dean was friendly and talked a good bit with me. Jan didn’t look at me. He stared out the window all the time. When they came into the wing waiting to go on stage. Dean smiled as he led Jan in. Jan had a hard time walking and just stared ahead.. My first thought was there was no way there would be a concert with Jan in that condition. I took the house lights out, the band began, stage lights up and watched as Dean holding onto Jan’s hand led his partner to the mic.

When the applause ended, the two began to sing. Jan gazed out into the darkness but he sang his parts without any problem. At the end, Dean led him off stage and Jan was back to his blank stare persona.

Eventually, Jan recovered and led a normal life in the music industry, albeit, with much physical pain. Then, 38 years after the accident, Jan suffered a stroke and died. But for that second lifetime, music was his medicine.

Back in 2016 I read where one of favorite lyric poets, singer/songwriter, Kris Kristofferson was in the early stages of Alzheimers. Kris was living on his ranch in Hawaii with a large portion of his 8 children, their children, and just about anyone who wanted to spend some time there. His wife took him to their place in California where the only extraneous noise would come from the music that Kris liked best. His memory improved in the solitude and in the fact a California doctor’s diagnosis was Lyme Disease, not Alzheimers, and changed the medicine. Kris announced his retirement in 2020, not because of health concerns but just old age. His wife says he is constantly filling up scraps of paper with new lyrics. So music helps but so does Second Opinions.

Brian Wilson was the musical genius behind The Beach Boys; the writer, producer, co-lead singer; but he thought the music was pedestrian, and aspired to compose in the manner of George Gershwin and others. His first nervous breakdown came on tour in Australia. He was replaced by a fine studio musician, Glen Campbell.

His bouts with mental illness led him to enlist a handler, Eugene Landry, a self professed expert, (aka con man), in helping the mentally disturbed. Landry soon became the biggest influence in Wilson’s life, taking over Wilson’s finances and in return ‘rehabilitated’ him with LSD, coke, opium, booze, junk food, etc., and cutting him off from his old friends and family.

In one of the rehab years, Wilson’s brothers Carl and Dennis, persuaded Brian to go on tour with the Beach Boys. One of the stops was Northrop Auditorium at the U of MN.

When it came time for Brian to take part in the concert, it was as if I was seeing Jan and Dean again. Brian’s two brothers led him to the mic. As he was led past me. I saw that blank stare Jan had had .But when it came time to join in, to co-lead sing, he did so just as if he was back in his old form. The same way Jan had done.

It took several years before he came back completely and when he did he broke off on his own. His two brothers were dead. Dennis drowned and Carl died of cancer. Their was bad feelings and lawsuits between Brian and the other members of the group.

Once again I witnessed the effect that music had on a person who was in grave need of it.

Age can also bring about a softness in the heart. I see where Brian Wilson is going to reunite with cousin Mike Love and Al Jardine, two other founders of The Beach Boys, and former unfriends, in a reunion tour of the group. You think maybe a new album will come out of the tour?

I worked many Frank Sinatra concerts over the years. Heck, I even paid to see him, once prior to being a stagehand and once while I was in the business. I worked the Rat Pack Tour in 1988 just after Dean Martin pleaded sickness and was replaced by Lisa Minnelli. The tour was just two years after Sinatra was hospitalized with a serious intestinal malady. It hadn’t slowed him down. His road manager told me that Martin left, not because of illness, but because of the antics of Sinatra and Sammy Davis Jr., like lighting firecrackers in the hotel corridors late at night.

But his age and past life caught up with him soon after. His heart, his lungs, his stomach began to slow him down. And he developed a form of dementia. One of his last concerts took place at the Met Ice Arena in Bloomington, MN., during the Super Bowl Week festivities in the Twin Cities in 1992. He had regressed greatly since I worked him in 88.

I got a hint of his problems during the stage set up. We put three very large video monitors across the front stage. In the test I saw the words to songs Sinatra had sung for years. The band was conducted, not by names like Nelson Riddle or Buddy Rich, but Frank Sinatra Jr., whose main concern was not so much the conducting as taking care of his father.

After sound check Jr. left to bring his father to the arena. I was there when he helped Frank out the limo in the corridor. Of all the times I worked Frank Sinatra he always pointed at me and said he remembered the hat. Always. He had always joked with the stagehands, but not this time. He looked only at his son.

I held a flashlight and walking backwards up the escape stairs to the stage shined it so Frank could see the steps, while Jr. followed, placing a reassuring hand on his father’s back.

He was breathing heavily as he struggled up the stairs. He paused midway up and spoke.

‘Hey, kid, where did you say we were?

‘Minneapolis, Pop.’

‘I’ve been here before, haven’t I?’

‘Couple years ago on the Rat Pack tour.’

‘They with me tonight?’

‘No, Pop. Just you. You’re the big act for the Super Bowl shindig.’

‘Super Bowl! Who won?’

‘It’s next Sunday, Pop. We’ll watch on TV at home’.

I tried to swallow the lump that was in my throat. We waited stage left as the band played the introduction. Stage lights to dim and Jr. brought his dad to the large glow tape X where the vocal mic stand stood. Frank took the mic, held it the right distance from his mouth and launched into his first song, Night And Day’.

His voice was raspy but he still pronounced the lyrics distinct as he always did. He gave a good performance, relying on help from the video monitors. A few times he went up searching for what was next in the song; but Jr. and the band covered until he was back on track.

His familiar music was working a transformation. With each song’s ending, he seemed to regain more and more of his personality. His old patter returned, the wise cracks, even his remembering that it was Super Bowl week. But his voice was sounding more and more tired. Near the hour mark of the concert, the band cut loose with ‘Come Fly With Me’. At the end of the song, the stage lights went down. The applause erupted. The lights came back full and Sinatra sang ‘My Life’. ‘Each time I find myself flat on my face, I just pick myself up and get back in the race.’

The lights dimmed and the applause was louder than before. Sinatra’s encores always consisted of six or more song; but when the stage lights returned, Frank was at the top of the escape stairs with Frank Jr. and me and my flashlight.

‘Do I go back on, Kid?’

‘No, Pop. We’re going back to the hotel and then fly home tomorrow.’

‘Good. I am tired.’

Thank goodness the set had not included Frank singing ‘My Way’; but ease time I hear the song and the words ‘And now the end is near and I must face the final curtain’, I think back on the last Frank Sinatra concert I worked.

Frank Sinatra died two year later. But his music is still a favorite way of mine to relax me.

Glen Campbell suffered from Alzheimers for several years. His last tour is the subject of a documentary by James Keach of his last tour. The title of the film is ‘I’ll Be Me’. If you have a couple hours free and a couple boxes of Kleenix, I would recommend watching it.

In the first part Campbell is happy go lucky, singing his songs, carrying on with the three of his children who are in the band, doing Donald Duck impressions, teasing the young son of the bus driver, and fighting back against the loss of memory. But helpful as the first part of the tour was to Campbell, the second part broght out the horror of the disease. It showed Campbell in a foul mood most of the time, constantly complaining about the way the music was being played, the audiences, and wandering around the stage changing songs on the fly. Making up things to rant about. Forgetting importing things. At peace only when he was deep into singing or talking to his daughter.

His music had helped him but the length of the tour just was too much for anyone, much less a person with his mental problems.

The film premiered in 2015 and was updated in 2017 when Glen Campbell died.

The award winning song, ‘I’ m Not Going To Miss You,’ came about from a quote of Glen Campbell’s one day when he grew tired of trying to answer questions about his Alzheimers. ‘I don’t know why everybody’s worried about. It’s not like I am going to miss anyone anyway.’

And to Jan Berry, Kris Kristofferson, Brian Wilson, Frank Sinatra, Glen Campbell, and Tony Bennett, we understand about the times you didn’t miss anyone; but believe me I will always miss you and your music, memories, and medicine.

And I, for one, use your music as a balm to help overcome the anxiety of growing old.

And in the words of William Congreve

‘Music has charms to soothe a savage breast’

TONY BENNETT-AGE 95+

Tony Bennett – Age 95 +

On his 95 birthday, Tony Bennett with Lady Gaga performed at Rockefeller Center. They did another show the next day. The advanced billing proclaimed it was the last time Bennett would ever perform. His son/manager, Danny Bennett announced that because of age frailty his father official retired.He did not mention that his father was afflicted with Alzheimers.

A month later Tony cut an album, Love For Sale, with his costar Lady Gaga.

Singing was an important part of his life even as a youngster. At the age of 10, standing next to Mayor La Guardia, Anthony Dominick Benedetto sang at the opening of the Triborough Bridge in New York City. Even though he had to drop out of school to help support his family, he continued to try and advance his singing career by working as a singing waiter and going to amateur singing contests, landing a small gig at a club in Paramos, New Jersey, under the stage name Joe Beri.. And all the while trying to earn a decent wage in Hoover’s Depression, a impossible task that made him an outspoken Democrat from then on.

When he tuned 18 he was drafted. The War in Europe was nearing the end. The Battle of the Bulge had reduced the German Army to slow combative retreat. The Allies were pushing the Germans back to their Father Land but at a heavy cost on both sides.

In March of 45, Benedetto was sent to the front in the 255^th Infantry Regiment which had suffered enormous casualties in the Bulge and continued as it led the assault to push back the Germans to their homeland and hopefully their surrender. As Tony described the fighting as a ‘front row seat in hell’. House to house, hedgerow to hedgerow. Wondering if the next dawn would be his last. Somehow he escaped death and physical damage. But the insanity caused Benedetto to be an outspoken pacifist from then on.

He took part in the liberation of a German concentration camp which held a number of American POW’s. This event only increased his hatred of War.

After VE Day he was assigned to Special Services as a singer. But that plum duty was short lived.

He was seen dining with a soldier, a friend from high school, a black soldier. Demoted for this US Military ‘crime’, he was transferred to a desk in Grave Registrations. Funny, while he couldn’t dine with a black soldier, he could work on registering the proper graves of the dead soldiers, irregardless of their color, religion, or any other difference. This punishment did nothing to change his acceptance of people.

Nor did he take a hiatus from his goal of being a professional singer. He found he could entertain in the military by using his old stage name, Joe Beri.

His discharge brought Tony a chance to advance his singing via the GI Bill. He enrolled in the American Theater Wing, a school more dedicated to the theater arts rather than the teaching of music, especially pop music. He was taught in the bel canto method, a 19^th Century Italian Operatic school of preserving one’s natural voice and respecting both the melody and lyrics.

He adopted the style of certain musicians, like Stan Getz and Art Tatum. And he followed Frank Sinatra’s respect for the lyrics of the song, No crooning like Bing Crosby but crisp and precise pronunciation of each and every word.

There were several recordings done in a small studio under the Joe Beri name, but none took off. Pearl Bailey hired Tony to open her show in Greenwich Village where Bob Hope saw him and hired him to go on tour. Hope told Tony Benedetto to shorten his name to Tony Bennett. After sending a demo to Columbia he was signed by Mitch Miller to help fill the void of Sinatra who had just left Columbia.

The first Columbia recording for Bennett was a cover of The Boulevard of Broken Dreams, accompanied by the Marty Manning Orchestra and it had a modest success, which prompted Miller to have Bennett work with Percy Faith.

Faith, the originator of ‘easy listening’ put a lush arraignment to Bennett’s singing Because of You, a song from the movie I Was An American Spy. Ten weeks #1, way over a million record seller. Tony Bennett made the big time. With the song still on the charts, Tony did something he would be known for his whole career, he introduced himself to a brand new audience..

Hank Williams was the hottest C&W artist of the time, one of the best of all time. Williams had a big C&W hit of hisCold Cold Heart and recognizing the greatness of the song, Tony Bennett cut a recording of it. It helped both men because it introduced them both to a new audience, one of the first crossover hits. Williams telephoned Bennett and told him how much he loved Bennett’s version and he plays it on the juke box all the time.

Bennett’s next record, Blue Velvet was hit with the teenagers and he played a run of 7 concerts daily at the Paramount Theater in New York City. Rags to Riches followed and was another #1 hit. The producers of the upcoming musical Kismet got him to record A Stranger In Paradise, a song from the show in order to promote the opening. It worked and the recording hit #1 in Britain, and the young man from Queens became an international sensation.

In the late 50’s Ralph Sharon became Bennettt’s pianist, arranger, conductor, and confidant. Sharon persuaded him to get back to his jazz roots, to forget the sugary songs, and work with jazz instrumentalists like Herbie Mann and Art Blakely. Sharon worked with Bennett for over 50 years.

Sharon almost made a grave error when he put a copy of a song in a drawer and forgot about it; but years later, he remembered it and brought it out for a tour that included San Francisco. I Left My Heart In San Francisco far exceeding the boundaries of the Bay Area and became Bennett’s signature song.

(The first time I worked Tony Bennett was a two concert night at the Guthrie. When we were almost done with loading out the sound equipment, Tony came up to me, shook my hand, told me how much he enjoyed working with us, and asked if he and Ralph could work out something on the piano, which was still on stage. I told him fine and when the sound was loaded, I sat backstage and enjoyed a private Bennett/Sharon concert.

What I didn’t know at the time was Ralph Sharon had taken a few years off from working with Bennett to avoid the endless touring and this was their reunion concerts, and I was privileged to be present when they worked out details of what they thought should be improved on.

Although I worked Tony Bennett many times, one concert was at Orchestra Hall. In addition to Bennett, I worked Anthony Benedetto.)

The other talent Anthony enjoyed as a youngster was drawing, painting when he could afford oils and canvases. Once he became an established singer he turned to art as a relaxation. Oils, water colors, still life, landscapes, and portraits of the likes of Ellington, Fitzgerald, Gillespie, Mickey Rooney, and others.

His amateur status as an artist soon became professional. His works are in in galleries round the world. There are three hanging in the Smithsonian. All his art is singed Anthony Benedetto, which allows them to stand alone, not on the crutch of the famous ‘Tony Bennett’.

(The concert at Orchestra had a large screen and Anthony Benedetto’s art was projected on it as Tony Bennett sang downstage. I was on a spotlight in the balcony, a perfect place to see the painting projections and hear the Tony sing and Ralph on piano. What a treat!)

The 70’s s started out strong for Tony. He worked and recorded with jazz greats like Basie and Adderly. Then the Beatles turned the pop music into the dominating force. Bennett tried his hand at pop and failed. He tried acting and one picture convinced him to forget it.The one positive was he participated in the Civil Rights marches.

He moved to London and became a modest hit with his own talk show. Came back home and started a recording company which turned out two fine Bennett jazz records; but with no experience in distribution, the company failed.

At the end of the decade, Bennett had the IRS on his back along with a cocaine monkey. His music career was nothing except for gigs in Vegas. He almost died from a drug overdose. Enter his son, Danny, an aspiring musician whose career was going no where fast. He devoted his time to getting his father’s life and career back on track.

He convinced his father to stick to the American Standard tunes with jazz backing. Forget Vegas. Take gigs in small venues. He brought back Ralph Sharon just in time for me working the two of them at the Guthrie. Thank you, Danny.

While Tony’s fans stuck with him, he and his songs were unknown to the younger generations. To cure that Danny got him booked several times with Dave Letterman which led to MTV taking an interest and Tony Bennett Unplugged resulted in bringing not only young fans but also a contract again with Columbia, which led to Unplugged winning Album of the Year. Like Sinatra had done, he forewent recording singles and concentrated solely on albums.

Theme albums featuring the works of a great such as Duke Ellington or Louis Armstrong followed along with his Duets album where he sings with a pantheon of great singers like Barbra Striesand. Elton John, Paul McCartney, among others. Albums with just him backed up by jazz artists.

He teamed with the talented K.D.Lang in both recording and live concerts. Later he would do the same with Lady Gaga, who would sing with him in Duets II, along with the voices of Willie Nelson and Amy Winehouse and others.

As the accolades and honors poured in, he continued to work for charitable and political causes. He wrote two books of his memories. There was a big to-do when he reached the age of 80, little did anyone suspect he would have another 15 years of work ahead. At age 88 he recorded another Grammy winner, Cheek to Cheek, which debuted at #1 on Billboard. And he went on an extended tour with Lady Gaga. There was another big to-do when he reached 90, followed by a singles recording of Fascinating Rhythm which he had recorded a few weeks short of 69 years before. At the age of 95, he cut his album. Love For Sale.

The last time I actually spoke to Tony Bennett was New Years Eve, 2015, in an elevator at the Paris Casino in Las Vegas. Bennett was appearing that evening at the Paris where my wife and I were staying. Tickets for his performance had been long sold out and much too expensive for us anyway.

(I was going to the lobby when the door opened up and Tony Bennett got in.I offered condolences on the death of his friend, Ralph Sharon. Tony smiled and said it was a great loss after all those years working with his friend.

Tony asked if I knew Ralph; but the elevator stopped at Bennett’s floor and ended our conversation. He wished me a Happy New Year.

And as the door closed he gave me a thumbs up.

ON ICE – I

Another Olympics. Another scandal. Some of the usual suspects…Russia/young figure skater.

This one had the best excuse I have heard in a long time, ‘I took my grandpa’s medicine by mistake’. But even with the tears and excuse, she finished fourth.

No skating scandal in the 1968 Winter Games though when Peggy Fleming won the only Gold Medal for the US, just gasps of awes. And those awes, some of them mine, were heard again every time she took to the ice in the Ice Follies.

Here is a reblog from the past.

This started out to be another KGB story; but then as I got writing I realized that large Ice Show revues are a thing of the past… just like vaudeville. So as I began to give a brief backstory to the intended story, KGB AND THE ZAMBONI, then I decided to delay it and write a longer version of ice shows as I remember them and as I worked them.

Back in the day when ice shows were full blown revues, ala Ziegfeld Follies on Broadway, only on ice, and not today’s costumed skaters presenting a cut-down Disney movie, there were three major ice shows touring the country. Big shows. Big sets. Large casts that included solo stars, chorus lines, comedy sketches. And they used a large number of local stagehands. Spectaculars!

The original was Shipstads & Johnson Ice Follies. It was launched by the two Shipstad brothers, Eddie and Roy, and Oscar Johnson. The three friends grew up in St. Paul, MN and were regular ‘Shop Pond ice rats’. The Shop Pond was behind the Great Northern railroad shop where the neighborhood kids had adopted as a rink for hockey and figure skating. It was on this pond that the Shipstad brothers and Oscar Johnson worked out routines and entertained audiences who were standing in the cold at the edge of the pond, and it was here that a new kind of entertainment was created. The world of lavish ice skating productions.

The three friends started the company in 1936. They were featured in the Joan Crawford movies, THE ICE FOLLIES OF 1939, starring Joan Crawford and Jimmy Steward, hoping to compete with the Swedish ice skater Sonja Henie’s popular movies. It flopped and didn’t put a dent in Henie’s popularity, but it put Ice Follies on the map. Sonja Henie eventually worked with the two major ice shows that followed the Follies; but she never worked for Shipstads and Johnson, because they had their own stars.

Over the years they presented many stars of the ice, for instance the comedic skating duo from Switzerland, Frick and Frack. Prior to bring in this act, Eddie Shipstad and Oscar Johnson were the comic skaters, with their skid row routine. They were good but Frick and Frack were great.

Vastly popular, their stage names were adopted into the English language as a term for two closely identified people. Some of their routines are seldom performed because they are just too hard to do.

When Frack retired, Frick continued as a ‘solo’, using various young skaters as second bananas, who were never given a name as part of the act. One reason being the young skaters changed quite often. Some quit the act after just few performances. Frick was not an easy person to work with. He was very good but not as good as he thought he was. He was popular on the ice but not backstage. He was not friendly to his fellow skaters or the stagehands.

Roy Shipstad was a talented figure skater. He skated under the name Mr. Debonair. Recognizing that his age and front office work would force him to discontinue his Mr. Debonair routine, he scouted for someone to eventually take over the role. He found a youngster who was so good they didn’t wait for him to replace Roy Shipstad. They gave him a spot in the show under the name Young Mr. Debonair. He became a fan favorite from the start.

Young Mr. Debonair, Richard Dwyer, grew up in the show. Starting out as a preteen he continued skating well into adulthood. He went to high school in every city they stopped that had a Christian Brothers school. A few weeks here. A few weeks there. Had assignments to do from school to school. Got his high school degree working and touring.

Like Roy Shipstad, Richard was the epitome of a gentleman, before and after he dropped the ‘Young’ from his introduction, skating a classic form, dressed in a tux with a flower in his button hole. He always skated with six beautiful women in flowing gowns and gave out roses to women in the audience. And off the ice he was also a gentleman. A favorite of any one who worked with him, including the local stagehands like me.

Then there was a second generation Shipstad, Jill. Daughter of Roy, her routines were athletic and used some humor. Skating to music with a jazz beat, she seemed to be jitterbugging rather than the traditional graceful gliding.

One of Eddie’s son, Bob Shipstad worked in the front office and helped develop routines for the skaters. For one season the show presented Sesame Street costume skaters. When the Follies went full time Disney, Bob worked several years helping Vince Egan develop Sesame Street Live, (no ice skating), into the block-buster it is today.

Another star developed by the Follies was Karen Kresge. That gal was quite an athletic skater. And her routine was sexy with a capital S. Every male in the audience, that might have been nodding off, woke up when she was burning up the ice. In later years she, like many of the ice skating stars, worked for Holiday On Ice and also did choreography for both skaters and dancers. She worked with Woodstock Productions, a Charles Schultz company, for over 30 years. She was a great favorite of Snoopy, Schultz’s famous creation.

Charles Schultz grew up only a few miles from the Shop Pond albeit several years after the Shipstads and Johnson were on the Pond ice. Like many kids in that neighborhood Schultz loved ice skating all his life. In his later years he owned an ice rink in California and has an ice rink named for him in St. Paul.

(A little aside. Although Shipstads, Johnson, and Schultz grew up in St. Paul they had problems with their hometown. Feeling they were slighted at their start, the Ice Follies refused to perform in St. Paul. All their Twin City performances were in Minneapolis and its suburbs. Schultz had his first strip ‘Lil’ Folks run the St. Paul Dispatch and then in 1950 the paper dropped him. A few years later they begged to have him back, but he vowed never to allow his strip, now re-titled as Peanuts, run in the St. Paul paper and it never has.)

And my all time favorite figure skater is Peggy Fleming, Gold Medal winner in the Olympics. Three times World Champion. Went on to be one of the biggest stars of Ice Follies. And like Richard Dwyer, one of the nicest people to work with.

Such a sweetheart! I made certain I had the same task each time the show was in town. After she finished her routine I would hold a flashlight so she could ‘walk’ up the rubber mats on the ramp to her dressing room. She asked me my name the first time I helped her, and she always remembered it over the years, and thanked me by name each time up the ramp. And always with her warm smile.

She changed her act each season but the one I remember the most her all blue routine. The ice bathed in blue light. Peggy wearing a blue gown. The eight follow- spots spread around the arena capturing her every movement, every facial expression, in their soft pale blue lights.

And, even though the show trouped an orchestra, she skated this routine to a specially made tape of Frank Sinatra singing, IF YOU GO AWAY. Slow, sad, graceful skating as the lyrics lamented the thought of ‘you’ going away. Fast, gleeful skating as the lyrics changed to ‘but if you stay’. Back to the sadness of ‘if you go away, as you know you must.’ And ending in a slow face to black with the words, ’please don’t go away.’ Frank Sinatra singing a great song and Peggy Fleming skating in a blue world! The poetry of a real ice show.

Peggy married her high school sweetheart and they have two sons, and three grandchildren. She overcame breast cancer and is a spokesperson for early detection of the disease.

She keeps her hand in ice skating as a TV commentator.

Beloved by millions, her biggest outspoken fan was Snoopy, Charlie Brown’s dog. Charles Schultz devoted many a panel on Snoopy’s love for Peggy.

The Follies went downhill in a hurry as a lavish ice revue when the Felds, father and son, bought it. The father, Irving, was a show business promoter specializing in rock concerts . He brought his son Kenneth into the business and the two became big time promoters, with their flagship show, Ringling Brother Circus. In 1979 they bought Ice Follies and in 1981 they worked out a deal with Disney and Ice Follies was no more. The only big ice show now is the Disney costumed show centering around a Disney movie.

The Felds were not innovators but grew rich from the hard work and genius of others. The name Feld is not popular the show business community. The skaters of the Follies complained that the Felds were trying to make their show a circus on ice. They took acts like trained dogs and traditional clowns from the circus and introduced them into the ice show as additional acts that worked on rubber mats. They also introduced common circus practices such as low pay and disregard for their workers and performers. They helped grease the skids toward the extinction of the big ice reviews.

(In 1984 the Follies were doing their yearly stint in the Twin Cities. We had just finished up the between-acts preset and as we walked up the ramp we heard a lot of clapping and gleeful shouting in the dressing rooms hall. I asked a skater if what the clapping was about. ‘Somebody win the lottery?’ He said that the stage manager had just announced over the horn that Irving Feld, (the father), had just died. Ooh, applauding this. Cold, cold!)

I don’t know about the popularity of the Ice Follies around the country prior to the plug being pulled, but I do know they were selling out in the Twin Cities. I often thought that the show changed to Disney On Ice was because the big-name skaters did not want to work for the Feld Organization. It was much easier to control youngsters wearing Disney costumes, who are thrilled just to be in show business, then skaters who upheld the tradition started by the Shipstads and Johnson way back on a little ice pond behind the railroad garage in St. Paul.

After the Ice Follies began, two other organizations put large scale ice shows on the road. Ice Capades and Holiday on Ice. In On Ice Part 2, I will write about them.

I KNOW NOTHING

HOGAN’S HEROES was a weekly prime sitcom consisting of 168 episodes running from 1965 until 1971. Set in a German POW camp, it’s humor revolved around an inventive group of Allied POW’s outwitting the inept group of German overseers. It scripts and cast continue to amuse us even today on cable.

This reblog is from 2014. While it doesn’t deal with the TV show directly, it hits on my experience of the show’s acceptance on 2 former POWs and also a time Leonard Nimoy asked a question..,and was sorry he did..

One reason for the reblog is the excellent work being done by John Holton in his blog The Sound of One Hand Clapping. After a post on the Allied characters/actors, and another on the German characters/actors, John is writing a complete synopsis of each of the 168 episodes. Fine, entertaining writing, whether or not you are familiar with the show or not.

https://thesoundofonehandtyping.com/hogans-heroes-episode-index/

I Know Nooothing

On Memorial day weekend (2014) I read an angry letter posted on the web. The writer, a young (?) Politically Correct activist was railing out against the fact the old TV comedy, HOGAN’S HEROES, was still being shown on cable TV. She felt it was a great disservice to all those who were POW’s of the Germans in WWII. She wanted the series to be hidden away like the old AMOS & ANDY SHOW. In a way I could see her point; but… (It was the first TV show where Black actors had main roles along with the White actors.)

Two of my favorite coworkers at the Guthrie Theatre spent a large part of WWII as prisoners of war in German camps. Chuck Wallen, an American, was a stagehand and set carpenter at the Guthrie. Michael Langham, an Englishman, was the Artistic Director of the theatre. They were in different camps but they both had similar experiences during their years as prisoners.

Chuck, an Air Corps navigator, was on his first bombing run when the plane was shot down. He parachuted out, landed in a cow pasture and broke his back. A village doctor set Chuck’s back as best he could, but the setting would have left Chuck unable to ever stand straight again. A German doctor, seeing the problem, fought red tape and got Chuck to a hospital where the doctor rebroke the back and set it correctly. Chuck spent the rest of the war in a POW camp in Germany, but at least he could stand straight.

Growing up, Michael Langham’s hero was the Duke of Wellington. Because of this, Michael  went to Officers’ Training School where he received an officer’s commission just in time to take part in the final days of the Battle of Dunkirk, namely the retreat to the beach. When the Miracle of Dunkirk was accomplished, Michael was not one of the lucky ones that were transported back to England. He was in the group that missed the boats and were captured by the Germans and placed in a POW camp, where he spent the duration of the war that he really never got to know first hand.

It was the camp where the Great Escape took place, although the tunnel was in a different barracks and Michael was not involved or even aware of what was going on. To kill time in the camp, Michael joined the theatrical group. Sometimes Michael acted, sometimes Michael directed. By the time the camp was liberated, Michael no longer thought of himself as the next Duke of Wellington. Instead, he pursued a career in the theatre, substituting Tyrone Guthrie for the Duke of Wellington as a role model.

It was the years of HOGAN’S HEROES in prime time. The day after each new episode aired, Michael would make his way down to the shop where he and Chuck would spend about a half hour or so going over the episode, laughing and comparing characters on both sides of camp to people in their camps. Since I was working the show the nights the series aired I never got to see it until years later in reruns. Sometimes though when I was working during a day when Chuck and Michael got together, I was privileged to listen to those two reminisce.

So, now when I find myself laughing at the antics of Hogan and the gang, I don’t feel any guilt. After all, two members of the Greatest Generation, who had first hand experience in POW camps laughed at the same antics many years ago.

On the other hand, another favorite acquaintance, Jim Daly, who survived the Bataan Death March and the ensuing years in a POW camp in the Philippines, would not have found anything funny during his hell on earth.

  

We doing a week of VINCENT in Scottsdale, Arizona about nine months after Bob Crane, Hogan of HOGAN’S HEROES, was murdered in this posh city of many rich retirees. Mr. ‘Just Call Me Bob’ Herberger, founder of the Herberger’s department store chain put on a big fete for us at his house. He had enjoyed the play and especially liked the fact that it came from the Guthrie in his home state of Minnesota. I think he spent more time talking with another Minnesota native, namely me, as he did hobnobbing with Leonard Nimoy, the star of VINCENT. It was a fun time with only one slight bump in the road.

Almost all of Mr. Herberger’s invitees were, like him, enjoying their retirement in the land of the sun. There wasn’t a Ford or a Chevy mixed in with the Rolls and Caddies, and although the it was Arizona casual dress, it wasn’t the casual dress wear that came off the rack at a Herberger’s Department Store.

There was one group of men that seemed to hang together. They looked like they could have been extras in THE GODFATHER. Maybe one of them brought the cannoli to the party. A couple of them were more interested in talking to Leonard about Dr. (sic) Spock than about Van Gogh, something that always irritated Leonard; but he remained a gentleman and answered their questions about Spock and STAR TREK as the old timers wanted.

Then Leonard asked them a question. ‘You know, Bob Crane and I use to be friends back in the days we were auditioning for jobs, and then when we both were in hit shows. Hadn’t seen him years though. Now,’ Leonard said in a quiet voice, ‘What’s the real skinny on Crane’s murder?’

You don’t yell fire in a theater, and you don’t ask these old men about murder. Their silence was deafening. They didn’t have to talk. They just gave Nimoy  – the look. Finally one of them spoke up in a raspy whisper. ‘Don’t ask about that guy again around here. You don’t want to know! Understand?’ Leonard nodded and the subject was dropped. He smiled at the group of men and left to get a refill on his Beefeater’s martini.

In the words of Sergeant Schultz, ‘I know nothing.’

LAST TRAIN OUT

There was four of us working in the boxcars for the Russian Circus Load Out. There was Joey B., my partner at the Guthrie, and always fun to work with. And an oldtimer, Big Ike. Surly and strong. You overlooked his zero personality because he loved to show off his strength and would always pick up the heaviest thing around. And then there was Mike, our handicap.

Mike was a young apprentice that worked harder to get out of work than if he just did the work. It wasn’t what he wanted in life. His family forced him into being a stagehand like his father and brother. He could screw up a one car funeral procession. His big ambition in life was to be a milkman. He believed in the urban legend that some milkmen delivered more than bottles and butter to lonely women on their route. He did a lot of day dreaming and his dreams always wore skirts.

There were three boxcars waiting for us on the spur. It made sense that the first things loaded were the four bears in their cages. What didn’t make sense was the cages went into the middle car and the cages were open without their metal sides. We couldn’t use the dock because there were the personal steamer trunks and wardrobe boxes clogging up the center of the dock. It was easier just to go through the bears’ car. There was plenty room to walk without a bear actually hitting you with it’s paw, but it still made you jump every time one swung at you.

One of the bear trainers was giving them food and water. Ike bellowed and pointed to the metal sides that were underneath each cage and demanded they be put on the cages. The trainer told Ike nyet and continued his chores. That got Big Ike mad. He swore at the trainer, called him a snuffing Commie and now, not only did we have bears to watch out for, we had an angry Ike.

It didn’t take much to get Ike mad. He’d could get mad at a snuffing falling leaf.

Big Ike only feared one person… his wife. She allowed him to smoke a pipe in the house but not to use vulgar language or drink in the house. He obeyed her rules. Instead of the common swear words, he came up with one of his own, ‘snuff’, complete with all the variations. And he quenched his thirst for whiskey by keeping his jugs of Four Roses out in the garage. Even after his wife died, Ike never used ‘vulgar words’ nor drank in the house but walked out to the garage quite often.

Henri, the French-Canadian road carpenter, my far, far cousin came out with the first load of equipment, to explain what to expect and to introduce us to the Russian stagehand who would, through a very little English and a lot of finger pointing, tell us how the pack went.

Ike got in Henri’s face right away about the snuffing Commie bears.

Henri explained, before he and the trainer left, that the trainers told him the bears would not go to sleep in the dark cages and needed fresh air. He also said that there was something in the food that would put the bears to sleep. That was evident because the two bears that had gobbled down their meal were now curled up in the far corner of their cage fast asleep. The two who did not eat were awake and pacing back and forth in their cages, stopping only to reach out at us when we walked by. Then one of them decided to eat and he went out like a light.

That only left one bear awake to swing at us.

Ike bellowed at bear to eat and go to sleep, but to no avail. The bear seemed to be having too much fun watching us jump every time he pawed at us.

Then, Joey B. figured out that maybe this was the bear that Richie had given cigarettes to, the one that like to chew on tobacco. Joey threw the bear a cigarette. Joe smoked filtered menthols and after the first taste, the bear spit it out and growled.

I quickly reached in my shirt and threw him a straight Pall Mall. That was more like it. I could swear the bear nodded his head to thank me as he chewed on my cigarette.

One problem though, now the bear wanted another cigarette every time he saw us. I said that I wasn’t going to give the bear all my smokes. Big Ike said all he had was pipe tobacco and just enough left in his pouch for two more pipe fills. Joey shrugged and said all his cigarettes did was make the bear angry.

The three of us turned to Mike. We had seen him smoking a roll-you-own when he got out of his car. We told him to roll one for the bear.

Mike thought that would be a great idea. The bear would really like it. He took a paper and his draw-string bag.

‘Snuff it,’ shouted Big Ike, grabbing the bag out of Mike’s hand, ‘Give him the whole snuffing thing.’ And he threw the bag into the cage.

‘No,’ screamed Mike, ‘That’s a dime bag! That cost a lot of money.’

Ike bellowed, ‘A dime ain’t a lot of money, you snuffing dehorn!’

Then I tried to explain to Ike that dime bag wasn’t tobacco. It was grass. Ike just frowned at me.

Then Joey B. took over the expiation. ‘Grass, Ike. You know wacky-tabaky, Mary Jane, merry-wa-na.’

‘Drugs! You doing snuffing drugs, kid!’ He made a gesture as if to slap Mike. ‘Does your dad know you are a snuffing druggie? You a snuffing hippie beetlenic like Richie? Sit around smoking that snuffing dope and banging on bingo drums. No wonder you’re such a snuffing bad stagehand. Drink whiskey like the rest of us do and straighten up!’

The Russian hand said something and pointed to the bear, who was chewing on the bag. The draw-string hanging out of his mouth. He hadn’t spit out the bag. Instead, he was sitting on his haunches, chewing slowly, looking at us. Joey B. said he was positive the bear had a grin on his face.

The rest of the night, the bear did not move from the spot. Every time we walked by he just looked up, his eyes half shut, chewing slowly on Mike’s dime bag.

‘You know, Joey,’ Ike said, ‘I think the snuffer is grinning.’

As we were wrapping up the load, a train engine backed along the rails to the cars. A car drove up and Henri and the smaller one of the bear trainers got out. The trainer went into the bear car and opened up a sleeping cot. The Russian hand closed all the doors on the sides of the box cars.

Henri thanked thre three hands and his ‘Cousin Donny.’ Mike jumped off the dock and ran to his car. He had told us earlier that there was a girl who promised to leave the door unlocked for him.

The Russian stagehand shook hands with Joey and me and told us pasib.

Big Ike refused to shake hands with a snuffing Commie.

And then he spoke in broken English. ‘Russia, no choo-choo. Trucks. Better.’

‘Another great Russian invention like putting casters on boxes,’ I said, shaking my head. ‘Trucks to haul show biz, not trains. We’ll have to remember that. Pasib. Pasib.’

The engine made a loud bang as it coupled into the first car. The railroad man that had been watching the couple connect, ran and jumped into the engine. He waved at us as the train pulled away.

I turned to Joey B. and Ike and commented that might be the last time any one of us work a train load out.

‘We thought the same things when the last Met Opera train left,’ Joey B. said.

‘Yeah, kid, maybe’ Big Ike said. ‘But the longer you stay in this snuffing business the more you learn to never say never.’

‘Yup,’ Joey B. added, ‘And you never say goodbye to any other stagehand because chances are even if they go far away, someday you’ll probably be working with them again. You say see ya.’

‘Snuffing right,’ Big Ike agreed, and the three of us said, see ya, and walked to our vehicles.

Joey B. and I had a lot more fun years together until he retired, moved to Ensanada, Mexico, and bought into a fishing boat. Big Ike’s arthritis caught up with him a few years later and he moved to Arizona, hoping the sun would ease the pain. Mike! About a month after the train, his bad stagehanding reached the limit and his father stood up at a union meeting and proposed we take away his son’s apprentice card. Mike moved to California. Never got a milk route but last we heard he was the promoter for an All Girls Celebrity Softball team.

I got in my pickup and watched until the lights of the train disappeared in the early morning darkness.

And in spite of what Big Ike said

that was our Last Train Out.

MEMORIES OF PRINCE

PRINCE IS DEAD AT AGE 57!

( Last April 26 was the 5th anniversary of his death. Had he lived he would be 62 today. Mind boggling! Here’s some bits and pieces from the 2 blog posts, Strangers on The Stage and Purple Pain, both in Stage Hand category, that I wrote about working Prince Roger Nelson, aka the Symbol, the Slave, Skippy, and other names this eccentric genius dubbed himself; but to his fans and admirers he was and is PRINCE.

What shock! I first worked him 45+ years ago. Watched him grow from a self-assured teenager to a world famous Hall of Fame musician, singer, songwriter, actor, musical innovator and creator of a new genre of music.  Always his own man, always stuck to his roots. Born and raised on the north side of Minneapolis, spent his adult life in his purple fenced home and recording studio, Paisley Park, a few miles from his first home and his youthful friends. (And made a lot of money for the stage hands in his area.)

His tours were some of the biggest on the road, and yet he gave concerts, some announced, some impromptu, for his fans at small familiar venues like First Avenue and Paisley Park. His roots. His fans.

He left behind a great legacy of music and memories for people all over the world. And even today his genius is springing  out with ‘new’ works that was never made public before.

The first time I worked Prince was in the early 70’s. There was a benefit at the Orpheum and Prince Nelson was one of the many performers. There already had been a lot of buzz about this young talent. He was somewhere in the middle of the card. The acts that followed him, didn’t stand a chance. Everybody present, especially Prince, knew that this youngster could be Big Time.

(I stand corrected. I worked him when he earlier when he was studying classic ballet, on a grant, with MN Dance and he was a one of a multitude of little dancers in Loyce Holton’s NUTCRACKER.)

And it didn’t take him long to prove everybody right. Unlike the other Minnesota musical phenom, Robert Zimmerman, a.k.a. Bob Dylan, who paid his dues working small coffee shops in Minneapolis and New York for years before he was recognized, Prince Nelson, a.k.a. Prince, hit the ground running. He released his debut album when he was only 20. Less than a year later, his second album went platinum. And unlike so many others born in ‘fly-over country’, Prince kept his base in his homeland, rather than moving to the glamour cities of the coasts. As a result he generated a lot of opportunities and wages for the locals.

I worked Prince in concerts, benefits, rehearsals, but the longest stint came with the PURPLE RAIN tour production tech in the fall of 84. Prince was at the top. His single, PURPLE RAIN, was arguably his best single. His album, PURPLE RAIN, was arguably his best album. And his movie, PURPLE RAIN, was his first movie and would turn out to be his  best movie, not argument on that one. And he wanted the PURPLE RAIN tour to be his best.

The set would be one of the biggest ever to tour the arenas. It was the first one, that I know about, where the set was constructed downstage in the arena, while the lights and sound were being hung. Then the set was rolled by a very large crew to it’s proper position. It was two-tiered with plenty of ramps to dance on and had three scissor lifts to add to the excitement.

(I was local head carpenter from the first; and because the tour carpenter was busy working out the logistics of the coming tour, I was the local head carp even when we went into the St. Paul jurisdiction. I, and several of my favorite hands, sons and nephews, put up the complicated set in every move and worked all the rehearsals also. By the time the 4 weeks were up we knew more than the road carpenter concerning the set.)

To further enhance his tour, his second front act was Sheila E, another of his many protégés and one of his main squeezes at the time. Sheila E was already a much sought after percussionist with stints with names like Lionel Richie, Marvin Gaye, Diana Ross.

She also had the very sexist title of the best female drummer in the land. When Prince ‘discovered’ her, he got her a recording contract and wrote two songs for her to sing, THE GLAMOROUS LIFE, the title song of her first album, and THE BELLE OF ST. MARK, both of which cracked the charts.

His first front act was a girl trio, Apollonia 6, featuring Apollonia, his co-star in the PURPLE RAIN movie. It started out as a replacement for Vanity 6, when Vanity went out on her own. The trio’s act on the tour was short to begin with, and got shorter when Prince decided that Apollonia was pretty, but really couldn’t sing any better than she could act.

For me, the tour production was four weeks of long, long days. In the four weeks I might have had a full eight hours of sleep two or three times. Several times worked around the clock, once for 48 hours before I had a chance to sleep for a few hours on packing blankets. We started the production at the Met Sports Arena, then moved to the Minneapolis Auditorium, over to the St. Paul Civic Center, and finished out back at the Met. Big money, but a lot of hard work and a lot of pain. Although offered a job on the tour itself, I said no way and was elated when we shut the door on the last truck on the way to Detroit to begin the tour itself. Purple Rain. No! Purple pain – for a lot of us.

Prince himself got me good one day. I was walking in the circular hallway around the arena at the Met. All of a sudden I heard, ‘Stop! Watch out!’ Luckily, before I had a chance to turn and maybe get hurt worse, something hit me in the back of the legs. I was prevented from falling forward by a set of arms and legs. I fell backwards onto a road box.

‘I’m sorry! I’m sorry! Are you okay? I’m sorry!’ I looked up into the face of the apologizing Prince. I told him I was okay.

‘Good’, said a voice coming from beneath me. ‘But darn, you’re heavy.’ I looked around and saw the face of Sheila E. I had ended up sitting in her lap. Now it was my turn to apologize. I quickly got off her.

It seems that His Purpleness wanted to have some fun and got Sheila E to sit on the front of the road box. Then, head down, he pushed the box as fast as his short legs could pump. They rounded a curve – and there I was. Not too much damage to me, except a purple, naturally, bruise on the back of my legs. They turned the box around and laughingly continued their fun in the opposite direction. While I limped back down the hall.

(Prince was also a very good athlete in high school. I know he loved to play basketball. The net and stand was one of the first things that we put up at his rehearsals, He was always the shortest in games with anyone who wanted to play, but he was the best dribbler and a good shot.)

Prince laid down the law as regards the tour, he would not tolerate any drug use whatsoever. Musicians, roadies, security force, nobody. He refused to hire as one of his many body guards, ex wrestler, a future governor of MN, Jesse The Body Ventura because Jesse was reported to have a drug background while wrestling.

(Ironic that Prince would die of an overdose of pain pills, considering his hatred for drugs; but I know he must have had great pain in his older years. He never spared his body, leaping around the stage and even off of it during his performances. And certainly the incident that happened one night at a Purple Rain rehearsal, the one that I tell about in the cartoon below contributed a great deal to his future pain.)

Like I pointed out, the rehearsal for the tour took a lot out of people. Made them do things they wouldn’t do if they weren’t tired. Even Prince suffered because of rehearsal fatigue. Like the last week, a few days left to wrap up the rehearsal and take the show on the road…. But rather than me writing about it, the talented Joel Orf drew a cartoon of the incident that my alter ego, The Old Hand, related to him. That character in the hat is me wearing my ‘trademark hat’. (Click on it to enlarge.)

I was on my knees in a downstage wing paging a mic for Patti LaBelle. Her concerts were always very fine, except her set belonged in an arena, not a theater. Very crowded on stage. And since wireless mics were still unreliable, a stagehand was needed to page the cable to keep it from tangling in a set piece. You have to concentrate. For that reason I didn’t realize that there were people in the wing with me until they had me surrounded.

I saw a short pair of legs clad in tight purple pants. I didn’t have to even look up to know it was Prince.

The second pair of legs were much longer and much more interesting.. The right leg was clad in a conventional tight, but the left leg was naked up to the short shorts. I knew it was Sheila E. That quirky bit of wardrobe was designed especially by Prince for her.

The third pair were longer still. Both legs naked. The shorts, shorter still. The blouse so tight you could see, even in the darkness of the wing, there was no bra underneath. It was Kim Basinger.

Prince might have been short in stature, but he more than make up for it in self-confidence. Not many men would dare attend a concert with both an ex-girlfriend and a current girlfriend. Or maybe it was a current girlfriend and an about-to-be ex-girlfriend, maybe two current girlfriends.

But that was Prince, The Artist Formally Known as Prince, The Love Symbol. And for all I knew, Madonna, Carmen Electra, Vanity, etc., etc., etc., might all have been at Paisley Park waiting for the three of them to return so they could all ‘party like it it’s 1999‘.

A few of my memories of the little man, the giant musician.

His Purple Highness

  

               

Spoke PAUL NEWMAN

Celebrity endorsements or protests of political figures or views exploded during the Viet Nam Conflict. Nothing like what is going on the 2020 presidential race, but something totally unseen in the US before then.

Before WWII there was the Isolationist Movement with Charles Lindbergh as the figurehead; but after Pearl Harbor, the movement disappeared. Even Lindbergh volunteered to fight for the Allies. Turned down by the Army Air Corps, he was hired as a civilian advisor. Countless celebrities expressed their views by action, entering the War via draft or volunteering. Their actions better than words.

The Korean Conflict, America’s Forgotten War, received little media attention, let alone public concern. The American Legion and the VFW took a lot of soul searching and time before they accepted the fact that the participants were actual foreign war veterans and could become members. The US and the other countries involved did so under the auspices of the UN because of the Domino Theory, fear that if the Communists weren’t stopped in Korea, they would hit Japan next. The biggest Celeb attention came from the TV show M.A.S.H. filmed years later.

And then came Viet Nam. A civil war of words and protests broke out. Household names, personified by John Wayne on the right and Jane Fonda on the left, voiced their opinions on the involvement like never before. One side used the Domino Effect and patriotism, ‘My Country Right Or Wrong’, as the base of their arguments. The other pointed out that it was a Civil War fought to end French Imperialism and has nothing to do with the US. In short, we were involved in an unjust war.

Did the dueling names have any influence with their public views? Perhaps. The US involvement continued in spite of government lies and illegal acts, and the Draft was changed to add a numbering system; and finally our government yelled ‘Uncle’ and withdrew. Today the Communist country of Viet Nam is a prime trading partner of the US.

Did their views harm the careers of the endorsers? Well, in spite of history proving him wrong, the career of the outspoken John Wayne actually got a much needed boost; that and the fact that he finally learned how to act instead of just being the Duke over and over. It also gave him another military-hero movie to proclaim his patriotic spirit and remind people of his bravery in WWII…films.

Jane Fonda’s career nose-dived; not because of her protesting per se, but it’s extreme. She went into the capital, Hanoi, of the enemy our military was fighting. She cavorted in her photo-ops just a few miles from where American POWs, American heroes, were encaged. Her actions were not only in poor taste, they bordered on treason. It took many years and a lot of exercise tapes before she regained a career as the excellent actress she was prior and still is.

The Viet Nam draft was geared toward the lower middle class and minorities. Those of wealth and fame were passed over by the local Draft Boards. The most notable exception was Mohammad Ali, the Heavyweight Boxing Champion of the World.

Ali was vocal in his refusal to fight in Viet Nam on religious and civil rights grounds. He said he did not believe a man should kill another man. He also asked why should he shoot brown people who never did him any harm when nothing is being done in his own country to protect the rights of dark skinned citizens from civil abuse. He was found guilty of refusing the decision of his draft board, and the government of the United States stripped him of his World boxing title. He didn’t lose it like he won it, in the ring. It was a World title but the US, and the US alone, took the title from him. To hell with the rest of the world.

The US Supreme Court, by an 8 to 0, vote over-ruled the guilty decision. Ali, a few years later, won back his World Title the way he first earned it, in the boxing ring.

There were no celebs fighting Viet Nam at the time but many of the veterans of the fighting became famous afterwards…men like Oliver Stone and Kris Kristofferson saw action and translated their experience into movies and music.

Some, like ex-VP John Kerry, went and fought in Nam, earned a chestful of medals, came home and then protested the war.

Student deferments were one way of avoiding the draft. Some like ex-Pres Bill Clinton used the deferments in the right way. He finished near the top of his class in Columbia, did two years at Oxford as a Rhodes Scholar, and finished near the head of the class in Yale law school.

Others needed a little help. Ex-VP Dick Cheney, a hawk who pushed for our attacking Iraq and Afghanistan among other things, lost his deferment when he flunked out of Yale. Faced with a One- A physical, he quickly entered the U of Wyoming and managed to keep up enough grades to avoid the draft.

Money and pull also helped. Wayne LaPierre, of NRA fame, was in trouble until his rich daddy found a doctor who stated that Wayne had a nervous condition. This phobia would prevent him from ...wait for it.. ever firing a gun.

When it looked like ex-VP Dan Quail was about to be drafted, his father managed to get him in the Indiana National Guard HQ, even though this perfect refuge was full at the time.

Ex-Pres H.W. Bush, a true WWII hero, had no sons drafted. His one son, ex-Pres George W. Bush, a true war hawk who was responsible for our invading 2 innocent countries that had nothing to do with the 9/11 attack on the US, managed to avoid real military service through pull. He got into the air wing of the Texas National Guard and was trained as a jet fighter pilot. His lack of good aptitude and his poor attendance would have 86ed most other trainees, but he managed to receive millions of dollars worth of training; and He would have saw action if Texas ever was under attack but…

Oh, also he skipped out of the last several months of his service requirement to work in a senate election race in Alabama. Still he was given an honorable discharge.

Many avoided the draft by pretending insanity. The rocker/NRA poster boy/reality TV hunter, Ted Nugget tells the most disgusting story of how he ‘fooled’ the docs about to give him his physical. It’s on the net but if you have a weak stomach I would suggest not reading it.

And some like ex-mayor, Guiliani, avoided it under never-explained-circumstances. But then so much he does is impossible to explain.

Europe was one refuge for draft dodgers. Sylvester Stallion, who like John Wayne, is an actor who fought a lot of battles…in films only. He didn’t bother to report to his draft board when he turned 18 and went to be a ski instructor in the Alps instead. While his fellow Americans were being shot at, Stallion was enjoying himself earning his nickname, The Italian Stallion. And bragged about it. But unlike another well known draft dodger who fought the battle of avoiding VD and bragged about it, Stallion never called those who did fight ‘Losers”.

Mitt Romney, who backed every war except the one he have had to see action in, took advantage of slow draft board and went to Europe on a Mormon door-knocking mission.

Although almost 100,000 American males went to Canada to escape the draft and or deserted the service itself, there no celebs among them.

ExPres Jimmy Carter, a US Naval Academy grad, who served seven years in active service, five of which were in submarines, and who left the service only because his father died and he had to go back to the family business, ran for the presidency vowing to pardon all Viet Nam era draft dodgers. And always true to his word, Carter pardoned them all on the day after he took the oath of office. Carter was a one term president. Many vets said they voted against him because of his pardoning the draft dodgers. Wonder how many of these same vets voted for Trump.

Only about half of exiles choose to return to the US where a military record or lack of one meant a great deal in obtaining work. Government work, and some private employers, gave preference to military veterans. If a man had no military history employers wanted to know why. If a man had been in the military, the need for proof of an honorable discharge was required. The thought of a draft dodger getting elected to public office was out of the question…or so we thought.

Does it help? It certainly can’t hurt as long as the celeb that is doing the endorsing is a little higher than a has-been D-Lister, or an organization such as the Taliban.

Is it fair? I’ll defer that question to Paul Newman, outstanding actor/idol, and such a strong advocate of liberal politics and politicians that he made the FBI Enemies List in the Viet Nam Era.

When I was in charge of the stage of Northrop Auditorium early 60s, several times a week prominent speaker was booked for a free noon- speaking engagement. No tickets. No ushers.

The speakers were from all fields, but in those days, the ones that spoke out against Viet Nam involvement and the one pro-Civil Rights were the most popular; but none so popular as a symposium consisting of two pro Viet Nam advocates and two anti Viet Nam Advocates, one of the later was Paul Newman, and a moderator.

Unlike the usual audience of less than a thousand, this one was standing-room -only on the main floor with young ‘ladies’ elbowing their way up the aisles to get closer to the stage, and the balcony was almost half full also. At least 4,000.

It was a well informed and interesting hour, even if most of the audience only listened when Paul Newman spoke. When it wasn’t his turn to speak, he sat listening intently, all the while chewing on his gum. Paul Newman Cool.

I and my student crew had constructed a TV ‘studio’ backstage for a Paul Newman press interview after I pulled the stage curtain shut. Everything went well until one of the TV reporters asked him if he didn’t think it was fair that a famous celebrity like Newman should get involved in something as important as the Viet Nam War. People might agree with him only because he’s a movie star.

I swear the temperature rose ten degrees. Those famous blue eyes blazed. He took out his gum and threw it in a waste basket. He stood up… and Paul Newman spoke.

I can’t quote him verbatim but I can relate the gist of his speech: I am an American man with the right of Freedom of Speech. I am a father with a son that I hope will never have to fight in a war as unjust as this one. I am not a black man, but I am part Jewish and know that we must fight for Civil Rights and condemn the racial and religious hatred that persists in this country.

I am an actor and most people will listen more to me than to a truck driver or farmer, or even a clergyman. Not only is it fair for me to make my views public, it is my obligation. Whether or not they listen and believe in my viewpoint is immaterial. At least I might have opened the door to a different side of the argument than what they are use to listening to. And if I am just singing to the choir I am letting them know that I agree with the songs they are singing.

Thus spoke Paul Newman.

(A little aside from the topic.)

Many of the young ladies in the audience were not interested in going to their next class. They wanted to hang around Northrop to get a glimpse or better yet an autograph of Paul Newman. When one of my student crew was locking up the main auditorium a young lady whispered him aside. She offered him five bucks if he would get the gum that Paul Newman was chewing on. He dug it out of the trash can and sold it to her. Then he and another crew member got a couple packs of gum and after chewing a stick, would offer it in a very discreet manner to a waiting fan. I heard later they started asking ten bucks but dropped it down to five if a phone number came with it. I often wonder what happened to those two bandits. Probably became Social Media zillionaires.)

I purposely tried to avoid any mention of ‘he-whose-name-must-not-be-mentioned’ before, even though he is the most famous draft-dodger at this time, because he is beyond being just a chicken-hawk draft dodger. The way he speaks about veterans, their families, the fact he has done nothing about his good friend, Putin, paying on bounty to the Taliban to kill American military, the fact that both Putin and the Taliban are endorsing him… how can anyone who served vote for such a treasonous person is beyond me. Commander-In-Chief!

And how anybody can vote for a hate-filled who backs the would-be-nazis that are coming out of the sewer at his instigation. Lock Him, (and his friends),Up.

Or vote for one who sees over 200,000 deaths of citizens he swore to protect with the phrase, ‘It is what it is’. As one who moves from bleach injections as a cure to killing off the weak and old ones in the herd. ‘They are what they are’!!!

Enough! Please!

Wrap it.

Stay Safe.

And pray that the sun will shine again.

Oh! P.S. If you are offered a deal on an old wad of chewing gum purported to have been Paul Newman’s, don’t bite, it might be a scam.

LARRY & THE DUKE (III)

The Ghost Light is lit

waiting

Just as Duke Ellington’s life took a dramatic turn in the mid 50’s, Larry Howard’s life had a dramatic change in 1963, the Guthrie Theater opened in May with Larry as the stage-door man. The 60’s saw the Guthrie being recognized as a prominent regional theater, but in the late 60’s it began to push it’s limits and various power struggles in upper management caused both a lose of artistic personnel and audience. It came close to closing for good. In 1969 Don Schoenbaum, only a few years removed from coming to the theater as a Ford Foundation intern was placed in charge of both management and artistic decisions. He kept the theater going and with the help of Sir Tyrone Guthrie managed to lure Michael Langham away from Stratford Ontario and take over as Artistic Director in 1971. Larry Howard’s job was saved as were all the jobs of us working at the Guthrie when Michael took over.

And Larry was only a few years away from meeting the Duke.

Duke Ellington’s last tour began in October of 73 with the first month in Europe, before coming back to the U.S. where it ran almost nonstop until almost the end of March 74. This extreme tour was taken in spite of, or maybe because of, Duke’ health was failing. He had been diagnosed with lung cancer. He never announced anything about it being a farewell tour but he knew it was.

Mercer Ellington, the Duke’s only child knew also. Mercer was a composer, arranger, band musician, band leader both in conjunction with his father and on his own. In the late 60’s he left his personal career and joined his father’s organization as a trumpeter and road manager, and nurse. During a concert when the Duke became tired, Mercer took over on piano and conducting.

It was evident that the Duke was handing over the baton to his son. It was also evident that there was a strong bond of love between father and son. Over the years I had the pleasure of working the Duke Ellington Orchestra with Mercer in charge. Mercer was a gentleman just like his father. And when Mercer was phasing out, he slowly turned over the reins over to his son, Paul, who continues the tradition. I had the good fortune to have worked the three generations of the Duke Ellington Orchestra.

The two concerts at the Guthrie had been moved from January to March 15 and 17. The load-in/setup went smoothly. The concert was great. Sometime in the second half, Duke left the stage and Mercer took over. The Duke returned at bows and the Take The A Train encore piece.

When I went down to the stage to put out the ghost light and wrap up for the night, Joey B, the Guthrie deck hand told me about a conversation between two of the ‘old-timers’ when they were casing up their horns.

One leaned over and asked where the next gig was. When he was told that they had a day off and then came back to this same stage, he laughed and said, ‘Damn, you don’t say. Tonight wasn’t a one-nighter.’

“Nope we can go and jam tonight and sleep tomorrow during the day.’

‘Well,’ the first old-timer replied, ‘I’ll just go to the hotel and sleep tonight and sleep tomorrow too. My bones are tired, man, tired.’

Some of the band did go jamming that night, at the Padded Cell, a small jazz club in Minneapolis, frequented by both local and national musicians and known to lock it’s door at closing time and allow the jam sessions to go well past sunup. Sad to say, the Cell, like all the jazz clubs in the Twin Cities and across the river in Mendota, where I grew up, are long gone.

Michael Langham had the Duke autograph Larry’s book as he promised, but Ellington was very disappointed that Larry had not brought the book to the dressing room in person. From what Michael had told him about Larry, Ellington said he really wanted to meet him. The two worked out a way.

It wasn’t just the band members that enjoyed a day off. Mine was spent with a late sleep before I began my spring yard work. In show business you grab sleep when you can. Like the old timer said, the bones get tired.

When I drove into the Guthrie lot for the second concert, I saw Dawson’s limo parked so Larry could not get out. It was past the time Larry usually left for home. When I walked around the limo to get in the stage door, I could see Larry and the Duke sitting in the back seat, windows rolled down to catch the spring weather. Two elderly gentlemen engaged in conversation. Larry had met the Duke.

Lawson was in the green room when I went in to get some coffee. ‘I never saw Larry smile like that when I opened the door so he could get in with the Duke,’ Dawson told me. He looked at his watch and said in ten minutes he would have to bring Ellington around to the lower stage door, and Larry could go home.

The next time I saw Larry he told me how easy it was to talk to Duke Ellington. ‘It was like we were friends from way back.’ He showed me his copy of Music Is My Mistress that Michael had given him for Christmas and now it had the Duke’s autograph.

The second concert like the first was excellent. The playlist was a little different than the first to keep the musicians from getting bored This time though the Duke didn’t make it through to the intermission.

Joey B. was breaking down things when I got down to the stage. Mercer was looking out the door and one of the musicians was sitting on a chair next to the door.

Joey came over and told me in his stage whisper how the old guy took off his shoe and sock as soon as he came off stage. ‘His damn foot is all swelled up,’ Joey said, nodding to the band member, ‘And it’s green. Green! Looks like hell.’

I took a good look at the man. It was Paul Gonsalves, of the Newport Jazz Festival fame.

After seeing Gonsalves off to the Emergency Hospital, Mercer helped us with the breakdown and supervised us loading everything in the bins of the bus. He told us that he was going to get his father and the Duke always wanted to thank the stage crew. ‘But whatever you do,’ he said, ‘Don’t mention anything about having to send Gonsalves to the hospital. I’ll make up some excuse why Paul isn’t at the next gig, but I can’t tell him how bad he is. Dad just couldn’t handle that news… in his condition.’

Joey B. and I were only too glad to glad to wait and shake Duke Ellington’s hand. Joey commented on how much he liked ‘that good kind of music’, and I agreed and thanked him for his meeting with Larry.

The Duke gave me a smile and said it was his pleasure to meet Larry. ‘He’s quite a man. You here at the Guthrie are lucky to have him. He really had an interesting life. Did you his father was a Buffalo Soldier?’ And then he added, ‘Next time I play here, I’m going to make it a point to take him out to dinner.’

Mercer turned his head so his dad couldn’t see the expression on his face.

Mercer never told his father how sick ‘Strolling Violins’ Paul Gonsalves was. And he never told him when Paul died on 5/15/ 74, eight days before Duke Ellington died. Gonsalves was only 53, but years of drug and alcohol took their toll on him.

When the band left the Guthrie, they played six more gigs, canceling the two at the end of the tour. He died five days after the tour ended. He had his 75^th birthday just a few weeks before.

Larry Howard continued to greet people from behind his stage door counter for several more years before he retired. I sadly lost track of him after he left the Guthrie.

I do know he was walking better in his later years. That promise that the young actor/director intern at the Guthrie, David Feldshuh, was fulfilled when David got his medical doctorate

David’s medical doctorate followed his doctorate in theater. Doctor/Doctor David continues his work in theater as a prize winning playwright, nominated in 1992 for a Pulitzer for Miss Ever’s Boys, teacher, and director at Cornell, as well as working in the Cayuga Medical Center with Emergency Medicine as his speciality.

.Currently he is one of the Front Line Heroes in the battle against COVID19.

‘There’s no people like Show People. They smile when they are low.’

Show people, many of my family member included, were the first to lose their livelihood

when the virus hit.

And they will be some of the last to go back to their profession

And the current ‘leadership’ in the White House and Senate are doing nothing to help the millions of

AMERICANS

on the verge of losing everything.

VOTE!!!

And this is a wrap for the three part Larry & The Duke.

Larry & THE DUKE (II}

Young Larry and his family had a hard-scramble life in the Dakotas. Young Edward lived in a fine house in a good neighborhood in Washington D.C.

The Duke’s father’s artist talent got him a good job making blueprints for the U.S. Navy, and before that served as a White House butler. Both young Ellington’s parents were well known pianists in D.C. and were hired to perform at both private and government functions. His mother specialized in parlor music. His father in operatic arias. Edward started his ‘playing’ the piano at the age of three. At the age of eleven he began to receive lessons from a prominent teacher.

His musical life of light classical began to change around the age of fourteen when he began to sneak into a pool hall to listen to the piano players beating out jazz, ragtime, blues, music that here- to -for he had only heard about.

It was around this time Edward got the nickname Duke. He was a dapper dresser and had casual air about him. His friends thought Edward just didn’t fit him and one of them titled him Duke. The name not only stuck, it replaced his given name.

The Duke composed his first of over a thousand compositions, Soda Fountain Rag. He was fifteen and could neither read or write music. He felt that his skill was not playing piano but composing. He worked hard to learn the mechanics of music. He also began to organize combos and to play at dances. Like his father, Duke was an exceptional artist, so much so he was offered an art scholarship to Pratt Institute; which he turned down because he believed strongly that his music would be his life.

Earning money by day as a sign painter, playing gigs at night. Soon his combo, The Duke’s Serenaders, was playing embassy parties and private functions in D.C. and nearby Virginia, playing for both Afro-Americans and white audiences. The Duke was on his way…

But like all over-night successes in Show Biz it was a lot of hard work and a lot of two steps forward, one step back; and often one forward, two back. The early 1920’s saw him and his ensemble hopping between New York and D.C. with an occasional stop in Atlantic City. His ensemble grew both in size and in quality. His compositions grew and various musicians in his band often took a different approach to a song. Ellington’s musical horizons expanded as did his popularity and respect as both a composer and as band leader.

In 1926, Irvin Mills, a prominent music publisher and jazz artist promoter, came to an Ellington club date to scout the Duke out as a possible client. He was so impressed he signed Ellington that very night. Mills only took 45% of Ellington Inc.. Sounds like a lot today, but it was an unheard of contract between a white agent and a black musician. It was usually that the musician got only 40% or less.

Mills relieved Ellington of the business end that robbed the Duke of time better spent with his music. Getting recording gigs, radio air play, films, and live performances at prominent venues.

On of these venues was the famous Cotton Club where the Ellington Orchestra was house band on several extended occasions, and later as guest artists. It was the Prohibition Era and also the Jim Crow Era. The performers were black and came in through the back door. The audience was white and paid big money while coming in the front door. Ellington was expected to compose and play ‘jungle music’. This segregation at the club ended thanks a lot in part by Ellington.

As the Depression took hold, the recording business suffered; but radio exposed the Duke to a growing audience and tours became the band’s mainstay. Ellington’s compositions during those years, like Mood Indigo and Don’t Get Around Much Anymore, were big hits no matter who sang or played them. Then in 1938, a composer/arranger, Billy Strayhorn, applied to Ellington as a lyricist.

Strayhorn brought Lush Life, a song he composed as a teenager, to show the Duke a sample of his work. He also began to outline different arrangements of a few of Ellington’s work. Duke found his ‘left hand, his right hand’, the missing link in his musical journey.

Like his idol, the Duke, Strayhorn’s musical foundation was classical. His dream was to be a classical composer; but he knew that a black would never be accepted in the classical music world of the day, so jazz became his medium…until he discovered the jazz/classical compositions of Ellington.

The two worked as one, composing in the classical vein of suites. Strayhorn made new arrangements for Ellington’s standards as well as composing songs on his own. The first Ellington recording of a Strayhorn work was Take The A Train which became the signature introduction of the Ellington’s Orchestra. For the next 25+ years the two collaborated, one working on a theme and the other jumping in, until it became impossible to credit either one for the completed work.

The Swing Era/Big Band Era began in the mid-30’s and continued for a good ten years. While the white Big Bands, like Dorseys, Harry James, Glen Miller, took the lead in popularity and money, the black Big Bands, like Ellington, Basie, Cab Calloway, had good years also. Radio, juke boxes, recordings, even cameo in movies, combined to make it a golden age for big band jazz music, black and white. While most of the bands followed a common road, the Duke and his musical compositions took a more serious musical route, not relying only on the tried and true hits of the past.

This route took it’s toll on Ellington’s orchestra after WWII. Swing was replaced by Be Bop and promoters found that small groups, trios, quartets, brought in good audiences at much less cost. Great musicians, like Armstrong and Hampton, broke away from bands and fronted these combos.

It was the birth of Cool Jazz, aka West Coast Jazz. Dave Brubeck’s quartet with Paul Desmond. Gerry Mulligan with Chet Baker. Modern Jazz Quartet. And of course, Miles Davis.

The early 50’s brought a severe revolution in music. Teenagers became prime movers and R&B, Rock & Roll on cheap 45 discs introduced new idols like Presley, Little Richard, Pat Boone, to replace the likes of Sinatra and the Andrew Sisters. Hits and misses in the main stream were often dictated by disc jockeys, often televised, and the Top 40 on the radio was influenced by bribes called payola. Black recording artists were ripped off big time by their white ‘agents’.

Ellington had long fought against the three- minute cut on LP records and there was no room for Ellington’s vision of his music on a 45 disc.. His music needed much more space. His music needed an orchestra not a small combo. His genius refused to lower the bar.

In 1950 he and his orchestra stayed afloat thanks to a Europe tour, set up by the Black- Listed Orson Welles. They did 74 gigs in 77 days. During which he managed to compose music for a Welles’ stage production as well as performing a Welles’ variety show in Paris. While he never played any new personal compositions on tour he managed to finish his extended composition Harlem in his ‘spare time’.

Returning home, times were tough. Dance gigs and concert tours were few and far between. His royalties from his standards brought him the needed money to compose his serious music and to managed to keep his key musicians alive. But by 1955 there wasn’t a record company that wanted him.

And then in the evening of July 7, 1956, a string of unlikely occurrences combined to make a perfect storm that resurrected the career of Duke Ellington and his Orchestra. The Ellington New Port Concert is as an important jazz event as the Benny Goodman Carnegie Hall concert in 1938.

Ellington’s concert wasn’t at a famous venue like Carnegie Hall. It was on the last of a three day jazz festival, a relative new concept in music, at Newport, R.I.. Unlike Benny Goodman, who headlined the famous Carnegie Hall concert in 1938, Ellington was just one of many acts. Unlike the prominent sidemen in Goodman’s orchestra, artists like Harry James on trumpet, Jess Stacy on piano, and of course, Gene Krupa on drums, the Ellington group had lost many talented members, although several came back for the Newport Festival gig, like the great alto sax player, Johnny Hodges. Goodman brought down the house with exceptional solos on the popular Sing Sing Sing. At Newport the audience erupted on a 1938 Ellington composition, Diminuendo And Crescendo In Blue, stuck in the playlist at the last minute, and the astounding solo of a journeyman tenor sax player, Paul Gonsalves. The dancing in the aisles at Carnegie was a spontaneous reaction by the audience. The dancing at Newport during the solo by Gonsalves was done an unknown platinum blonde in a black dress that jumped from her seat and danced her way to the stage.

Gonsalves was hired by Ellington six years before. He had played in many major orchestra but his many addictions cost him work.  Ellington liked having him around because Gonsalves was fond of going out in the audience to perform. The Duke nicknamed him Gypsy,also Strolling Violins.

And this night, Ellington specifically told Gonsalves to take the solo, even though the great alto sax, Johnny Hodges was with them that evening. Gonsalves’ solo lasted for an unbelievable 27 choruses. He was accompanied by Woods on bass and Woodyard on drums with an occasional prompts by Ellington on piano and Ellington’s ‘Dig in, Paul. Dig in.’The audience exploded and the finale featured a high trumpet solo by Cat Anderson. And Ellington and his band were reborn.

Time Magazine loudly proclaimed that fact and honored Duke Ellington with his picture on the cover. To date, Duke is only one of five jazz musicians to be so honored.

Columbia released the entire concert as quickly as possible. It not only became Ellington’s all time selling album, it became one of the jazz world’s best seller. Old time fans like Larry Howard bought one right away. Younger fans, like your truly, got one a few years later through the Columbia Record club.

The royalties from album and his new recording contract with Columbia afforded Ellington the luxury of composing as he always wanted to. He was free to break out of the three minute cuts of LP’s and 45”s. Free to devote time to suites etc. that are played by symphony orchestras world wide. And also the money kept his core orchestra members working, something the other black big bands couldn’t do.

The following year, 1957, was Ellington’s Shakespeare year. The Duke liked Shakespeare. Billy Strayhorn loved Shakespeare. After his success at Newport, he gave a series of concerts at the Stratford Festival in Ontario. He was asked back for another concert in 57 and Michael Langham, the artistic director of the Stratford Playhouse, contracted him to write the incidental music for Langham’s production of ‘Timon of Athens’.

While performing there Ellington was persuaded by the staff at the theater to write a composition inspired by Shakespeare. The end result was his, and Strayhorn’s, 12 piece suite based on works of Shakespeare, Such Sweet Thunder.

The next big step that year was when he and Strayhorn broke the Afro-American barrier in Hollywood sound track. Otto Preminger hired them to compose the sound track for the movie, Anatomy of A Murder. The album won the Grammy Award for best soundtrack. Other movie soundtracks followed.

Suite after suite compositions, some with Strayhorn, others just by Ellington, followed right up to his death. The later years he was working on his Sacred Music suites, deemed by Ellington as his greatest works,. In 1973 his Third Sacred Concert premiered at Westminster Abby in England.

These later years were the busiest and most profitable years of his life. There were the recordings of his new compositions and collaboration recordings with other jazz greats. His old friendly rival, Count Basie, others like Louis Armstrong, Charlie Mingus, Coleman Hawkins, John Coltrain, Ella Fitzgerald, Frank Sinatra. His early songs, now standards, were recorded by him and others, producing royalties as never before.

But he never neglected live performances, after all it was live performances that started his career, and comprised a major portion of his life of music. He and his orchestra toured around the world during that period.

His last tour started in July of 1973 and continued thru to March 22, 1974. He knew this would be his last. His health was failing. Lung cancer. Several times events were rescheduled due to illness. One such was the two concerts at the Guthrie, that was moved from January 74 to March74. It was at this second concert when Larry Howard got the meet the Duke.

This is the second in the three part series. The last will follow in a day or so. In the meantime,

STAY SAFE

LARRY & The Duke (1)

Larry Howard was one of the first hired at Guthrie Theater. He spent over two decades as the daytime stage-door man; but he was so much more. He represented the epitome of the saying ‘everybody loved him.’

When a stranger walked down the down the stage-door steps and heard Larry’s warm and honest question, ‘Can I help you?’, the visitor was quickly put at ease. And he was never a stranger again.

Larry had the uncanny knack of remembering faces and names. It was a valuable asset to a stage-door man, but few had it like Larry.

The first time I ever went to the Guthrie was with Bob Gubbins. Bob had worked in the Guthrie set shop the first season, which was located in the basement of the theater. There was an addition to the Guthrie, a decent shop, that had just opened and Bob wanted to see it.

We had just started down the stairs when Larry welcomed Bob by name. It had been five years since Larry had seen Bob.

I was introduced to Larry that day and two years later when I walked down the steps, my first day as a Guthrie employee, the first words I heard was, ‘Hi, Don. Welcome to the Guthrie. I heard you were hired for the running crew.’ His memory amazed me; but more important, it was the start of a treasured friendship.

I don’t think there was any one of the Guthrie family during Larry’s tenure that didn’t treasure his friendship. For most of us a quick greeting or a short conversation made us happier than we were before. For others, especially younger employees, Larry was a surrogate father. Larry was a listener, not a talker and certainly not a judge. He rarely talked about himself.

And if you were hurting with a few aches and pains, one look at Larry and you stopped feeling sorry for yourself. He moved with slightly hunched shoulders and a painful walk. His knees were shot. It was hard to watch him walk on the level. It was sad to watch him go up or down the stage-door stairs. But no one ever heard him complain.

The first parking spot by the stage-door was Larry’s. There was never any sign that said it was Larry’s. It was just understood that Larry did not need a long walk to and from his car.

David Feldshuh was an actor and associate director at the Guth,Arie. He was close to getting his doctorate in theater. His next project was to get a doctorate in medicine.

He often told Larry that when he got his medical degree, he would see to it that Larry’s problem knees would be taken care of. That promise always brought a smile to Larry’s face.

Those years the polite term for Larry was Afro-American; but Larry was at an age where almost all his life he had been referred to as a Negro or a colored. One of the few times that Larry talked to me about his personal life was an eye-opener to me.

Buffy Sainte-Marie, the Canadian Cree singer/composer had performed two concerts the night before at the Guthrie. Buffy had been the first indigenous performer to break into main stream music. Her protest songs against war, such as The Universal Soldier, and against the treatment of the indigenous people, such as Now That the Buffalo’s Gone, propelled her into the forefront of the protest movement.

Her works soon attracted the attention of President Johnson who led the blacklisting of her music on radio. Nixon followed suit when he became president. And of course, J. Edgar Hoover was investigating her before she became know to the public.

The American Indian Movement, A.I.M, had begun and was headquartered in Minneapolis, wanted her to basically turn the concerts into a rally for their movement. She refused. She felt the audience bought tickets to hear her in concert, not in a protest rally. Her songs would stand by themselves in protest. Plus she had misgivings about the violence associated with A.I.M.. Her refusal did not discourage A.I.M. however. Members demonstrated outside the Guthrie with chants and drums. Some members bought tickets to the concerts and broke into chants during her performance, stopping the concerts several times.

She told them off during her show, criticized them for ruining the show for others; but between shows and afterwards, she cried.

The next day when I said hello to Larry, he commented that he read that his people made fools out of themselves at her concerts. Thinking that he thought it was a Black protest, I quickly ‘corrected’ him. I told him it was A.I.M., that had caused the problem, not his people.

Then he corrected me. He said A.I.M. thought to be an Ojibway movement; also had quite a few Lakota Sioux, his tribe, involved with it.

When I said that I never realized he was part Sioux, he told me his mother was half Lakota Sioux and half French-Canadian. (Since my mother descended from French-Canadians, Larry and I might have been related.) He said his father was half Afro-American and half Scotch- Irish. So Larry was a quarter Native American, more than half Caucasian, and less than a quarter Afro-American.

His father had been a Buffalo Soldier, a Black cavalryman, stationed in Montana Territory where he met Larry’s mother. Upon discharge they moved to North Dakota where Larry was raised. Over the years, Larry told me bits and pieces of his life, but I never pressed so I really did not find out much about his past.

Larry loved sports. He followed the Twins and Vikings on the radio. He was the coach of the Guthrie softball team. He told me that he and his brother had held most of the high school athletic records in North Dakota. Records in football, basketball, baseball, and track and field. They also played semi-pro baseball. His brother pitched. Larry was the catcher, a position that contributed early to his bad knees in later life.

Larry loved music, jazz music. When he wasn’t listening to sports he was listening to jazz on the radio.

He knew what stations and what time he could listen to his favorites like Basie, Armstrong, and especially the Duke, Duke Ellington.

Michael Langham, the artistic director at the Guthrie, was also an Ellington fan; and when Michael had been artistic director at Stratford Ontario, he had hired Ellington to compose the incidental music for Langham’s production of Shakespeare’s Timon of Athens. The year was 1957, the year after Ellington’s rebirth. The year that saw Ellington’s rise from a ‘jazz composer’ to be recognized as one of America’s great serious composers.

For Christmas of 1973, Michael gave Larry the newly published book, Music Is My Mistress, by Duke Ellington. It was a coffee-table book, rich with pictures of the Duke, his orchestra, and some of the people that Duke had worked with and admired over his 50 years in the Jazz world. Ellington opened by saying the book was not a memoir, it was a performance. It was the kind of book that one could get lost in, over and over. And Larry did, often, and he told Michael so.

Michael had arranged with the Guthrie Events producer to book Ellington and his orchestra for a concert at the Guthrie. He promised Larry that they would sit together in the best seats in the house. He also promised Larry that he would go backstage and meet the Duke.

The prospect of actually talking to the Duke thrilled Larry to say the least, but Larry knew it was just wishful thinking. Larry’s knees and his overall health wouldn’t allow him to sit for the a concert, no matter how much he would like to.

He thanked Michael, and explained why it couldn’t happen; but asked if maybe Michael could get the Duke to autograph his book.

The distance between the ex Buffalo Soldier’s shanty on the Dakota prairie where young Larry Howard started out and the middle class home in Washington D.C. where young Edward Kennedy,(Duke), Ellington started his life, was far greater than just miles.

About the only thing these two boys had in common in their early years was their love of baseball. Both boys excelled in baseball and both had dreams of someday playing in the Negro League. Larry played before an audience of ranch hands and small town inhabitants. Ellington told of how sometimes President Teddy Roosevelt would stop on his horse back ride and watch him and his friends play baseball.

Ellington’s love for jazz began in his preteens. Larry’s began in his late teens.

This is the first of three parts of LARRY & THE DUKE. The second part will follow in a day or so.

Until then…STAY SAFE

 

THE GAMBLER

The Gambler got dealt Aces and Eights, the Dead Man’s Hand, and he folded.

Kenny Rogers – 8/21/38 – 3/20/2020

Kenneth Ray Rogers was the fourth of eight children, born poor, in Houston, Texas. He was the first of his family to graduate from high school. He was the only one that leaned toward music as a hobby, let alone a career.

Rogers attributed Ray Charles as the biggest influence in his musical career. When Rogers was 12, his school sent him to a Ray Charles concert. The first time he never saw a live music performance and the first time he ever heard Ray Charles. He decided that whatever he did in life, music would be a part of it.

Most of us in those years discovered ‘our music’. It was a radical movement that did not sit well with parents and older generations. It was the biggest step to identifying teenagers as an influencing force and consumer bloc. And Texas Kenny Rogers took an independent fork in music from his elders just as Texas Buddy Holly did.

Rogers started a do-wop group in high school that had a mild hit and appeared on American Bandstand. He then became stand-up bass in a jazz trio. Joined a folk group, The New Christie Minstrels, as bass player and singer. Following the break up of the Minstrels, he joined with some of them to form The First Edition, which quickly became Kenny Rogers and The First Edition. Followed by just Kenny Rogers.

Although Rogers musical roots were Country, he didn’t think of Country music as a road to travel until after the success of Ruby Don’t Take Your Guns to Town. He opted for the middle of the road, mellow country. His choice was influenced by Don Williams; and in turn Rogers influenced Garth Brooks, both as a musician and as an entrepreneur. Rogers had a few hits and a few honors with his style; but he also had rough times.

His skill with both bass guitar and stand-up bass got him work as Nashville studio musician. At a low point in his career, he performed in a small casino in downtown Las Vegas. Little did he know that before long he would be headlining in the big casinos on the Strip; and he would be a main attraction in the Branson, Missouri music scene, and have some of the most popular tours ever.

In 1978 his world exploded. He heard a song, The Gambler, on a Bobby Bare album and even though it never took off for Bare and several others, including Johnny Cash, whose version came out after Rogers, Rogers not only covered it, he had it lead off in his sixth album, which also included his hit, She Believes In Me. The Gambler cemented Rogers as the first big country/pop crossover artist, and gained him fans not only in both genres, but also all over the globe. His fans were ‘legion’ and very devoted. His career hard times were over.

In an interview in Billboard, Rogers said, ‘I’ve always been too pop for country and too country for pop

What ever niche he made for himself, it worked. He was the first country singer to sell out big arenas. He lent his name to a fried chicken franchise, later to slot machines in casinos, he recorded an CD that was only sold in Cracker Barrels along with other of his CD’s. And he branched off to starring in and producing TV movies, starting with The Gambler. He wrote a memoir and a novel. He developed into an excellent photographer. He also tried different approaches in his singing career.

Kenny Rogers recorded duets with pure country singers, Dottie West, later, Dolly Parton and others. He seldom ventured from his middle of the country road, but he did in a few instances. He made a jazz/standards album. Just one. He broke the Country limits and collaborated with artists like Lionel Richie and Barry Gibbs. He was the prime mover behind 1985’s charity song, We Are The World, with 45 musicians of the entire music spectrum.

And he combined his biggest musical influence, Ray Charles,  for many memorable duets.

Since I only worked him in the old Met Hockey Arena, and not a smaller venue, I never had a chance to know him like I did with other performers; and I confess the strict way he controlled his tour shows left a bad taste in my mouth. I just felt he owned his audience more than he gave them.

Rogers performed in the center of the arena, a ‘show-in-the round’ and had audience on all four sides. His set was a square doughnut with the performer working on the four sides of the stage and the band and some hands down in the pit in the middle. Clever concept.

He had two opening acts rather than the customary one. The first act was a lesser known country singer or group. For instance, he used Larry Gatlin of the Gatlin Brothers on one tour. In Roger’s big hit The Coward of the County, the villains were named the Gatlin Brothers. Rogers just sang what somebody else wrote, but Rogers had deep pockets, and the Gatlins sued. They dropped their lawsuit against him shortly after he hired Larry as a front act. It gave Larry Gatlin’s career a boost when he used him as an opener. Heck, Gatlin made it all the way to be a commentator on Fox news.

The second act was always a change of pace. For instance, Susan Anton. This particular show I had Harley, an older shop stagehand, recently divorced, never really worked a lot of live performances, as Anton’s mic- cable pager. At the end of the intermission house lights went out, a roadie, leading the way with a flashlight, ran Anton the stage and made certain she was standing on her glo-tape mark. The spots then opened up on Susan Anton.

Harley had never heard of Susan Anton, actually I don’t think he ever heard of Kenny Rogers either; and when he saw her, standing on the stage above him, barely three feet away, he froze. Mouth-open froze. Then as she started to move along the stage, Harley did not move. He neither followed her with the mic-cable or released some from the coil in his hand. Just kept staring.

She reached the limit of her available cable and saw Harley just standing there. ‘Oh, I think I got a bite,’ she ad-libed. ‘Oooh,’ she squelled, imitating reeling in a catch, ‘And it is really a big fish.’

I quickly headed over to take over from Harley just as Susan bent down and whispered in his ear. Harley’s face turned four-alarm-fire red and he broke out of his trance and paged her cable like he suppose to.

Over the years I never brought up that frozen act to Harley, but I did ask him a few times what Susan Anton whispered in his ear. Each time, Harley got red-faced, but he never did tell me what she said to him.

As I said, the band was also in the pit. Nice people. Sharing. Both before the show and during intermission they passed around a coffee can. It was half filled with snow, coke, cocaine. I passed on it and so did the other local hands, I think, but it was a nice sharing gesture.

The opening acts came on stage in blackouts. Kenny Rogers appeared by magic. Since we didn’t have to sign a paper saying we would never reveal the secret of the trick, like David Copperfield demanded, I will tell you how it was done.

There was a large work box on casters that 2 roadies pushed into the pit during intermission and pushed out of the pit at house lights came up at show’s end. Only it wasn’t what it looked like. It was a Houdini box. It opened like a steamer trunk standing erect opens. Inside was a comfortable seat. Rogers got in it in his dressing room and later in the end of show black out. Nice effect and no chance of any fans on the main floor interfering.

Both front acts had a time limit as did the intermission. The part I disliked was the exact-to-the-second time limit on Roger’s set. At the end of each song the audience clapped loud and long, not realizing that they were cutting into the time Rogers actually sang.

He had 4 clocks in the pit so he could see the time no matter where he was on the stage. As the time came for the last song, he worked his way to the stairs leading to the pit. Once that minute hand reached the important twelve, Kenny Rogers stopped singing and the arena went black. Now I mean he stopped singing…He didn’t finish the song; hell, he didn’t finish the word of the song he was singing.

And that is the reason for my bias. Granted, the audience still got the average amount of time for the show, but they didn’t spend the big bucks for two opening acts; they paid to see Kenny, and not what amounted to a half a performance by him.

Black out! Silence! The fans break loose, waiting for an encore, clapping, a few with lit cigarette lighters. The house lights go up. The audience still waiting for an encore. Too busy to see the roadies push a ‘work box’ up the ramp to where a window tinted car sat before the garage door. When the car pulled out of the building, walk-out music came over the PA, and the hands began to work. No encore or closing words. Not even an Elvis-like message, Kenny Rogers has left the building.

No question his fans loved him though. His shows sold out. His CD sales are among the most of any single artist. They watched his TV movies, in spite of the reviews.

And Rogers was loved by those in the industry. He may not have been strictly Country but when he won his many awards in Country Music shows, and his induction into the Country Music Hall of Fame, his peers gave him his due respect and honest applause. This sentiment crossed-over to include friends in all musical genres.

His touring band, Blood Line, remained with him all the years. They enjoyed working with him. He must have treated them well. I don’t know if the can of snow was a tip from Kenny, or just a sign he was paying them enough to be able to pop for it.

Rogers was loved by five different women enough that they married him, even if four divorced him. The last marriage lasted 22 years and ended with his death.

Every one who knew him said he was a plain, sensible, down-to-earth likable man, who never forgot his roots, recognized it was not only hard work and talent that got him his success, it was also luck. And fame can be fleeting.

In an interview he said: ‘I equate this business to a mountain climber. Once you get up there, you can’t live on the top.’

The list of worthy charities he supported is quite impressive. He was helping the homeless before it was popular. Parkinson’s Disease, Disaster Relief, and the list goes on and on.

You know, the more I write about the man, the more I begin to lose my bias against him. If his fans didn’t hold his short shows against him, who am I to complain. Not only did I not have to pay to see the show, I got paid for working it. His shows made myself, my family, and a great many other stagehands nice paychecks over many years.

There’s a great many of his songs that I enjoy, although I don’t have any of his work in my music library. And I can’t remember watching any of his movies. Never ate any of chicken from his franchise, but by his own admission, neither did he. Still in all…

I  confess I changed my mind. I am convinced I would have liked him as a person. I really do.

Adios, Gambler. Adios.

‘Cause every hand’s a winner

 And Every hand’s a loser

And the best that you can hope for

is to die in your sleep’

STAY HEALTHY. The lives you save maybe the lives of those you love the most.

THE GHOST OF THE GUTHRIE

 

 

            Every theater worth its salt has a ghost. We had one at the old Guthrie Theater. His name was Richard Miller.

            Bullied in school, ignored at home, Richard was a loner all 18 years of his life. He discovered skiing and it became his passion. Freedom. Excitement. There was people around him, some even envious of his skill; and he didn’t have to interact with them. He was gaining confidence, self-esteem. And then he took a bad fall. He worried that he might never be strong enough, physically or mentally, to ever ski again.

He did work up enough courage to enroll at he U of Minnesota and to get a job as an usher at the Guthrie Theater. Being a student was a disaster; but he loved being an usher, helping people without having to interact with them. His fellow ushers respected his distance and his desire to not mingle with them. He loved the plays and concerts. He was feeling good again.

But gradually the hell he was experiencing trying to stay in college began to outweigh the peace he was experiencing as an usher. Severe headaches! Severe depression! Until…

He borrowed money from his mother on the pretext of buying ski boots. Then he went to Sears and bought a gun instead. He parked his car in the far corner of the Sears lot. And he ended his life.

In the letter he wrote, he asked his parents for their forgiveness for what he was about to do. And he asked that he be buried in his Guthrie usher uniform. He said the hours spend at the Guthrie were the best times he ever had in his life. His parents complied with his request.

The parents offered to buy his uniform from the Guthrie; but it was not necessary because that style uniform was going to be replaced in a few weeks. The Guthrie was doing away with the old fashion uniform with epaulets and braids. The new uniforms would not be ornate and brown, but simple, and a dark blue color.

After Richard’s death there was occasional talk of a ghost haunting the theater, but such talk occurs in many theaters. And nobody connected the possible haunting with the death of Richard Miller. It wasn’t until a small group of ushers used a Ouija board to contact the Ghost of the Guthrie, that the legend became ‘fact’.

Many of the ushers lived commune style in an old house not far from the theater. They lived only for the day and their motto was: A little wine, a little weed. That’s all we need. Oh, also some munchies.

Kevin, the Guthrie House Manager lived there also; but unlike the others, Kevin was also a grad student a the U, and was working on a thesis concerning ghosts in the theaters of America. He got Scott H. and two other ushers to help him find out if there indeed was a ghost in the Guthrie. He promised them a little weed, a little wine, and they said fine. Oh, also some munchies.

After the show that evening they hid in a room until they were sure everyone was out of the theater. Then they set up a folding table and four chairs. Kevin took the Ouija board and planchette out of a cloth sack and began to explain how it would be used and expounded on his research and paper to date. The other four each had a glass of wine from the carton and passed around a joint.

            The atmosphere was perfect for their project. The only lights present were the various red exit signs and the ‘ghost light’, a low incandescent bulb on a mic stand to prevent anyone who had to go into the dark theater from getting hurt in the dark. It was the last task stagehands always do before quitting for the night. Kevin called his crew to order.

The first question asked if there was a ghost in the theater. To the surprise of the four, the planchette went to the YES. That got their attention. What is the ghost’s name? The board spelled out RICHARD. The wine glasses were drained and the joint  passed around before the next question. The four looked out in the house where  the ghost light was projecting a weak glow and creating weird shadows. Kevin asked softly, ‘Where is the ghost now?’

SUGGEST LOOK TO THE TECH ROOM

The term ‘tech room’ stumped them until Scott thought maybe it meant the lighting/sound booth. He said he looked to the back of the house, to the booth above the last row of seats in the balcony. He pointed and froze. The others looked to the booth.

The booth was dark except… There was a figure of a man standing in a hazy glow. Either he was in the booth proper or was floating high above the seats in front of the glass of the booth. He lifted his arm and waved.

The wave broke the ice. Kevin managed to grab the board and planchette but everything else was left as the four broke for the side door.

Mickey, a shop carpenter, came on stage in the morning to put the ghost light away. When he saw he went into the shop and got help removing the remains of the night. The only thing not mentioned when the story went around the theater of what they found on stage, was the dime bag of grass. Scott thought Mickey maybe pocketed that for himself.

The name Richard was connected to Richard Miller. Sightings became more frequent and believed without a doubt by the Guthrie employees. Some customers called to complain about the usher that stood in the Alpine Slope aisle, Richard’s favorite aisle to work, to watch the play, or  to walk up and down during the performance, to help if needed.

For Instance, one customer called to extend thanks to the usher who pointed out that his cars keys had fallen on the floor by his seat. And usually such callers thought the usher was perhaps the head usher because his uniform was a different color and fancier then the others.

At various times he was seen by actors, musicians, wardrobe people, and stagehands. Cliff, the head shop carpenter, was the last person you would think who would believe in ghosts; but after he got off the elevator to the supply room on Level 8 and saw a figure standing in  a hazy glow at the far end of the room, he quickly got what he came for, went back in the elevator, and became a staunch believer.

Joey B., the stage carpenter, had at least two encounters with Richard, both times in the little Green Room in the basement. The first came when he popped in for a cigarette. He saw a figure in an old usher uniform standing in the corner. Joe said he thought maybe he was having a problem with his eyes, the figure was kind of hazy.

‘Look’, he said to the ‘usher’, ‘This room is off limits to you guys. I won’t rat you out but…’ The young man said he was sorry, and according to Joe, just disappeared into thin air. When it was explained to Joey who he had chased from the little Green Room, Joe scratched his head and said, ‘Well, I’ll be damned!!

The second time was when an actor asked Joe to look in the little Green Room for a prop, a little money sack, that he would need later on in the show. He looked all around his dressing room and figured maybe he had dropped it when he was in the little Green Room. Joey looked around the room and didn’t see it. Just as he was about to give up, a voice said, ‘Joe, suggest you look on the floor beside the sofa.’ Sure enough there it was.

Joe looked to where the voice came from and saw the now familiar figure standing in his hazy glow. ‘Thanks, Richard,’ Joey said and brought the prop to the actor’s dressing room.

No one ever accused Richard of trying to scare anybody on purpose or of doing anything malicious. For the most part people were startled, not scared, by an encounter with the Guthrie ghost. Sometimes well after the fact.

An actress new to the company had lucked out and found a parking place right in front of the theater. It was raining hard when she ran to her car only to find that her car wouldn’t start. After several tries there was a knock on the window. A Guthrie usher  was trying to tell her what to do. She opened the door and told him to get out of the rain.

He did and suggested she wait a bit and then hold the gas pedal to the floor when she pushed the start button. It worked. She asked the usher if he had a ride and he said no. She asked where he was going and he said down by Sears. She said she would take him. When she stopped at the red light at the end of the block, she turned to talk to the young man; but there was no one in the car with her. She hadn’t heard the door open or shut and there was a wetness on the seat where the usher had sat.

She told the story in the dressing room the next day. The dresser asked her what kind of uniform the kid had on. When she described it, the every one in the room agreed that she had met the ghost of the Guthrie and filled her in on Richard. She screamed! But she confessed at the end of the season, each time she drove past the Guthrie’s main door, she looked to see if Richard was standing there. She never had a chance to thank him for his advice.

Some, like Oscar, a college student and the evening Stage Door man, were deathly afraid of meeting Richard. When Oscar checked at night to see that all the proper doors were locked in the theater he carried a machete with him. He said he wasn’t afraid of running into anybody who shouldn’t be in the theater, he carried the machete in case he met Richard the ghost.

We pointed out to him that a ghost has no substance, just vapor. He could swing at Richard all night and only cut air. I told him about the old saying that you should never bring a knife to a gun fight, and I added, or to an encounter with a ghost. Oscar realized what we said was the truth and he gave his two weeks notice the next day.

A few took a meeting with Richard as just a matter of fact. Eva, an older, very proper, extra got on the backstage horn during a performance and demanded to Milt, the stage manager in the booth, that he teach that young ghost, Richard, the proper etiquette of theater.

She told how she had to exit down the Stage Left tunnel, hurry to her dressing room, change costumes, and hurry upstairs for a backstage crowd entrance. She said she almost missed the entrance because that young ghost, Richard was standing right in her way in the tunnel. She had stop and ask him to please move.

‘Well, did he?’ Milt asked.

‘Yes,’ she answered, ‘But only after going on and on about how sorry he was. Then he just… Dissipated. Poof! You have to instruct him proper stage etiquette. He could have caused me to be late for my entrance.’

‘And how do I get in touch with him?’ Smoke signals?’

‘Of course not,’ Eva said sharply. ‘Just leave him a note on the Call Board.’

‘Okay, I will,’ said Milt, ‘But Eva he’s just a ghost. If he ever gets in your way again, just run right through him.’

‘I will not! That would be rude!’

Milt quickly turned off his talk button so she wouldn’t hear us laughing up  in the booth.

And then there others who joked about possibly encountering the ghost.

After each time I had to lay out on a catwalk thirty feet above the stage or stand on a full extended extension ladder to hang or focus or work on a lighting instrument, I swore that if I ever met Richard I would ask if he would want to work on the crew. He would have no problem floating up and doing that kind of hairy work. Joey B always agree with me that Richard would love to work on the crew.

I was up in the catwalks, just finished with the electric’s  change over into the next evenings show, and was heading to the elevator on Level 8. I stopped when I heard someone say, ‘Hi, Don.’

He was surrounded by a hazy glow in the center cove area. But he wasn’t standing on a catwalk. He was floating over the hole thirty feet above the stage floor.

I answered, or at least think I did, ‘Hi, Richard.’ Then I turned forgetting all about taking the elevator past where Richard was, and walked back and climbed down the ladder to the booth. I took the long way to go down to the stage that night. And later, while having a much needed beer in the Dram Shop, Joey B asked me if I had offered Richard a job on the crew.

‘Ah, darn it,’ I confessed, ‘It completely slipped my mind.’

Over the years there was always some ritual to help Richard cross over into the next world. There was a minister, then a priest, a rabbi, Wicca priestess, even a Druid. None of the rituals worked longer than a few weeks except for the Druid’s.

The Druid was an Irish-American actor from Chicago, who one night after a lot of refreshing drinks up in the Dram Shop loudly proclaimed that he was a Druid. He grabbed a broom handle for a staff and announced he was going on stage to exorcise the ghost of Richard Miller.

From what I heard it was a show to behold. A lot of shouting the same Gallic words over and over along with some altar boy Latin and a lot of banging the ‘staff’ on the stage floor. Ended with some Xrated Chicago language ordering Richard Miller to begone and never darken the door of the Guthrie Theater again.

The spectators loved it and bought drink after drink for the Druid. It didn’t go well with Richard though. The very next performance a few customers complained about an usher standing at the top of the Alpine Slope and actually booed when a certain actor made his first stage entrance.

Then a Native American shaman was enlisted. I had quit the theater so I wasn’t around when the shaman performed his ritual. It started at sunrise and went until sunset. Spectators walked in and out of the theater proper and watched the dance, listened to the drum and the singing, smelled the smoke from a small charcoal burner that was fed with different kinds of grasses. The spectators all agreed, it was a beautiful show. And it worked! Richard Miller was never seen again. The Guthrie had lost its ghost.

I have mixed feelings. I am happy for Richard that perhaps he has finally crossed over and is at rest at last. Yet I am sad at losing him. Richard was an important member of the old Guthrie’s family and history for over two decades. But I am also glad that Richard wasn’t around when they tore the old Guthrie building down. That would have really shocked his system. I know how it affected mine.

There’s a new Guthrie Theater now. It is an exquisite theatrical complex on a high bank overlooking the Mississippi River. I know Richard would never have gone to the new theater. It lacks some important things that the old theater had – memories. Memories for Richard, memories for those of us who were fortunate enough to have worked in the old Guthrie.

And to those of you who do not believe in ghosts, I offer these words of Shakespeare’s Hamlet for you to ponder:

 

There are more things in heaven and earth, Horatio,

That are dreamt in your philosophy.

 

And that’s a wrap.

 

DAY(S) THE MUSIC DIED

This is a Blog Posting from 2014

Gee, it’s been 56 years since Buddy Holly, Richie Valens, and the Big Bopper finished a concert at The Surf Ballroom in Clear Lake, Iowa. Their next gig was in Moorhead, Minnesota. They never made it. Their plane crashed shortly after take-off. February 3, 1959 – ‘The day the music died’, as Don McLean proclaimed in his song/poem ‘AMERICAN PIE’.

Their deaths really didn’t affect me as much as it affected others my age. I was in the Army at the time. Although I kept up with popular music before I went into the Army, I pretty much lost track of the Top 40 hits during my Army stint.

At the time I was in Headquarters Company, 82 Airborne, Signal Battalion At Fort Bragg. Unlike the men in the two line companies, who lived in squad rooms, we in Headquarters Company had two-man rooms. My roommate, Patricio Menes, and I were into ‘cool’ jazz, Brubeck, Kenton, etc.. I had a small hi-fi phonograph and the two us had a number of LPs. Neither of us had a radio or a car with one . And I didn’t have one on my motorcycle. We heard some of the music of the day when we were shooting pool in the day room and American Bandstand was on TV. And we heard a lot of the music on juke boxes when we went to Fayetteville.

The first I heard of the plane crash was the next night when Patricio came in  the room and told me, ‘Richie was killed in a plane crash.’ I thought he was talking about some friend of his, but Pat put me straight. ‘Richie Valens! ‘ LA BAMBA!’

I knew the song because Pat played it often on juke boxes. Valens came from L.A. just like Patricio. Pat and the other Latinos from the L.A. barrio thought Valens was one of their own, and liked to sing the Mexican folk song, LA BAMBA, which Valens, not only made a hit out of it, but sang it in Spanish. I often wondered how Pat and his friends felt when they found out that Valens didn’t come from the barrio, but from a suburb of L.A., and his Spanish was limited to ordering from a menu and reading the lyrics of his hit from a cue card.

And it was several days after I heard Valens was killed in a crash that I learned Buddy Holly and The Big Bopper were also killed in that crash.

Over the years I learned the back stories like Waylon Jennings, a member of The Crickets, gave up his seat in the plane to the Big Bopper, who was sick, and went by bus with the other Crickets as well as Dion and the Belmonts. Waylon took off on his own shortly afterwards and went ‘outlaw’.

Then there the story of how the concert promoter in Moorhead filled out the bill as best he could and brought in a local boy, Bobby Vee, as one of the acts. Vee followed up that appearance with several hit singles, and when the time came for Vee to record his first album, he hired a young Bobby Dylan to play guitar on the album.

And over the years, I began to appreciate the talent  of Buddy Holly.

Since that crash took place before I became a stage hand, I never had the pleasure of working those three. I saw the movies based on the lives of Holly and Valens. And I worked BUDDY THE MUSICAL several times. But it’s not the same as seeing them in person.

As far as the others in the back story, I had the pleasure of working them all many times. The name of Bobby Vee may not be familiar to most people but he was very talented and fun to work, especially in the later years when he and his sons put on their shows. Sadly, I read the other day that Bobby Vee has Alzheimer’s.

A few years later, Patsy Cline, Cowboy Copas, and Hawkshaw Hawkins were killed in a small plane crash. And the list of musicians killed in light plane crashes goes on and on. The two that hit me the hardest was Ricky Nelson and Jim Croce.

Although he is largely ignored today, Ricky Nelson was big, big, big in the early days of rock and roll. For several years, only Elvis outsold him. And then he let his addictions grand his career to a screaming halt.

I had just worked Nelson shortly before his death. He was so excited. His concerts were selling better than he had hoped; his all time hits album had just been remastered, and he felt maybe his career would take off again. He was also high. They figured out that fire from cocaine freebasing on the plane caused the ‘Travelin Man’ to have his ticket punched.

The two favorite front acts of Sue Wiel, promoter at the Guthrie, were James Taylor and later, Jim Croce. Taylor was so thankful for Sue’s faith in him when he was trying to bust the big time, that he promised to come back and play two shows at the G when he did make it. And what shows they were! He also brought along his wife at the time, Carly Simon, who sang some duets with James and a few solos. Two big acts for the price of one. At that time, he was so big he could have easily sold out an arena show, but he had made Sue a promise.

I got to know Jim Croce during his front act performances at the Guthrie. After he finished his act, he would come up to the lighting booth and sit next to me to watch the main act. He was interesting, a good story teller, and he made no bones about loving his wife and his newborn baby. A nice person and a great talent.

Like James Taylor before him, Jim also planned to do a couple thank you shows for Sue, when he made it big. And like James Taylor, he was good to his promise. He was booked to play the Guthrie, even though he was hot enough to play a much larger venue in the Twin Cities, on the tour that took his life. Killed in a small-plane crash. What a loss!

So many, many musicians had their careers cut short because of small-plane crashes. So many, many days that ‘music died’.

SINATRA’S ART OF A DEAL

 

It seems that Trump’s art of dealing often included threats and/ or the reality of bankruptcy and stiffing the people he owned money to. I was present at the conclusion of a Frank Sinatra dealing. Like Sinatra himself, it was the Epitome of Cool.

There’s a new book out by a former manager of Frank Sinatra. In it, Eliot Weisman tells of having brokered a deal to have Sinatra open Trump’s Taj Mahal Casino in Atlantic City; but before the contract was actually signed, Trump’s Casino Manager was killed in a helicopter crash.

Trump, fresh from hitting it big in his ghost-written book, THE ART OF THE DEAL, decided to renegotiate himself with Sinatra’s agent.

Weisman came back to Sinatra with Trump’s new deal demands. He would pay Frank less money. Sammy Davis Jr., who had just been diagnosed with cancer at the time, would not be on the bill; nor would Steve and Edyie, who Trump said he never heard of.

Sinatra gave his agent two choices. Tell Trump to go @#^@ himself, (an act which is anatomically impossible even for Trump), or just give Trump’s phone number to Frank so Frank could tell Trump himself.

Sinatra played The Sands in Vegas those dates and Trump opened his casino without Sinatra.

Eventually, Trump did something nobody thought was possible. He butchered the running of his casino to the point where he declared it bankrupt and closed it down. How can anybody with first count on the money ever go broke running a casino? Maybe the juice off the top demanded by his partners was too exorbitant, you think?

---

Like most performers, Sinatra didn’t have much time for promoters. The promoter that booked Sinatra in the Minneapolis Auditorium tried to do some late fast shuffling on Frank and almost lost the event.

The promoter’s rep, who didn’t like the promoter anymore than we did, told us the outcome of the promoter’s finagling. Sinatra told the promoter that not only would the deal stand as verbally agreed to, there would be one additional clause added to the rider. The promoter would have a new baby grand in the in the dressing room next to his, or Frank would go with another promoter for the Minneapolis gig.

‘No problem’, the promoter told Frank.

‘And’, added Sinatra, ‘At the end of the show, the piano belongs to me’.

The promoter sputtered and stammered, pointing out how much a baby grand piano costs.

Sinatra pointed out the original deal should have been honored, and if there was anymore arguing, it will be a concert grand instead of a baby grand.

It was a sell out performance. Even with the additional cost of the piano, the promoter still came out okay. Sinatra gave a full concert and encore after encore after encore.

We were breaking down the show when Sinatra came on stage, as he did in the smaller venues. He shook our hands, thanked and tipped us. And, unlike most entertainers, Frank never believed in having a roadie throw us a T shirt as a tip. He was a one of the last holdouts to the old school of giving cash for a for a tip.

Then he handed Mark, the house carpenter, a piece of paper. ‘The piano movers will be in first thing in the morning,’ Frank explained. ‘Here’s the address where the piano gets delivered to.’

‘Wow!’ said Mark said, reading the address out-loud. ‘The St. Joseph’s Children’s Orphanage in St. Paul. okay!’

‘And remind the movers not to tell the Orphanage where it came from,’ Sinatra said. ‘Just tell the good sisters they owe the donor a Rosary or two.’

He thanked us again and walked off the elevator to the garage.

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Sinatra had a reputation of being one of the most generous celebrities around, even though he tried to keep his giving a secret.

Trump, on the other hand, brags about his charity giving;  but there are a lot of organizations that he said he gave to are still waiting for the first dollar.

And that’s a wrap.

MEMORIES FORGOTTEN AND REMEMEBERED

 

 

 

            There comes a time when it is easier to remember what happened years ago than to remember where in the heck you just set down your glasses or your car keys, or you call your grandchildren by the wrong name.

            Joey B. was at that age years before he should have been; but then, his memory failed him even the middle of a story,especially where names were concerned. When he couldn’t think of a name, he would start scratching the top of his head ala Stan Laurel. I found out just recently that Joey B and his memory was responsible for me thinking that Dick Van Dyke was kind of standoffish.

            Van Dyke was playing the lead in a touring company of THE MUSIC MAN. He got to the theater early for the first sound check and went downstairs to the stagehands’ room to introduce himself the hands. I was busy on stage so I wasn’t in the room at the time.

             Dick introduced himself and wanted to learn the names of the hands. As was his custom, Joey B. broke in and started his own conversation with Van Dyke.

            ‘Hey, I remember you. You had that show on TV. The one with that funny guy and that funny woman — always cracking jokes. And you had a wife that was pretty funny too. Can’t think of the name of that show though.’ He began to scratch the top of his head.

            Van Dyke tried to help him out. ‘It was called THE DICK VAN DYKE SHOW.’

            ‘NO! NO! Joey B. said in his best gruff voice. ‘That ain’t it.’ Now really stumped, he took off his glasses with his right hand and rubbed his eye. ‘I’ll remember it. I’ll remember.’

            At which point, Van Dyke threw up his arms, turned around and went back upstairs. Naturally, the hands that were present burst out laughing. Dick spent a lot of time in his dressing room during the run and seemed to avoid the stagehands. I can’t blame him after hearing the story of his meeting with Joey B. and his memory, and all these years I thought he was stuck up.  

 

Recently, the Bulletin Board had a lot of stories about people trying to think of the first thing they remembered. Here’s my story.       

How far back?

The Old Hand of Oakdale: “I guess my earliest memory was that of a corpse and a casket. In my mind, I still have a vivid picture of trying to reach up to grab the edge of the casket so I could pull myself into it. What led up to it and what occurred after was told to me by my mother years later.

“I was about 2, the only grandchild at the time — old enough to walk and talk, young enough so I couldn’t understand the concept of death. My favorite uncle, Gilbert, and the youngest in my mother’s family, was just 16 when he died of Sleeping Sickness.

“It was back in the day when wakes were often held in the home of the deceased. Gilbert was laid out in an open casket in his parents’ living room for three days and nights: three days of people paying their respects, bringing food and beverages, sitting around playing cards and talking to old friends and relatives, which on my mother’s side pretty much consisted of everyone in Mendota — both the village and the township and some of Eagan Town. The wake ended each night when the parish priest led the rosary. The visitors left, but most came back the next day.

“Mom and I stayed at her folks’ house during that time. I slept in a bed with my mother. Dad was coming in for the funeral from Lake Michigan, where he was working on the ice pack. On the first night, I managed to sneak out of the bed and go downstairs to where Uncle Gibby was ‘sleeping.’ Luckily, my mother noticed that I wasn’t in the bed and found me before I caused any trouble or somehow managed to achieve my goal.

“In spite of my mother trying to speak quietly and explain why I had to sleep with her and not Uncle Gibby, I did manage to wake everybody up with my loud screams demanding to sleep with Uncle Gibby.

“My earliest memory.”

Published in Bulletin Board  11/4/16

And that’s a wrap for today.

Oh, just found my glasses. They were on top of my head. Should have looked there first.

 

A LITTLE VAUDEVILLE

 

Hippity was born in the business as was Mrs. Hippity. They spent their lives working as a stagehand and a wardrobe mistress.  Both had retired before I got into show business; but I met them on several occasions, when their son, Dick, brought me over to their house. What a great couple, and boy, could Mrs. Hippity ever make a great apple pie!

My favorite story about them was one their grandson, Dave, who is also a stagehand, tells about an incident when he was about five. Mrs. Hippity called to tell his dad, Dick, that an old time stagehand, Chet, was in town and wanted to see him again, so Dick took Dave along to Grandpa and Nana’s house.

When they got to his grandparents, they were sitting at the table with an older man and a little girl. Dave thought it would be nice to have someone to play with while the grownups talked. The girl was so small, she was sitting on two telephone books on the chair so she could reach the table. But Dave noticed that her face didn’t look like a little girl’s face. He stared at her.

Nana quickly took Dave’s hand and brought him to the kitchen for some apple pie and ice cream.

‘How about a beer,’ he asked Nana.

‘What!’

‘A beer,’ Dave repeated. ‘Like that little girl is drinking.”

‘Oh, honey,” Nana laughed, ‘She’s not a little girl. She almost as old as me. She is a little woman, a very short little woman. She’s Chet’s wife, Lucille. She use to come to town in a vaudeville act called Singer’s Midgets, a big group of little people. That’s where Chet met her when he worked with Grandpa and Nana at the Orpheum.

‘You know – she was even in the movies. In THE WIZARD OF OZ! The munchkins were actors from Singer’s Midgets. Lucille sang and danced in the movie.’ Nana ruffled Dave’s hair and kissed him on his forehead.

When Dave finished eating he went back to the living room and looked at the ‘little woman’. Now she was not only drinking a beer, she was smoking – a big cigar.

She noticed Dave starring and she held out the cigar, ‘Want a puff, little guy? and then she laughed in a scary voice.

Dave said he ran to his Nana and buried his face in her lap.

He said that afterwards whenever he watched THE WIZARD OF OZ on TV, he didn’t mind the flying monkeys or the Wicket Witch like his little brother, Bruce did; but when the Munchkins were on, he always closed his eyes and held his hands over his ears.

 

            Singer’s Midgets was a very popular act in vaudeville. Leo Singer, who was a normal sized ‘impresario’, put the original troupe together in Vienna Austria prior to WWI. He moved it to American at the onset of the war, where he recruited more ‘little people’. When Hitler came to power more came from Germany because of the Nazi attempt to create a master race, and that meant killing off the handicapped.

             Members of the troupe have mixed feelings about Singer. Some liked him and called him ‘Poppa’. Others said he was a thief, never paying the members of the act what he should have paid them. There is an accusation that when he ‘loaned’ out the troupe and recruited more to appear in MGM’s upcoming movie, THE WIZARD OF OZ, all their pay went through Singer and he kept half their pay.

            There is a oft told tale of the members of Singer’s Midget saying goodbye to the boss. Since Singer was responsible to getting them out to Hollywood, he went on the cheap and sent them west in a charter bus.

            Before they left New York they got the driver to take them to the mansion of Leo Singer so they could give him a last goodbye. The bus stopped in front of the house and the driver honked the horn until Singer came out on the porch.

            As members of the act waved out the open windows, Singer waved back and smiled. Then the ‘little people’ dropped their drawers and gave Singer a goodbye moon. That wiped the smile off Singer’s face.

            When the filming was done, many of the troupe stayed in Hollywood and got more film work., Others came back to Singer who tried to revive the act: but vaudeville was dying and Singer’s Midgets ceased to be in the mid 1940s.

And that’s a wrap for today.