Momo and I are creatures of habit, wandering through the peculiar tapestry of our country, mainly the desert southwest and the mountains of far West Texas. Drawn like a moth to a porchlight, time and again to the whimsical embrace of a certain town.
Marfa, Texas, stands as a solitary beacon of floating lights in the mountains amidst the vastness, nestled alongside its mysterious neighbors—Alpine and Fort Davis—forming a curious landlocked Bermuda Triangle of odd happenings in the Chihuahuan high desert. Strange lights, ghostly apparitions floating around town, young hipsters from Austin that migrated to the new Nirvana, only to find out that it costs more than they can afford to live there, and who will buy their third‑rate art and used clothing? The local folks call them “Marfa Surfers.” Either the surf is up or down, and then on to the next beach. The average shelf life for these young gypsies is around three to six months: then it’s back to Austin, where their air of weirdness is commonplace.
Each visit finds us returning to the Hotel Paisano, a historic haunt where the stars of the film “Giant” once breathed in the same desert air, their whispers still echoing through the adobe walls, reminding us of the historical stories that linger in this town.
There exists an ever-growing assembly of characters, primed to share the local tales intertwined with a potpourri of exaggerations, all while maintaining a devilish demeanor as they weave their narratives, and Planet Marfa appears to be their favored stage.
Sagebrush Sonny Toluse was my favorite from our last visit. Sporting a long white beard and a wooden leg, courtesy of a large desert dump of toxic nuclear waste from the 1945 Atom Bomb. The waste was eaten by a group of escaped Chihuahuas from a breeder in Persideo, which turned them into vicious, mutated killer mongrels, which in turn relieved him of his right leg. I believed most of it, but truthfully, he’s full of crap, but it was fun crap. I was hoping to run into him again, ply him with beer, and hear a few more stories.
As luck has it, he was at his usual seat at the end of the bar, looking much worse for wear than two years ago. The dry desert air is supposed to preserve one like an Egyptian mummy, but Sonny may be the exception. He looked as if he had been vacationing in Hell and just arrived home that day. His drinking a case of beer a day is not considered medicinal or practical, and he was smoking two cigarettes at a time with a third sitting in a classic Hotel Paisano glass ashtray, ready to be lit. I didn’t see money on the bar, so the kind young bartender likely lets him drink for free these days.
I saddled up beside him, and he remembered me:
“You’re the fella from Fort Worth who liked my stories,” he says.
“Yep, that’s me,” I reply. Mister gullible, but interested enough to listen and use what he tells me, even though much of it is a tall tale, and I do know something about that genre.
I ask the bartender to bring Sonny two beers, on me. He appears to have had more than a few already, but I can sense he is ready to orate a few of his tales. It’s then that I notice he is wearing a black patch over his left ear, and his left arm is missing: his shirt sleeve is held in place at the shoulder by a safety pin, and there is a large area of his scalp on the left side that is bare of hair. The poor man looks like a wreck, so I ask if he was in a car accident. He drinks his beer in one gulp, lights his third cigarette, and I can sense he is going to explain his ghastly appearance. Momo is sitting under a canopy, enjoying a beer, texting, and taking a few pictures. A light rain has started to fall.
Sonny wastes no time and begins his story.
He speaks in between deep draws of his cigarette and swigs of his fourth beer, ” Back about a year ago, I was driving on the highway over by El Cosmico, you know that bunch of hippies from Austin that live in those tents and trailers. There was this 1960s Fairlane station wagon with the hood up, spewing steam, and a family standing by the side of the highway, so I stopped to help. The man said they were from Minnesota and were looking to set up camp in the desert, but couldn’t afford to rent a space in El Cosmico. They were a ragged-looking bunch, three kids, all wearing boxer shorts and sneakers, long hair with fishing lures woven into it. The wife, who called herself Sassy, was cute, but kind of a smart ass. The guy, Tiberius, was really nice. I told them there’s an old abandoned campground about ten miles out that might fit their need, and it has a little pond the kids can swim in. After I put some water in their radiator, they followed me to the spot, which is way out yonder in the desert. When we got there, they were excited to see a few Yurts that were still livable, so after I got rid of the rattlesnakes, they moved right in. It was getting dark, so they asked me to stay for supper and spend the night. I had a cooler full of beer, and they fixed up some beans and weiners and sat around the campfire swapping stories. That’s when I told them about the toxic killer Chihuahuas that roamed the desert at night, and that’s why I have a wooden leg cause they chewed the other one off. They thought I was full of crap and got a big hoot over my story, which was really a warning: this place ain’t safe at night. They laughed so hard, the wife wet her shorts, and they thought I was telling a tall tale. Around midnight, we all said goodnight and hit the hay.
I ordered him two more beers and a fresh pack of cigarettes, and he continued, ” I was sleeping in my truck, and during the night I had to pee, so I hobbled a few feet away from the truck, because at night, I take my wooden leg off to give my stump a rest. That’s when the little demon Chiuauas jumped me. They had been hiding under the pickup, waiting for me. The little demons got me down, chewed off my left ear and most of my left arm, and took a good part of my scalp and hair, which was sparse already. The family woke up after the attack, piled me in the car, and drove me to the hospital over in Alpine, and the doc saved my life, cut off the rest of my arm, and sewed up what was left of my ear and scalp. I was there for a week or so, and when I returned to Marfa, the family had packed up and gone back to Minnesota. They were too weird for me anyway.” I looked at the bartender, and he gave me a smile and a nod, as if to say, It’s all true.
Four boys joyfully play a spirited rock-throwing game in a gritty urban alleyway.
When I was a child in the 1950s, one of our favorite forms of retaliation against our enemy, the small group of hoodlum kids we called the ‘hard guys,’ from across the tracks, was the infamous rock fight.
As kids, we didn’t possess the strength to propel a stone fast enough to kill an enemy, but they hurt, especially when one pops you on the forehead or the back of your flat top haircut-wearing head while retreating from the fracas.
We were all masters of rock chucking and knew which rocks were the best for throwing: the larger gray stones that lined the railroad tracks across the field from the back of our house. The railroad furnished us the perfect weapon for rock fights, just the right size and weight, and hard edges that would raise a welt on young tender skin.
Georgie, our neighborhood firebug and the biggest titty baby of our gang, took one rock to the nose and had to have stitches, so our parents, after a series of butt-whoopings, ended that form of warfare. We still had BB guns, so that replaced the rocks, but presented a greater danger of shooting one’s eye out, like the classic 1984 movie, ” A Christmas Story. Not a one of us, or our enemy, lost an eye, but those BBs did sting through our jeans and T-shirts.
That description of past juvenile antics brings me to this point: we, meaning the American public and families, are still chucking rocks at each other, not actual stones, but words and actions driven by, news paper articles, television news, social media platforms, and the newest form of ammunition is the smartphone text; they’re all the same, and they hurt more than a small rock to the head and sometimes the wound never heals.
Political and religious tribalism is the newest and the worst form of family alienation. I know firsthand, because I go through it daily, and so does my wife, Momo. Our children and a few fair-weather friends and relatives are liberal Democrats, and we are conservative Christians, so we are easy accessible targets for alienation from their La La land of beliefs and ideology. We are not pious Bible beaters, and, sure, we drink cocktails and wine and beer, and we were teenagers with long hair, rock band playing fools, and a bit wild back in the 1960s. We weren’t real Hippies, but more of a middle-class version that bathed every day and didn’t hang out with the Manson family. We didn’t care for the Vietnam War, but we darn sure didn’t burn buildings, assault the police and citizens, and cheer on socialism like the younguns of today do so freely without guilt.
My grandfather once told me that to get along with family, never talk politics or religion, and he was correct. My father’s extended family on his mother’s side all lived in Fort Worth, within a few blocks of each other. During summer cookouts, a few of them always got into rabid arguments over politics and sometimes religion. Most of them were good, hard-drinking, night club dancing Baptists, but a couple were Catholic, so it was bound to happen. Fists flew, beer bottles zipped by our heads, and uncles and cousins rolled in the grass until one gave up. But that was the end of the disagreement; it didn’t go past the backyard fun, at least not until the next get-together. I cringe at using the term ” back in the day, and the good old days, but that’s when we were civil to each other and didn’t alienate family and friends.
Today, it’s a different world that I don’t recognize. Indoctrination and tribalism go hand in hand. The political tribalism goes both ways; each party is its own, and you insert religion and lack of belief in God and Jesus into the encampments, and it becomes a toxic mix that has ruined many a family gathering and destroyed relationships.
Now, we have texting, which is the worst form of communication. I will admit we use it to communicate with our church’s music ministry, friends, and family. It’s so easy, so non-committing, so bland, so lacking in tonality and reality that a simple few phrases can be taken as an insult or call to arms. It also signals that ” I don’t want to have a real conversation because that requires actual interaction and brain power to think about what you are talking about.” Texting is the newest form of ignoring human interaction; it says I’m too busy to have a conversation or what you have to say is not worth my valuable time. Texting is here to stay unless Elon Musk invents a brain chip implant that lets us communicate our thoughts via Starlink.
Back in 1985, my father’s band, The Light Crust Doughboys, recorded an album that was meant to focus on Texas music, some present, mostly passed. Country music wasn’t invented in Fort Worth, Texas, but Western Swing was. Bob Wills started as a Light Crust Doughboy, as did most of the great talent from the 1930s onward. I was fortunate to have known every man on this record for my entire life. The members on this album were: Jim Boyd, vocals and rhythm guitar; Jerry Elliot, vocals and electric guitar; my father, Johnny Strawn, fiddle, electric mandolin, and vocals; Bill Simmons- keyboard; Elden Graham, stand-up bass; Marc Jaco, electric bass; Maurice Anderson, pedal steel guitar; Dale Cook-drums; Phil Strawn, five-string banjo; and Gary Murray, announcer. The album was recorded at Sumet-Burnet Sound Studios in Dallas, Texas, in April of 1985. Recording engineers were Bob Sullivan and Bobby Dennis. It was produced by Marvin Montgomery.
Songs on the album, in order, are: Side One 1. The Light Crust Doughboy Theme Song. 2. The Yellow Rose of Texas, 3. When The Bloom Is On The Sage, 4. Texas In My Soul, 5. Beautiful Texas, 6. Waiting For A Train, 7. Old Joe Clark with myself on five string banjo and my father on fiddle, 8.Tumbling Tumble Weeds, 9. You’re from Texas, composed by the legendary Cindy Walker. Side 2, 1. If You’re Gonna Play In Texas You Gotta Have A Fiddle In The Band, 2. Amarillo By Morning, 3. Across The Alley From The Alamo, 4. In The Mood, done the Texas western swing way, 5. Does Fort Worth Evdr Cross Your Mind, 6. Sure ‘Nuf Texan, 7. Texas When I Die, 8. Closing radio them, the song the band has always used since their inception in the early 1930s.
They are inductees into the Western Swing Hall of Fame and the Rockabilly Hall of Fame, and are part of the Country And Western Hall of Fame ( Chet Atkins always decided who would be inducted )
I traveled with these men for many miles, driving their van, loading and setting up their equipment, and playing bass, guitar, and banjo when one of them was ill and couldn’t make the show. Smokey Montgomery made me an official member of the band in 1984, which was the greatest honor any musician could dream of. The one cut from the album included in this post features my father (fiddle) and me (five-string banjo) playing the old 1800s standard, “Old Joe Clark,” with the rest of the Light Crust Doughboy band. We may grow old and die, but our music lives on forever.
Johnny Strawn on the left and Bob Will on the right. The Sunset Ballroom, early 1950s
I was born into music the way some children are born into weather—something that surrounds them before they have words for it. Long before my hands were big enough to hold a wooden neck or find a note on a steel string, the sound was already there, drifting through the rooms like a ghostly wind. A man doesn’t choose a life like that; he’s shaped by it, the way wind shapes a tree on an open plain. Our home pulsed with music, not a 78 RPM record on a Victrola but real instruments played by men, some would become mentors, lifelong friends, and a few I would help carry to their final rest, my hand supporting their coffin. It seemed they were always there, a few feet away or on the front porch and around the kitchen table, drinking coffee, smoking cigarettes, and playing music. My younger sister and I thought it all to be quite normal, but it was so far from that.
My father carried his fiddle the way working men carry their tools—worn smooth by sweat and nights on the road, tuned by the laughter and sorrow of dance halls from Fort Worth to Nashville, Springfield, Tulsa, and to Abilene and then on to California. He played with the great ones, the ones whose names still hang in the air like smoke: Bob Wills And The Texas Playboys, Willie Nelson and Paul English, Milton Brown, Cliff Bruner, Adolph Hoffner, Bill and Jim Boyd, Smokey Dacus, Jake Ghoul, Artie Glenn, Ray Chaney, Smokey Montgomery, Jerry Elliot, Bill Hudson, Red Foley, Grady Martin, Roger Miller, Ted Daffan, Lefty Frizzell, Hank Garland, and the Light Crust Doughboys. Those bands were more than music; they were a kind of moving tribe, stitching the country together one dusty town at a time. And my father stood among them, bow in hand, drawing out the heartbeat of the West. He wasn’t a big man in stature, but when he drew that bow across those strings, he stood as tall as Iowa corn.
But the story didn’t start with him. It ran back through my grandfather, John Henry Strawn, and further still to my great-grandfather, Marion Strawn—men who bent their backs to the land by day and lifted their spirits with a fiddle by night. In those days, a tune wasn’t entertainment; it was survival. A way to keep the darkness from settling too heavily on a man’s shoulders. My grandfather, in his younger days, was a cowboy, but was always that campfire fiddler with a tune poised on his fingertips, as was his father.
So, of course, I was born into it. The first instrument wasn’t wood or wire but a small blue baby rattler, the kind a child shakes without knowing he’s keeping time with the world. I still have it tucked away in a box, along with those tiny shoes from The Little Texan shop in Fort Worth, 1945—leather soft as memory, soles barely scuffed by the earth. My Aunt Norma told me my feet didn’t touch solid ground until I was three or so. Proof that even then, before you could walk, the rhythm was already in your hands.
Some families pass down land, or money, a name carved into a building cornerstone, or a legacy that follows them through generations. Mine is passed down as a sound—a long, unbroken line of strings vibrating against fine old wood.
And so the question was never how I became a musician. The real wonder is how I could not become anything else.
The Great Depression settled on the land, especially the Midwest, from the Dakotas to the bottom of Texas. Misery was in every mouthful of whatever families could scrape together for a meal.
My grandparents loaded their dilapidated car with whatever scraps of a life could be carried, tucking them into corners already crowded with worry. They pulled away from Fort Worth in the hard years of the early 1930s, when work had vanished like water in a dry creek bed, and the dust from the Panhandle settled over the city in a fine, punishing veil. Folks walked with their shoulders bent, not from age but from the heaviness of days that offered little and took much. In those times, every family felt the pinch of hunger and the quiet shame of wanting more than the land and the cities could give. So they turned their eyes westward, toward a place they’d only heard about in stories — a place where the air was said to be softer, and smelled of blossoms, the work steadier, and opportunity flowed like milk and honey for anyone brave enough to chase it. Like the frivolous dancing girls in the unrealistic movies echoed, “We’re In The Money.” Come to California, and all will be healed, my brother, and happiness will be here again. For many, it was their salvation, for even more, it was their Waterloo.
The journey was a gritty trial; more than once, my grandparents’ aspirations lay shattered within the confines of the bloated car. Harsh words, blame, and unforgiveness forced the old Ford to veer back Eastward, yet practicality prevailed, and the road West stretched ahead once more. Route 66 transformed at times into a mere gravel-and-dirt dog track, its ruts so profound they could swallow a child, never to be seen again. Just beyond the Border Patrol in Needles, California, my grandfather—clad now in the worn label of an “Okie”—picked up an elderly blind bluesman and his tiny Chihuahua, supposedly his seeing eye dog. Still, the dog possessed one good eye, so his loyalty only went so far. They were fleeing from the shadows of Deep Ellum in Dallas, Texas, where the blind bluesman, in a pay dispute, had shot six folks in a bar at the aimining direction of the small dog, all the patrons were wounded, and the wrongdoer escaped unharmed. That chance encounter would shape the souls of all within that car, threading their lives together in an unbreakable bond forged by hardship and hope.
After depositing the old blues singer, Blind Jelly Roll Jackson, at Sister Amiee McPherson’s downtown Los Angeles Mission Church, my grandfather encountered a couple who sensed the need and subtle transformation within him. I have always believed that angels walk among us most days, though they sometimes take a leave of absence for their own reasons. In that moment of serendipity, my grandfather’s guardian angel appeared in the passenger seat beside him, illuminating the path with a chance encounter that offered help and guidance from above. He forged a friendship, secured an unimaginable job, found a modest home to rent, and within weeks, he bestowed upon his family the very gifts of life he had only dared to dream. God is awesome, but he sometimes requires his Angels to carry that extra pat of butter in their rucksack for special times.
Around the age of ten or eleven, my father, Johnny, expressed interest in learning the instrument. My grandfather showed him the basics, then handed him off to a retired high school music teacher on their block, who gave him violin lessons in exchange for mowing, weeding, and odd jobs. A $5 pawn-shop violin was purchased, and tutelage began. Within a few weeks, he could read music, had learned the notes on the fretboard, and could play a few simple tunes. Most nights, grandfather would sit on their front porch and play his father’s old 1812 German-made fiddle while spinning yarns to anyone who would listen. He was a master of Texas Dichos, and with each jig he played, there would be a life’s lesson or a tall tale to accompany the tune. Many nights would find a dozen folks sitting on the front lawn listening to his fiddle and his tall tales. All of it seemed to fit in life’s complex package. Every fiddle carried the tales of heartache and hope: real or imagined.
Around the age of thirteen, my father found himself among a group of schoolboys who, in their youthful exuberance, formed a string band that echoed the sounds of their dreams: they wanted to be country musicians like the ones they listened to on KUZZ, the famous country radio station out of Bakersfield, California. My father wielded the fiddle, the others accompanied with a stand-up bass, a tenor banjo, and a guitar perpetually missing a string, creating an element of embarrassment and laughter.
None of the young lads had the gift of a soothing voice to uplift their spirits, so my grandfather, with the wisdom of a man with a good musical ear, recalled the old black blues man he had once deposited at Sister Aimee’s Mission in downtown L.A.
A few calls were made, a meeting set, and the boys were graced by the presence of Blind Jelly Roll Jackson, accompanied by his loyal Chihuahua, Giblet, whose single keen eye began to see beyond the darkness. Blind Jelly, with the patience and kindness of a seasoned mentor, accepted their earnest offer to perform, insisting that a young Cajun girl from the church choir that he had grown fond of join them, a girl whose voice could lift the very rafters off their hinges. Le’ Petite Fromage, though barely five feet tall, could sing with a strength that belied her tiny stature. As they gathered on the Strawn’s front porch for their first rehearsal, the band realized they needed a name. “Le’ Petite proposed ‘Blind Faith,’ inspired by Blind Jelly’s newfound devotion to Jesus and the church, and his obvious disability.” Sister Aimee, her spirit both stern and forgiving, had an off-kilter sense of humor and deemed the name tinged with a slight touch of blasphemy, yet offered her blessing, recognizing the earnestness in their hearts. The band was born. A new type of country, Texas-style Cajun-infused Jesus music had arrived, without an organ or big hair, an edgy choir, and it hit Los Angeles like a Super Chief express train from Fort Worth.
Word of their talent reached every corner of the church community, a bustling hive of activity every weekend, filled with the laughter of children at birthday parties, the fierce spirit of chicken fights, the tender moments of school dances, and the somber gatherings of a few funerals; on lazy Sunday afternoons, they would often spill out onto the sun-warmed corner outside the church, entertaining any who would stop for a listen.
Le’ Petite’s father, Baby Boy Fromage, a nickname given to him because of his stature, brought his band “The Chigger Bayou Boys,” to Los Angeles, driven by an urgent need to escape the depression drought of paying jobs in Louisiana, Texas, and Oklahoma; he hoped that the burgeoning migration to Bakersfield might present a new opportunity. His unique blend of Cajun country, alligator tunes, skeeter-swatting antics, and the camaraderie of beer drinking seemed to resonate with the Californian spirit, and for a time, it flourished. Meanwhile, Le’ Petite found her own path, joining Sister Aimee’s church choir, which divinely led to a deepening friendship with Blind Jelly Roll. This bond blossomed into the formation of their band, Blind Faith, as if fate itself had conspired to align their destinies just right.
Bob Wills, a spirited and legendary member of The Light Crust Doughboys from Fort Worth, Texas, traversed the country in a bus, on a well-financed quest to promote the finest flour known to man, Light Crust Flour, milled in Fort Worth, Texas. It was Baby Boy Fromage, father of’Le’ Petite, who journeyed with his band from the marshy Chigger Bayou, Louisiana, to Bakersfield, where the heart of California’s country music pulsed with life. He orchestrated a thirty-minute live radio broadcast for this budding ensemble, cleverly pocketing the majority of the earnings. It was during this very broadcast that my young teenage father encountered the legendary Bob Wills, whose band had just wrapped up their own live radio performance. United by their Texas roots, they met and ignited a bond, with Bob assuring my father that, upon his return to Fort Worth, he could count on him to swing open the doors to the world of music. Johnny cherished that promise, as did Bob, both forever marked by the fleeting good grace of opportunity. A life-long mentorship had been formed.
When the Japs bombed Pearl Harbor, every high school boy in the country wanted to enlist to fight them and Hitler. Three of Blind Faith joined up, then Johnny, with my grandfather’s consent, because he was seventeen, enlisted in the Navy. That left Blind Jelly Roll, Giblet, and Le’Peetite, who was sweeter by the day, on a sax player in the church orchestra. In a hurried wedding performed by Sister Amiee, the two returned to Chigger Bayou to start their family of ten children.
In 1954, my father, in a sweating fit of entrepreneurship, purchased a club on Jacksboro Highway, the Sunset Ballroom. Between the fights, the Fort Worth mob, making it their newest hangout, and the payoffs, he soon sold it and went back to playing the circuit.
After serving in the Navy in World War 2 and returning from Hawaii to Fort Worth, drawn by the unrelenting trysts of his alcoholic mother, attempting and failing to be in the nightclub business, Johnny was desperate but hesitant to bother Bob. After marrying my mother, he did contact him. As good as his word, Bob put his size-12 cowboy boot in many doors that led to the beginning of my father’s father’s, one of the best country fiddle players in the nation.
The fiddle he played was the very same his father had procured from a pawnbroker’s in Los Angeles; though it possessed a certain charm, it lacked the warmth and volume of a fine-made instrument. In a generous gesture, Bob often invited Johnny to perform with the Playboys and, in turn, gifted him a fiddle crafted by an esteemed Luthier from Fort Worth, Joseph H. Stamps, in November of 1947. Bob, ever the pragmatist, rarely ventured without two or three backups, ever mindful of the fragility of strings. His hands, though skilled, bore testament to a life of rough play, leaving this instrument with its fair share of scars—gouges and scrapes that contributed an unrefined but slightly brutal beauty to its sound. One gouge near the bridge was never repaired because it may have affected the tone, which, to a fiddle, is its purpose. I have preserved a few sepia-toned photographs of him and Bob weaving harmonies on twin fiddles, and that particular instrument, worn yet noble and soaked in history, remains in my care; I am now, even at the old age of seventy-seven, revisiting its strings, having been sidetracked by the allure of guitar since I was twelve and discovered rock n’ roll music. I was like most boys, wanting to be Elvis Presley or Carl Perkins, and neither of them played a fiddle. Young men make foolish decisions, yet my father let my folly continue.
Eventually, Bob approached my father, inviting him to join the Texas Playboys as his second twin fiddle. Without a moment’s hesitation, he accepted this incredible offer, much like a weary traveler might grasp at the hope of a warm meal or a sidewalk found wad of cash rolled in a rubber band.
My mother, embodying the spirit of countless wives of musicians, shared whispers with the other wives, and the tales spun on the circuit painted Bob and his crew as a band of unfettered ruffians and rapscallions ahead of their time. Yet, reality was far from those fabrications; Bob placed strict boundaries on his band, allowing only a few swigs of hooch on the bus after a show, to ease their restless hearts during long nights of travel. It was mere gossip, yet it fueled a storm within her; she planted her feet firmly, unleashing a tempest of emotion, declaring that if he chose that path, she and I would be far away when he returned. My father, grappling with the weight of his choice, made his decision, and there were tears in both men’s eyes as he told him that he must prioritize family, even though such a venture would have freed us from the clutches of borderline poverty by giving him fame and fortune. Bob chose another young fiddle player from Tyler, Texas, Johnny Gimble, who was eventually inducted into the Country Music Hall of Fame posthumously in 2018. In later years, as adults, Father and I would share a scotch while he told me stories from his life on the road as a musician. I sensed that deep within him, he never quite forgave my mother for forcing an imagined and selfish decision on him. I believe that her having to deal with his addicted mother was the only reason for her reluctance.
Through the late forties and fifties, the old fiddle led the way, weaving melodies through the life of a musician. There were evenings filled with the long hours of playing for a thousand dancers with Ted Daffan’s band at Ted Daffan’s Crystal Springs Ballroom on Lake Worth, the beer joints on Jacksboro and Belknap Highway, and the Big D Jamboree in Dallas. where the laughter of dancing feet accompanied the day’s tunes. Western swing was more popular than Benny Goodman.
The stork left me on the front porch in September of 1949, so time was of the essence for a young man of talent to mark his spot in life’s grass.
Then came a call from an old friend in Nashville, the renowned guitarist Grady Martin, who rang in with an invitation to join Red Foley’s national television show, The Ozark Jubilee, cast in the heart of Springfield, Missouri, on ABC every Saturday night. Those were the transformative years for country music in the mid-1950s. We packed our lives into the car and found ourselves in Springfield in less than twenty-four hours, eager and wide-eyed, ready to embrace the unknown that awaited us. Grady and my father became fast friends, as did their wives. On the days they didn’t rehearse for the weekend show, Grady and he would drive to Nashville and do studio work for the top recording stars of the day. Grady brought my father into the tight fold of the A-Team, the country music version of The Wrecking Crew in L.A. He was not a full-time member yet, but since he and Grady were tight friends and his musicianship carried him, he was accepted. The old fiddle sensed the importance and, as always, pulled through. Grady worked on all of Marty Robbins’ records, as well as Patsy Cline’s, Loretta Lynn’s, Johnny Cash’s, The Browns, Hank Snow, Eddy Arnold’s, and almost every popular artist in Nashville. Chet Atkins ran the show like a drill sergeant, with no tolerance for unprofessionalism. I was a child and met most of these famous musicians and singers, but my memory is worn out. I can’t recall who or when, though I do recall the famous country singer Wanda Jackson cleaning my ears with a napkin and her spit, and standing in the wings of the Grand Ole Opry stage, watching the performers of the day weave their magic.
In no time, the sporadic phone calls and daily letters from my grandmother reached Springfield. She had ensnared my father in this manner throughout his existence; he was her chosen instrument of enablement, and escape was merely a mirage. The dosing of the popular medicines had now changed to hard-core hooch, and her demons were back livelier than ever. His older sister had flown the frazzled nest by marriage early on, but was now a raging hypochondriac who harbored every fatal disease known to humanity. I knew little of the contents of those missives, yet I recall their power, enough to unravel his career through mental grief and dismantle his bond with Grady.
An alcoholic parent can lay waste to a child, wielding either fists or cruel words, leaving scars that echo in the silence. The line of love and hate is often melded into one, and there is no choosing which to cross.
I awoke in the back seat of our worn car, under the gaze of the night sky, the hum of tires on asphalt a constant reminder of our hurried retreat from Springfield, leaving behind Grady, Red Foley, and even the unpaid milkman without a proper farewell. The weight of unspoken words lingered in the air, a testament to the unbearable tension that had twisted my father’s heart. Once again, his spirit was broken by his mother and her addictions. My mother knew this brutal betrayal was the worst yet, and it permanently dissolved the artificial, fragile peace with her mother-in-law into a hatred that would never be repaired.
Upon returning to Texas, the Light Crust Doughboys arrived with a proposition that seemed even more enticing than that of Bob Wills and his esteemed band. They would travel, but only for a few days each week, keeping most of their appearances local in the heart of Texas. My father, with his fiddle and mandolin, joined and played with them until 1994, when the cruel hand of brain cancer compelled him to step away from the music he so loved. Whenever the opportunity arose, I would accompany them, driving the band van, assisting with equipment, and playing bass or my five-string banjo. In the mid-1980s, Smokey Montgomery honored me as a member of the Light Crust Doughboys. He gave my father and me a chance to record a cut of Old Joe Clark on the album, “One Hundred Fifty Years of Texas Music.” This recognition, to this day, still leaves me breathless, profoundly aware of the historical gift bestowed upon me. That old fiddle, now repaired, sits in the warmth of its case, waiting for me to catch some of the magic my father left me.
I’m turning 77 in a few months, and the only object made from fine wood that I want is a Gibson F5 G Mandolin. Banjo Ben in Mo. has a used one for 4900. bucks. I’ve contacted The Southwestern Medical Center about selling a kidney ( I only need one to pee), maybe a pinky toe, and both testicles, but no response just yet. My son is checking into a clinic in Martamoras, Mexico, that is willing to give me a nice sum for all usable parts, so I can purchase the instrument. I don’t need balls, a pinky toe, or two kidneys to play, so it may work out. I’ll keep you all informed on the negotiations, though my Spanish is limited to “more chips and salsa.” Pronto. How many testicles does a man really need?
Unsolicited, Unfiltered, Demented Advice That Will Likely Offend Everyone That Still Remembers How to Read And Comprehend Directions On Putting Together a Piece Of Cheap Assed Made In China Furniture. Momo And I Did It A Few Days Ago And Likely Had a TIA or A Brain Hemorrhage….
The Texan
Straight up, I never cared for Springsteen, the little punk-assed in his jeans and white tee shirt touting ” Born in the USA. Well, he may have been hatched here, but he ain’t an American, at least not by Texas standards. The guy looks like an 85-year-old Lesbian Megan Rapinoe, holding a Fender Telecaster with The Roy Clark beginner stickers on the fretboard so he can remember the chords to Born To Run. Likely craps his diaper too. When I was a smart-mouthed kid, I would tell my mother, “You ain’t the boss of me.” Well, yes, she was, and that Tupperware cake pan would leave an imprint on my butt for a week or so. So, exactly is Brucie the boss of? His wife Pattie? Little Stevie? The roadies or the dudes that carry him on stage and operate the auto-tune machine loop?
His latest concert was a three-hour Bidenesque Rant about Trump, which highlighted that talent, which was always minimal, has taken the off-ramp to the nursing home in South Jersey. For those of you who care to contribute, let me know who the guy bosses around.
Momo acompanied me to my primary doc today for the results of my physical a few weeks back: it’s best she drives, but I’ll explain all that later on.
I like my doc; he’s a young fellow who dresses nice, wears stylish shoes, and wears colorful socks, sort of like a younger version of myself. He immediately started in on the blood work results, which were amazing since I’m on the cusp of 77 years old. I had a few age-related glitches, and he wasn’t worried just yet. I asked him, “When is yet a problem?” He said he would let me know later. I told him my heart doctor said I had a real good chance of a major malfunction, but couldn’t tell me when that might happen. He said not to worry, it would be quick and painless. I also said I needed to lose 25 pounds, and could he put me on that Wegovy pill or the Ozempic shot all the movie folks are killing themselves with? He sidestepped that question. I said, “Jeeze, doc, I don’t want to look like Demi Moore or Oprah, I just need to lose a few pounds.” He said just stop eating and work out. ” That’s all fine, but I can’t work out; I’m disabled from a bad back surgery, and my body won’t cooperate, and Momo just bought a yummy French Vanilla Pound Cake with some Blue Bell Ice Cream: get the picture?
The young nurse was a bit too perky when she handed me the little notebook for the cognitive test. She said the instructions are a bit tricky. She was right, they were Ayatollah gibberish. I did the best I could, but failed with flying colors. All those numbers, words, little pictures of monkeys and fish and ice cream cones. Old folks don’t give one shit about any of that crap, so I was a miserable failure. I told him I re-learned to play the mandolin in six weeks and will be taking on the fiddle next week, so my brain can’t be that blocked up. He gave me a cute little Dr. Marcus Welby laugh and said he wants more blood and another cognitive test to see if I should be in some sort of home, or at home with Momo pulling me around in a wagon with a drool sponge taped to my chin. I asked him if I was smart enough to be president, and he said, “No, we’ve already been down that road.” As of yet, I haven’t left the truck keys in the freezer, burned down the shed, or dug up a natural gas line with my spade, so there is still hope. Old folks remember what they want to and screw the rest of it.
The Texan on his first typewriter that took two adults and a child to lift….Note the resemblance to Earnest Hemingway
Down Home Often Correct Advice And Old School Teachings For Folks That Live In Other States And Want To Move Here…Please Don’t. We Already Have Too Many Californians and New Yorkers, and There Is No Parking Left at Walmart or H.E.B.
After a rousing set of worship songs yesterday at our Generations Church, myself on my little mandolin, Eric on bass, Momo singing with Isabella and Ester vocals and acoustic guitar, Larry on Sax and Clarinet, Sandy on Cello, Ephraim on drums, and his daughter Victoria on keys, Monday morning is always a let down, coming off of a great set of worship music and Pastor Alan lighting up the church, like a Texas A&M bonfire, plus the spaghetti lunch and bake sale for the youth. I’m plum wore out and already need another nap.
Then I turn on the news, and reality hits me in the face like a Soupy Sales cream pie distributed by White Fang or Black Tooth. For those too young for real comedy, Soupy had a live TV show back in the early 1960s that actually was funny and made us laugh, much like the Three Stooges poking each other in the eyes. I almost blinded my best buddy, not knowing that Moe poked Curley in the forehead, not his real eyes. I am still amazed I made it to this age without being disabled or permanently disfigured. Momo says I still have time left to accomplish both.
World War 3 is in full swing and living color, minute-by-minute coverage of what Iran is planning for Israel and the rest of the Middle East, not to mention the good old USA, which is just a short missile hop from Tehran. Does the current Ayatollah think that he is safe from a smart drone missile that has more brain power than his entire staff of twelfth-century Zealots?
Maya Sharona, the on-site news person for NPR, was interviewing Iranians on the street. One group of young women was without their head-to-toe tents with eye holes, long hair flowing, full face makeup, smoking cigarettes, drinking a beer, and cursing the current regime. Ms. Sharona asked one of them whether they were excited that the current Ayatollah was on the run and that Iran might be free again. The young lady replied, ” We are ecstatic that we may return to the 70s again, we all have our Sony Walkmans and bell-bottom jeans ready, and Jane Fonda workout tapes are on sale at the bookstore, and oh yes, Death To America, but we really don’t mean that, it’s what we were taught to yell in school. God bless the USA and Sydney Sweeney. “
There is an old Texas saying that I still use to this day: “Hide and Watch.” Which, according to my late, late, late, and wizened old grandfather, meant hide behind a rock or a wagon and watch what happens when a few cowboys or a group of Indians on ponies try to attack a bunch of pioneers armed with Winchester repeating rifles. Sometimes it’s just best to peek over the edge of the rock and wait for the results before you get involved in the fray. I’ve got the Winchester and the pistols, and there are a lot of rocks around my hilly, rocky mountain home, so Momo has the Jiffy Pop ready, and we are stocked up on Dr. Peppers. Stay tuned, and Paul Harvey used to say, “Good day.”
I’ve received a few emails asking where I’ve been. The reports in the papers and internet news are false, I am not deceased in any way: not having reached room temperature, still able to walk upright, not being carried or anything similar, and I didn’t wake up dead. I have been blogging for over twelve years without much of a break, so I have been on a break.
I recently became reinvolved with my second-favorite instrument, the mandolin. I learned it as a child, walked away from it for rock n roll guitar, but have not reconnected with the tiny instrument and needed some time to re-familiarize myself with it. I had no idea how hard that would be. Four strings doubled to eight, tuned like a violin, EADG, nothing like a guitar, of which I have played since age 12. How hard could it be, right? Well, for a 76-year-old man, it’s damn hard and then some, but I have played twice with my church band and report that the little wee beast is now my friend again, and all is well. I will resume my ridicule and poking the bear, as well as tall tales from Texas, in a few days. The second big thing in my life is that Rats and Mice took up residence in Momo’s hot tub and did some considerable damage to the water lines. I have set traps and poison to ensure their demise, but a few defenders remain to be dealt with. I think the term Rat Wars is a good description. My son is sending me a nice 12-gauge shotgun to help in the battle, but I fear the shot will do more damage to the tub than the rodents. Momo is afraid I will shoot my one good foot off, then I will be pulled around in a Western Flyer wagon with a drool sponge taped to my chin, and she will be the one doing the pulling. I’ll keep you all posted on the epic battle.
“Do not forsake me, oh my Darlin,” on this our wedding day,” who didn’t know the first verse of that song from the radio? A massive hit from the 1952 movie “High Noon,” performed by everybody’s favorite singing cowboy, Tex Ritter.
In 1957, I was eight years old, and on some Saturday nights, I got to tag along with my father to the “Cowtown Hoedown,” a popular live country music show performed at the Majestic Theater in downtown Fort Worth, Texas. My father was the fiddle player in the house stage band, so I was somewhat musical royalty, at least for a kid.
Most of the major and minor country stars played Fort Worth and Dallas as much as they did Nashville, and I was fortunate to have seen many of them at this show. One, in particular, made a lasting impression on my young self.
I was sitting on a stool backstage before the show, talking to a few kids; who, like me, got to attend the show with their fathers.
My father came over and asked me to follow him. We walked behind the back curtain and stopped at a stage-level dressing room. There in the doorway stood a big fellow in a sequined cowboy suit and a 30 gallon Stetson. I knew who he was; that is Tex Ritter, the movie star and cowboy singer. My father introduced me, and I shook hands with Tex. I was floored, shocked, and couldn’t speak for a few minutes. What kid gets to meet a singing cowboy movie star in Fort Worth, Texas? I guess that would be me.
Tex asked my name and then told me he had a son the same age as me. We talked baseball and cowboy movies for a bit, then he handed me a one-dollar bill and asked if I would go to the concession stand and buy him a package of Juicy Fruit chewing gum. So I took the buck and took off down the service hallway to the front of the theater. I knew all the shortcuts and hidey holes from my vast exploration of the old theater during the shows.
I knew nothing of the brands and flavors, not being a gum chewer, but the words Juicy Fruit made my mouth water. Not having much money, what change I did get from selling pop bottles went to Bubble Gum Baseball Cards, not fancy chewing gums.
I purchased the pack of gum for five cents. Then, gripping the change tightly in my sweating little hand, I skedaddled back to Tex’s dressing room. He was signing autographs but stopped and thanked me for the favor. He then gave me two quarters for my services and disappeared into his dressing room for a moment. He handed me an autographed 8×10 photograph of him playing the guitar and singing to the doggies when he returned. I was in country and western music heaven. He also gave me a piece of Juicy Fruit, which I popped into my mouth and began chewing, just like Tex.
Juicy Fruit became my favorite gum, and now, whenever I see a pack or smell that distinct aroma as someone is unwrapping a piece, I remember the night I shared a chew with Tex Ritter.
Notes From The Cactus Patch 