Marfa, Texas, is one leg of the infamous Texas Triangle. Alpine, Fort Davis, and Marfa make up the redneck Bermuda Triangle and all the oddities that spring from its lands.
Momo and I have visited the quirky town a few times and plan another trip, perhaps in December. On our last trip, sitting in Planet Marfa, sipping a Lone Star beer and listening to the locals spin yarns and tall tales about the goings-on around the Chihuahuan Desert. We learned of nuclear-crazed killer Chihuahua dogs, strange lights in the mountains, the ghosts of James Dean and Liz Taylor at the Piasano Hotel, and enchanted horned toads that grant wishes. The young’uns that have relocated from Austin only add to the weirdness of the place.
The one story that folks were reluctant to rattle about was the young girl who vanished from her family’s desert home in 1965. She strolled into the desert behind their home to collect grasshoppers and other insects for a science project and never returned, and not a smidgen of evidence was ever found. A few days later, the parents noticed her prized acoustic guitar was missing from her bedroom, and their pet Longhorn steer, Little Bill, was missing from his stall. The girl often led him out into the desert to graze on the clumps of tasty grasses and plants. Lawman worked to solve the case for two decades, but no leads or culprits were found. Word around town was that space aliens had abducted her and the steer for scientific purposes or worse. No one thought much about the theory since Marfa loved that nonsense.
Sagebrush Sonny Toluse, the Grand Pooh-Bah of all things Marfa, tells the best version of the story. He said to a group around the bar,
“ I was walking my old doggy for his nighttime constitution. I live just outside of town, nearly in the desert, and that’s how I like it. The moon was full, so Rufus and I walked a little farther than usual. I hear guitar music from somewhere. It’s not a loud electric guitar but a soft one, like a Mexican guitar. It’s getting closer, and now I hear singing, the floating voice of a young girl. I stop, turn around, and passing by me; no more than ten feet is this little girl riding a Longhorn steer, playing the guitar, and singing an odd song I didn’t know, something about a Kay Serra or something like that. Behind her, sitting on the steer, is a giant grasshopper about half the size of the girl. I know we have big bugs here in Texas, but this critter was massive, about the size of old Rufus, my dog. The trio rode past me into the fading desert, never paying any attention to us. I was troubled by the encounter, so I went and asked the older sister, who is now an old woman, about the young girl who vanished so long ago. I told her about the ghostly encounter in the desert. She said her sister often rode the Longhorn steer like a horse and would play her favorite tune while sitting atop the beast. It was a Doris Day song, and she sang a bit. “Que Sera Sera, whatever will be, the future’s not ours to see, Que Sera Sera. “
After two months in Hawaii, homesickness crept in. Johnny missed his music and his string band, Blind Faith. His prized fiddle stayed behind, locked away in the hall closet. His father assured him that it would be well cared for.
Norma, his sister, wrote each week; her letters were either sharp with bitterness, primarily toward their mother, or filled with hilarity about life at home. His dog, Lady, lingered in his thoughts, her absence a weight; she is old and might not be alive when he returns.
Once again, in the clutch of her elixirs and perhaps something more potent, his mother continued her assault by missives. Johnny read a few, sensing something wrong. She sounded unsteady, lost. Her words were jagged, and he promised himself no more. He would not carry the burden of the guilt she heaped upon him. Her pen was poison.
A music store sold him a fiddle for ten dollars. The owner was an old Korean man who made a few adjustments, adding new strings and setting the bridge and sound post just right. It did not sound as sweet as his own, but now he had a fiddle, giving him a spring in his step. He needed musicians. His commanding officer, walking by the barrack, heard Johnny practicing. Whenever he had spare time, he sat on a wooden crate under the shade of a Koa tree behind the barracks, entertaining the birds perched in the tree. The officer from the South Texas town of Corpus Christi offered to connect him with musicians he knew. True to his word, two sailors came to Johnny’s Quonset Hut the next day. One was a guitar player named Jerry Elliot, a fellow Texan, and the other was Buzz Burnam, who played the doghouse bass fiddle. Buzz, a Western Swing musician from Albuquerque, knew a few other musicians who might be interested in jamming. They set a practice day and time to meet under the Koa tree. Johnny’s homesickness eased a bit.
A letter from Le’Petite Fromage gave Johnny another lift. She and her husband, Montrose, the trumpet player from Sister Aimee’s orchestra, had a baby child named Savon, an old Cajun family name. They planned to stay in Chigger Bayou, and she would sing in her father’s band if and when he returned from California. Her mother, Big Mamu, said life was better without him underfoot. She had told Johnny many times that girls in the Bayou are expected to be married with a child on each hip by the age of eighteen. Tradition got the best of her. Blind Faith was finished. It was a good run while it lasted.
Sunday was a day for rest, even amid the chaos of war. The sailors moved through the day with light duty on the Sabbath, their shoulders eased, and their spirits lifted after a good dose of religion found in the island’s many churches. After lunch, the two musicians arrived, bringing two more as promised, one bearing a saxophone, the other a snare drum with one cymbal. They played, and the music flowed—Western swing, big band, island tunes. It went on for hours. They were asked to play at the Officers Club in the Royal Hawaiian Hotel a few days later. The pay was meager, but they were musicians, and they knew the worth of their work was in the joy it brought, not the currency it earned.
A letter came from Sister Aimee McPherson. It told Johnny about Blind Jelly Roll. He had been hit by a car. The new seeing-eye dog, following barking directions from the nearly blind Pancho Villa, led them across a busy street. They walked straight into the path of a vehicle. Everyone survived, but Blind Jelly Roll broke his left arm. His hand was crushed under the tires. It seemed unlikely he would ever play the blues again. She would keep him on as the music director and spiritual advisor. She loved that old black man and his ill-tempered Chihuahua deeply.
Sometimes, good luck strikes like lightning hitting the same ground. Johnny felt it. His C.O. asked him to help with the weekly base paper. This led him to work at the Pearl City News when off duty. He became the leading writer. Two sailors he knew were on staff, too. The pay was little, but he saved every cent until he had a decent stack of bills. He rented a lot in downtown. Then, he bought two used cars from an officer. They sat there for sale. The drugstore next door took names for those who inquired, and Johnny made appointments to sell. Two cars turned to three, then five, then ten. Two young Hawaiian boys washed them twice a week. Johnny sat beneath a small canopy that served as his office. He sold cars, saved money, bought more, and eventually acquired the lot and four more on that block. In a year, he owned a few small buildings and all remaining vacant lots—almost an entire city block in east downtown Honolulu. After his Navy discharge, he rented a room in a house owned by the old Korean man who owned the music store. He was taken aback when he met the man’s young granddaughter, who was the same age as him. They both sported arrows in their backs, shot by the mythical fairy, Cupid. Returning to Los Angeles was now out of the question.
Taylor Swift is back in the news—not that she ever left. I was hoping that her knuckle-dragging boyfriend would have married her by now, moved to a tar paper shack in Appalachia, and kept her barefoot and pregnant. No such luck. The millions of her lemming-like young fans have been breathlessly awaiting her choice for president. The anointed swift-one dropped it on social media. She is supporting the Harris Walz duo. Does she not understand that more than half of America is conservative and controls the purse strings of their children, her fans. Ali wants the new Taylor Swift album priced at forty dollars. I think not. Crafty marketing has turned her into a money machine. She knows the power she wields with the pre-teen and teenage girls. They have made her a billionaire. A tall, leggy blond who writes and sings cartoon music, perfect for a Saturday morning children’s show. Millions of young girls hang on to her every word and march like soldiers to her orders. Say something wrong about their golden idol, and they will unite and come for you in the middle of the night.
Somewhere in Kansas
A quiet suburban street, older homes, well-kept with tidy yards. The car in the drive is going on at ten years old, and the pickup parked next to it is a year older. The mother works at Walmart, and the father is an auto mechanic and a volunteer fireman. Blue-collar, over-taxed, middle-America Christians. Their thirteen-year-old daughter, a swifty, which is what her cult following calls themselves, walks into the kitchen where her parents are seated at the breakfast table, shuffling the monthly bills in two stacks: pay and don’t pay. They are counting their dollars and now counting coins, hoping to have enough to pay for the groceries for the week. In a snotty know-it-all tone, typical for her age, the daughter, in a demanding tone of voice, tells her parents that they must vote for Harris because Taylor Swift endorsed her, and they need to give her five hundred dollars for a ticket to her show next month because Taylor says all Swifties must unite.
Her father looks at her and says, “We are in a financial squeeze, young lady, so to pay the bills and buy food, I will need your iPhone right now, and I am canceling your subscriptions to Spotify, iTunes, your phone service, and the internet. You will also need to get an after-school job, or drop out and work full time, your college fund is no more, we had to use it to pay the mortgage and for your braces. That nice car you wanted for your sixteenth birthday, well, that’s not going to happen. Now, since you are united, call Miss Swift and ask her to send you a check.”
My grandfather, John Henry, possessed a mastery of storytelling that filled the room with warmth. When the rain beat against the windowpanes, or the ice or snow kept me inside, I’d perch myself on the floor near his rocking chair, mesmerized by the tales of his youth in rural Texas, his days as a soldier in the US Army, and the harrowing battles in France. With each word, he painted vivid scenes of the struggle and resilience of his family during the tumultuous depression years in 1930s California. Pausing only to adjust his fiddle, John Henry would then draw the bow across the strings, filling the room with a lively jig that seemed to echo the resilience and spirit of those days and family members long ago passed on. When my grandfather passed, my father, as any good son would do, took the helm, recounting those years in California and beyond. A few drinks of good scotch whiskey for us both lit up his memory and released his vivid imagination. The more scotch we consumed, the more colorful his recounts, so parts of this story may be a bit grandiose.
Bringing Blind Jelly Roll Jackson and Le Petite Fromage into the string band’s musical circle infused the fellows with newfound assurance. John Henry found himself utterly taken aback by their musical prowess.
Johnny and the string band continued to improve with each passing week. After six months of playing front porch shows, birthday parties, a few illegal chicken fights, and one funeral, W6XAI Bakersfield, the most influential radio station in California, came calling. The station approached the band with an offer to perform a thirty-minute live show. Le Petite’s Daddy, Baby Boy Fromage, used his questionable connections to secure the band’s spot on the show, as his own band, The Chigger Bayou Boys, were regulars on the hillbilly program hosted by Colonel Bromide A. Seltzer. The esteemed Colonel was famous for featuring the latest talents on his popular daily show, always staying on the lookout for fresh and promising acts he could sign to a strangeling management contract that left him flush with cash and the talent with a pittance. Blind Faith fitted his bill.
Baby Boy Fromage arranged for transportation to and from Bakersfield. The radio station had agreed to pay the boys $75. 00 for the show, which included four commercials for Father Flannigan’s Holy Healing Tonic, Sister Aimee’s Blessed Miricle Face Cream, and Puffy Cloud Lard. In today’s world, that kind of money might buy you a mediocre supper at an Olive Garden, but in the Depression years, it was a small fortune. Of course, Baby Boy would require a chunk for providing the transportation and a meager finder’s fee for getting the band on the show. All said and done, Blind Faith would make $40.00 cash to split six ways. Le Petite had warned the boy that her father’s deals can sometimes border on nefarious, so don’t cry like a freshly born titty-baby if the whole thing flushes down the toilet.
Around noon on Saturday, the stagecoach to Bakersfield arrived at the Strawn residence. Le Petite’s daddy had promised luxury transportation for the haul to Bakersfield. Baby Boy’s idea of a luxury transport was a converted Tiajuna Taxi, complete with no less than a hundred bullet holes along each side of the vehicle. Two church pews nailed to the wooden floor served as seating, and the big stain on the floor was likely blood. The driver was a Mexican chap who didn’t speak English and drove with a bottle of Tequila planted in his lap. His GPS was a ratty map with the route colored in red crayon. Le Petite was furious with her daddy and planned to smack his big head with a *cajun blamofatchy.
Arriving at the station, the band was led into a large room where the broadcast would take place. A small stage covered with short nap rugs and a half dozen microphones placed where each musician would stand. Another band, The Light Crust Doughboys, from Fort Worth, Texas, was packing up, having completed their live show for their sponsor, Light Crust Flour. They were in Hollywood to be in a Western movie with Gene Autry, and this was their last commitment before heading back to Texas. Johnny spotted their fiddle player, made a bee-line over, and introduced himself. The man, Bob Wills, a fellow Texan, wanted to hear youngsters play, so he stuck around for the live show, which was due to start in twenty minutes. The radio technicians placed each member in front of a mic, giving Le Petite her own microphone for singing. The band played 16 bars of music so the man in the sound booth could adjust the volume. Bob Wills sat in a corner, smoking a cigarette and drinking what appeared to be a pint bottle of hooch hidden in a brown paper sack.
The two announcers, a heavy-set fellow wearing a black cowboy hat and his companion, a boney, skittish little gal, also wearing a matching cowgirl hat and white boots, took their positions in front of a microphone next to a nervous Le Petite. The man told the band that when that light on the wall turns from red to green, that means we are live, and you start your theme song while we announce you and our sponsors. Jelly said he couldn’t see the light, but Pancho Villa would give him the queue. The announcer asked Johnny if that man was blind? Johnny said, “Yep, blind as a bat but he’s a pretty good driver and got us here in one piece.”
The boys had no theme song, so Jelly told them to play Red River Valley: You can’t mess that one up. The man at the mic counted down, the light turned green, and the boys let loose on their new theme song. All the time, the two announcers were jabbering about their sponsors.
The announcers stepped back from the microphones and gave the boys a thumbs-up to start their show. Le Petite counted off a cajun song about a “Big Mamou” and went into “Will The Circle Be Unbroken” and then “Cold Beer and Calomine Lotion.” The band played every tune they knew, finishing up with Johnny playing a fiddle tune called “Lone Star Rag,” which caused Bob Wills, with a big grin on his face, to rise from his chair and clap along. When the show ended, Bob gave Johnny a few pointers, telling him he had a bright future in country music and to get in touch when and if he returned to Fort Worth. Fifteen years later, back home in Texas and playing country music for a living, Johnny got in touch with Bob Wills, who became his mentor and close friend, gifting Johnny with one of his fiddles, which he is playing in this photo. I have that fiddle as well as my grandfather’s fiddle.
My father, Johnny Strawn playing twin fiddles with Bob Wills. Forth Worth, around 1952.
New friends, a fresh vocation, and a fine abode for an extended stay. The Strawns couldn’t reckon their good fortune. Were they in the midst of a reverie, or was it a heavenly intervention from on high? My grandmother continued casting glances over her shoulder, half-expecting to glimpse the Guardian Angel who was running this show. Sister Aimee and her mammoth church would require some acclimatization, at least on John Henry’s part.
After the church service, which was more of a Hollywood show than a religious sanctuary, John Henry ambled backstage in search of Blind Jelly Roll Jackson. He rapped on a door marked “orchestra,” but receiving no response, he turned the unlocked knob and proceeded inside. There sat Jelly Roll on a red velvet setee while Sister Aimee fervently laid her hands on his cotton-top head, offering a vigorous prayer of salvation. Pancho Villa stood behind her, firmly attached, growling like a small lion and tugging hard at the bottom of her satin robe. Upon catching sight of John Henry, Sister Aimee hollered,
“Clear out, sinner! Can’t you see I’m rescuing this wretched man’s soul?” John Henry promptly shut the door and made his way back to his family, wanting no part in the strange affairs of that place. This church wasn’t through with him quite yet.
Two weeks into his new job, John Henry felt comfortable enough to open the case of his fiddle. During his time in Texas, he had earned the reputation of a “campfire fiddler,” skilled enough to keep up with any string band in Fort Worth. Nevertheless, this was not the path he aimed to follow. For nearly two years, Young Johnny had shown a deep interest in mastering the art of playing the instrument. The time had come to pass on this skill to the eager young man.
A visit to a local pawn shop produced a fifth-hand fiddle. It wasn’t much of an instrument, but for $5.00, case and bow included, it was good enough for the boy. Johnnie, when given the instrument, almost keeled over from joy. He took the fiddle to his back porch bedroom and began to torment every dog and cat in the neighborhood with his playing, which was more screeching than music.
Miss Angel Halo, a retired high school music teacher, resided a few houses away. She recognized that sound, having heard the screech of strings from her students for most of twenty years. Her Basset Hound, Baby Dog, cowered beneath the back porch while her feline companion, Miss Greta Garbo, made a hasty exit to escape the noise. Miss Halo made her way to the offending house and exchanged pleasantries with the Strawns. Over a cup of coffee, some neighborhood gossip, and a large slice of warm bundt cake, she offered her aid in schooling young Johnnie in the ways of musical notation and the art of the violin; she was a cello player herself. If the boy would mow her grass twice a week, and pull any pesky weeds in her flower beds, she would instruct him in learning the instrument.; no charge. The pact was sealed, and harmony was restored to the neighborhood.
Six weeks into his son’s tutoring, John Henry, not having heard the boy play, was curious if he had learned to play the fiddle. At his teacher’s insistence, Johnnie’s practice sessions were daytime only, and he was confined to the garage, door down, so as not to upset the neighbors.
Saturday evening found John Henry on the front porch, nursing a cold beer and coaxing a few tunes from his beloved fiddle. He asked Johnnie to fetch his instrument and join him, and in a swift instant, the boy returned, fiddle in hand, eager to display his skills to his father. To John Henry’s amazement, as he played an Irish jig, his son effortlessly intertwined harmonious notes with his own, giving the old man a partnership in the form of twin fiddles. A father’s pride has no bounds, and he played on, ignoring the tears on his cheek. In time, that instrument and the dreams of a child would take young Johnnie to the pinnacle of country music.
Moving day from the migrant camp fell on a Saturday. There wasn’t much to transport apart from the car and the personal belongings they had brought from Texas. Knowing that John Henry had very little, the landlord had left behind some furniture: a kitchen table, an icebox, two beds, and a well-worn couch. The screened-in back porch extended across the entire width of the house. In one corner, a roll-away bed and a standing lamp stood, and it was there that Johnny made his claim to the porch as his bedroom. Meanwhile, Lady ventured out to explore the expansive backyard, complete with an Eucalyptus tree that was home to a resident squirrel.
My grandmother Bertha had come across newspaper stories about the firebrand woman preacher, ‘Sister Aimee, ‘ holding court at her downtown church. She aimed to grace the Sunday service, eager to unravel the mysteries that had stirred up such a commotion among the camp folks. Ever the agreeable sort, John Henry consented to accompany her and young Johnny, perhaps harboring a hope to cross paths with Blind Jelly Roll Jackson and Pancho Villa.
The faithful congregations formed a line that stretched down the block, twisted around, and continued for another block. It seemed this preacher lady possessed a special magnetism to draw such a crowd. As they reached the doors, they discovered the church was once a theater with a plush red carpet and a winding stairway leading to the balcony. Climbing the stairs, they found seats near the balcony’s edge. With an eagerness to feel the Holy Ghost passing through her, Bertha was in stark contrast to John Henry, who simply yearned for a cup of black coffee and a nap.
The house lights dimmed, and the red velvet stage curtains slowly drew back to reveal an orchestra and a singing choir, all adorned in purple velvet robes. The orchestra boasted horns, a piano, violins, and a drummer, and right up front sat Blind Jelly Roll holding a shiny black guitar. His seeing-eye dog, Pancho Villa, was seated on a chair next to him, wearing a small matching robe. In a moment of confusion, Johnny, unaware of his surroundings, called out Pancho’s name, causing the dog to excitedly tumble off the chair. Jelly, recognizing the voice, offered a warm smile and a friendly wave as he reseated Pancho.
A slender woman with short blonde hair stepped into the center of the stage, enveloped by the spotlight’s glow. She was draped in a white silk robe, and a sizable golden cross hung at her breast, casting a mesmerizing reflection across the congregation. In that divine light, she took on an ethereal quality, almost angelic, as if transported from the pages of a biblical tale.
The singer, whom everyone now recognized as ‘Sister Aimee,’ suddenly turned into a musical whirlwind, belting out a heartfelt religious hymn that could make even the angels jealous. How did this powerful voice project from such a small woman? The orchestra performed as if they were on a mission from above, and the choir sounded so otherworldly that even the congregation wondered if they were in the presence of celestial beings. As tears flowed freely and some brave souls rose to join her in song, Bertha found herself on the verge of a melodramatic meltdown; young Johnny was bored and on the verge of sleeping, while poor John Henry remained steadfast in his pursuit of a good nap. It seemed like the lengthy two hours ahead were shaping into a divine comedy of sorts.
After two more songs just as rousing as the first one, Sister Aimee spoke.
” Dear Hearts, recently, a lost soul came to our church. He had wandered in the wilderness for years. Blind since birth and led by his small seeing-eye dog, he came to me seeking repentance and personal guidance. He is now walking the straight and holy path of our Lord. A formidable blues guitarist and singer, he has agreed to share one of his songs of atonement. Please welcome Blind Jelly Roll Jackson.” The crowd applauded.
A stagehand stationed a large silver microphone before Jelly. The spotlight shone on his hair, white as an East Texas cotton field. He tugged and twisted his guitar through eighteen bars of mournful blues without a moment’s pause. The audience was spellbound, the majority never having encountered a blind black bluesman. Leaning towards the mic, he growled deeply as he sang,
” I gots me a woman, haw-haw-haw-haw, she don’t mean a thang, squeezes my lemon picks my peaches from my trees, gonna go see that gal and get my hambone greased, haw-haw-haw-haw.”
Sister Aimee lunged for the microphone, but a stagehand beat her to it. He grabbed the microphone and carried it away. Jelly Roll was still singing and playing when the stage curtain closed. Blind Jelly Roll Jackson’s official California debut was history.
Don’t touch that dial or turn that computer off; there is more to come in Chapter 6
It would be a shame if I didn’t include some local 1960s rock musical history by spotlighting our drummer, Barry Corbett, otherwise known in our tight little musical circle as ” Li’l Spector.” The moniker came about because the boy, at age 15 years old, was a musical genius in the same vein as Brian Wilson, Leonard Bernstein, and Phil Spector: thus his earned nickname. We would never know why he chose the drums as his primary instrument: the guy played an assortment, including Bongo drums, kazoo, paper and comb, Dog House bass, violin, Hurdy Gurdy, guitar, keyboards, Vibes, Trumpet, Piccolo, Harmonica, Juice-Harp, Spoons, Autoharp, Dulcimer, French Horn, Tabla, finger cymbals, gasoline-powered Lawnmower, and Sitar. I’ve probably left a few out; it’s been a while since I thought about this. Barry’s original drums were worn out, so his father purchased him a set of Slingerlands. The finish was all swirling and psychedelic, and if we wore those cheesy 3D glasses from 7-Eleven, we could see the Summer of Love a full year before it happened.
In 1966, our repertoire consisted of The Beatles, The Rolling Stones, Hollies, Paul Revere And The Raiders, The Turtles, and The Byrds. We also played a handful of Beach Boy songs. Our voices were still high, so the Brian Wilson falsetto wasn’t a problem.
The 1966 Orphans in our Paul Revere boots
Unknown to Jarry and I, Barry secretly listened to weird underground music: “Frank Zappa And The Mothers of Invention.” These guys were so whacked out that the radio refused to play them, but Barry would. He adored Zappa and wouldn’t wear brown shoes in brotherhood to the song ” Brown Shoes Don’t Make It.” He was also a newbie-semi-devout disciple of East Indian music, mainly Ravi Shankar and his droning Sitar, thanks to George Harrison and the album Rubber Soul.
We knew Barry had purchased a Sitar from “Pier One,” a Dallas specialty store loved by the Hippies. The store hawked strange goods from India and the Middle East. He called one day and asked that Jarry and myself drop by to hear him play his sitar.
We were surprised when he could coax the part to “Norwegian Wood” out of the goofy instrument, so we agreed to learn the song and let him play it during our next gig at the Richardson Recreation Center the coming Saturday evening. He failed to mention that he had two additional musicians accompany him. He was a tinkerer, so he removed the electric pickups from his Gibson Melody Maker guitar and installed them on the sitar, creating the first electric East Indian instrument. Two Electrovoice condenser microphones were used to amplify his additional musicians.
Our gear was set up, and sound checked an hour before the dance, and in strolls Barry, dressed in a Nehru suit: his girlfriend and a guy about Barry’s age in tow. His followers, wearing a white Sari and a Dhoti, trolled behind him: they carried a small bongo-like drum called a Tabla and two tiny Zildjian cymbals on cute little stands. The guy was carrying an instrument that looked like a cross between a fiddle, a guitar, and a Dulcimer. All three had bright red Bindi dots on their foreheads. Barry was lugging his sitar, drum kit, and a Vox AC30 amplifier. After he set up his drums, he ran a sound check on the electric sitar and stuck the other mic inside the Tabla drum, one next to the little cymbals and the frankeninstrument. They sounded pretty good for a Rube Goldberg rigged setup. The three of us were duly impressed but leary of what might happen. Chaos followed Barry like an afternoon shadow.
The band played the first set to about 300 sweaty teenagers. The building’s air conditioning couldn’t keep up: it was a typical July in Texas.
Barry and the two musicians rolled out a Persian rug, which was likely stolen from his mother’s dining room, and positioned it in front of his drums. The girl lighted incense sticks held in large brass holders. Barry lugs his sitar from behind the stage, plugs it into the Vox amp, and sits in the traditional Shankar crossed-legged position. He is ready to rock. We break into Norwegian Wood, and the three-piece Hindi band sounds darn good but a bit loud. The teenagers move in close and surround the trio. Who are these weirdo-freaks? We finished the tune and received polite applause. A better reception than we had hoped for, but then…
For their second tune, Barry announces they will play Ravi Shankers’ biggest hit: “Beach Party On The Ganges,” a snappy little number sounding like Brian Wilson, and the boys meet Ghandi and crew for a cookout on a crocodile-infested beach. The sitar starts to feedback, and the Tabla drummer and Frankenguitar lose their tempo, not that there was one ever established, and Barry, now in a musical trance, is all over the sitar. The crowd of surrounding teens is transfixed, awed by his Zen Zone musicianship. The two other musicians, lost and toasted, have stopped playing. Lil Spector drives onward in his moment of musical adulation.
The Sitar feedback was incredible, so Barry, still locked in his “Ravi sitting position,” leaned back to reduce the volume on his amp. He leans too far, loses his balance, and falls backward, causing the head of his Sitar to catch a mic stand and break off the long body of the instrument. No one knew that Sitar strings were wound to a deathly tension. When the Sitar broke, the strings popped, winding around Barry’s head into his hair and then into his two other musicians’ long hair. It was a disaster. All three were incapacitated on the rug, unable to move. The crowd hooped and hollard, thinking it was part of the show. The poor Sitar wound up in the dumpster, and his musical disciples left the fold, throwing their red-dot makeup tin at Barry as they stormed out of the Rec Center. At his request, we dropped Norwegian Wood from our setlist.
Now, I know that the world is off its axis: Willie Nelson is moving his famous 4th of July Picnic from Texas to somewhere in the Northeast to beat the heat. Look, Willie, the brutal life ending heat, Lone Star longnecks beer, no restroom facilities, drugged crazed hippies and cowboys are what your picnic is about. If Waylon was here, he would kick your scrawny old butt for even considering a relocation to of all places…Yankee land. Kris is still around, so he might just step in and do it. I attended one of his picnics back in the late 70s at Palo Duro Canyon and damn near expired from the hellish heat, no water and very little food. I survived by crawling under a car for shade, which at that point, it didn’t matter, my skin was roasted, and my dark hair bleached white. Around dark, ole Willie steps up to the mic and belts out Whisky River. Trigger, his beat-up Martin guitar was out of tune, his singing was off meter and he was likely higher than a California Redwood, but it was Willie, our Patron Saint of Texas Country Music. We sat transfixed on the hard dirt and rock, fire ants chewing on our legs, Rattle Snakes crawling about begging for a beer, and hundreds of poor passed out folks missing the show they came for. Please, Willie, keep it in Texas. I have confirmation from a good and mostly reliable source that your Saint Hood is imminent. This might screw it up.
Jewish Students Revolt Against Federal Protected Students
There is now a movement on most of the elite university campuses to oust and delete the fake Palestinian protesters. Two groups calling themselves “Jews For Jesus” and “Frat Boys Revenge” are now in place at most of the major universities. Maya Sharona, field correspondent for NPR interviewed a protestor at MIT.
MS: Excuse me, are you a woman or a man, It’s hard to tell with all the scarfs wrapped around your head?
Student: I am neither of those words, call me a new servant of Allah, willing to die for whatever Allah and that woman with the megaphone tells me too. Please film my left side, that’s my best profile. Should I show my molitove cocktail for the camera?
MS: Sorry, there is no camera, this is radio. What exactly are you protesting?
Student: I am not really sure, wait a moment, I must check TikTok and Facebook, all of our information and instructions comes from them. Ahh yes, here we are, (screaming)” Death to Israel, Death to all Jews, and Death to America” we demand Starbucks Latte’s and vegan pizzas, student loan forgiveness, and a free diploma in the curriculum of our choice. That’s a bummer about the no camera, got all dressed up for nothing.
MS: There is a group of frat boys over there by that police car. They look menacing and most of them are twice the size of your comrades. I believe they may be about to kick your butts.
Student: Allah and Papa Biden will protect us, we are the chosen people of Palestine, or maybe it’s Gaza, or Syria. It doesn’t matter, we are protected by the Federal Government, like the tiny fish and the lady-boys with fake boobies.
“So you want to be a rock and roll star? Then listen now to what I say Just get an electric guitar Then take some time and learn how to play”…The Byrds 1967
After the family moved from Fort Worth to Wichita Falls for six painful months and then to Plano, Texas, I met a classmate and fellow guitar player who was also bitten by the “rock-a-rolla” bug. He knew another guy on his block who played guitar and owned a Fender Bassman amp, which automatically made him a band member, and he knew a neighbor across the street who was a drummer with a snare and one cymbal. He also knew a kid with another cheap Japanese guitar that would part with it for $10.00 bucks. I snatched it, bought his Sears amp for another $15.00, and was back in “the biz.” Hours of practice produced twenty songs, which we could repeat at least once or twice if they were shuffled around and changed singers and keys. Our first gig was at the Harrington Park Swimming Pool, Plano, Texas, early summer of 1965.
The Dolphins: left to right: Jarry Boy Davis, Warren Whitworth, Ron Miller, Jay-Roe-Nelson, Phil Strawn
Guitar tuners were not invented yet, so we used a pitch pipe and got as close as possible to A440, and apparently not close enough; we sounded like hammered Racoon crap on grandma’s china plate. It was a humiliating experience. In my playing frenzy, I broke my B string and had to play with five strings, and then our amplifiers went south because the outside temperature was over 100 degrees, and we were in the direct sun. Then, the drummer’s head on his snare split, his cymbal fell over and cracked, and Jerry Nelson, another guitar flanger, tripped on an extension cord and fell flat, damaging his Silvertone guitar. Our third guitar player, Warren, came into contact with water splashed from the pool onto the concrete while touching the strings of his electrified, ungrounded guitar, resulting in a bad electrical shock. Hair frizzed out, smoking from his ears, and burns on his fingers; he finished the gig, not knowing who or where he was. The grand debut ended with sympathetic applause, and the pool manager refused to pay us, which, per our contract, was free burgers and shakes. Warren, our previously electrocuted guitar player, got into a fight with our drummer, and the two rolled around in the gravel parking lot for a while with no clear victor. We thought Warren was a trooper, considering the amount of electricity that had almost fried him an hour before. Bad music tends to piss folks off. The final curtain was when my pal Jarry discovered his Mustang had a flat tire, so we had to call our parents to rescue us. Welcome to the rock n’ roll music business.
From 1966 into 1967, the band continued with better gear, a new drummer and bass player, and a different name. We were now known as “The Orphans.” A strange pick since we were all middle-class guys with full sets of parents, but Barry Corbett, our drummer, thought it sounded tough and a bit rebellious. Barry may have been the biggest rebel of the four members, listening to Frank Zappa and Spike Jones and teaching himself to play the Sitar. George Harrison’s influence led him into the realm of Indian music, which he fully embraced to the point of obsession. He developed a strange Peter Sellers-type accent, wore the red dot on his forehead, and had two high school girls follow him around town wearing white robes, playing with small cymbals attached to their fingers. He was also a rudderless musical genius and would soon lead us into the semi-big time and the really big show.
Alice Davis, Jarry’s mother, was now our official manager and did a wonderful job of it. She knew people and had connections and was not afraid to use them or to press a business contact into hiring her band. We were booked around Dallas and Fort Worth most Friday and Saturday nights. We made some good cash for high school kids but spent all we made on new equipment and clothing. Band members were in constant rotation. Teenage musicians proved to be an unreliable commodity.
Our keyboard and bass player left us for high school football, again, leaving three of us. Calls went out, Alice worked the phones and contacts, and we auditioned two musicians from McKinney, Texas. Danny Goode, a bass player/singer and former member of the Excels, and Marshall Sartin, church organist, classically trained pianist, and blues guitar player. We played a few songs as a five-member band and almost passed out. It was as if the ghost of Phil Spector had brought us into that practice room at this appointed time in the universe, which was strange because Spector was still alive and kicking in Los Angeles.
The Orphans. Left to right front: Jarry Davis, Danny Goode. Left to right rear: Barry “Lil Spector” Corbett, Phil Strawn, Marshal Sartin
Miss Alice was religiously overcome with musical emotion and experienced a spell of the rock n’ roll vapors that led to seating herself with a double Jack Daniels and branch water. Barry, our drummer and musical genius, had an epiphany and went to work on arranging our music and vocal parts, showing Marshall how to play them on his Farfisa Organ, which was another strange thing; Jarry and I didn’t know Barry could play the piano, or as we soon found out; the guitar, the trumpet, the sax, or the vibes. We dubbed him “Lil Spector” in honor of the famous Wall of Sound producer.
After the Miss Janelle Bobbie Gentry-infused tenure that ended in a puff of hair spray and perfume, the band took a vote: no females allowed. Marshall was still recovering from a severe case of the Love Fever Hubba Hubba’s, and we needed him in good condition for our upcoming gigs.
Miss Alice grew weary of working the phones, dealing with clubs and booking gigs, her realty business was suffering and needed her attention. She arranged for us to be managed by an upstart agency called Mark Lee Productions of Dallas, Texas. Mark was a go-getter and had more connections than Bell Telephone. His one and only main band, Kenny And The Kasuals, had just released a great 45 that was climbing the charts, so we were excited about working with him. We signed on the dotted line of a ten-page contract that not one of us read. Why bother? We were young and full of piss and vinegar: point us in the direction of the stage and plug us in!
Within twenty-four hours, The Orphans were booked into some of the hottest venues in the DFW: The Studio Club, LuAnns, The Pirates Nook, Phantasmagoria, and Teen A-Go-Go and The Box in Fort Worth. Mark Lee was turning down gigs because he had only two bands. We wouldn’t have a Friday and Saturday night free for two years, and even less free time in the summer when the bookings took up most of each week.
We were booked to play a Christmas party for Parkland Hospital at the famous Adolphus Hotel in downtown Dallas. Pulling up to the front in our 57 Caddie Hearse caused a stir. The bellman politely told us the bodies were picked up at the rear. We got the joke and proceeded to the loading docks. The party turned out to be for the doctors, nurses, and administration folks. In the next ballroom, Braniff Airlines was having their Christmas party, but with no band. It didn’t take long before the airline partiers spilled over into the hospital party, and that’s when it got crazy.
These people, supposedly responsible adults, were dancing on the tables, had a conga line going on the bartop, and we had our own go-go dancers on either side of the stage. Three of us were under the age of 18, but that didn’t stop the inebriated partiers from pumping us full of hooch in the form of cute little airline bottles. By the last set, we had gone from charming and talented to stupid drunk and were glad the gig ended. We couldn’t locate our keyboardist, Marshall, so we loaded up his gear and headed out. He showed up a few days later with some dumb-assed story he couldn’t talk about: the Hubba-Hubba’s got him again.
After reading all the glowing, foot-kissing reviews of Swifter’s new album, “The Tortured Poet’s Department,” I take back a few of the skews I gave her, but only a few. I had no idea the poor dear had lived such a sad life. I doubt her feet touched the ground until she was five years old, and every spoon in the house was pure silver. A downtrodden, entitled little rich girl confined to her Barbie bedroom writing little kid songs on her half-size Martin guitar. She never played in a bar, a club, or anywhere for that matter, except for her doll babies. Pop’s paid millions to get her into that Nashville brotherhood, which shows us how far that once holy ground has slipped. Did the poor waif have ever have a decent relationship with a male, not counting her current knuckle dragger? Doubt it, so the tortured poet title might fit her, even though what she writes is far from good poetry.
There have been many before her who qualified for the title: Harry Nillson, John Lennon, Bobbie Gentry, James Taylor, and Willie Nelson are a few. The original Homeric tortured poet, Bob Dylan, still holds the title: Swifter is no more than a grifter.
Notes From The Cactus Patch 