Showing posts with label Kerouac. Show all posts
Showing posts with label Kerouac. Show all posts

Saturday, September 17, 2022

On The Road With Al And Ivy: A Homeless Literary Chronicle - Sept. 2022




"You call yourselves poets, write little short lines, I'm a poet, but I write lines paragraphs and pages and many pages long."

- Jack Kerouac


WOMEN AND CATS: PART 3 - QUEEN CLEOPAWTRA OF EGYPT

Ancient Egyptian Civilization wasn't always a souvenir industry for museums and collectors. Some experts claim they were an advanced race who even played online video games with extraterrestrial beings, but the truth is more profound and thrilling.

It is now known that the first Egyptian Pharaoh was a calico cat named Cleopawtra because of the groundbreaking work by Professor Ivy of Shitzu U, who discovered that the "Great Balls Of Fire that consumed The Library Of Alexandria," which purportedly destroyed much of the ancient knowledge of the time only affected ten percent of the library books and documents.

The Furry Professor dug up like a bone the scintillating fact that 90% of the so-called lost documents were not in the Library at the time of the fire; 40% of the books were checked out and overdue, 30% had been stolen, and the remaining 20% were listed on various auction sites by dishonest librarians.

Ivy notes in her epic 1987 treatise, Cats Ruined Egyptian Civilization, "In fact, the only books destroyed by the great fire were titles that men weren't interested in borrowing, which included books about mathematics, grammar, health and hygiene, cooking, engineering, the arts, humanities, women's studies, and any fiction with lots of big words."

The Floppy Eared Scholar also noted, "Thus most of the remaining knowledge that men were interested in, such as various forms of black magic love potions, conspiracy theories about the Martians and Lizard People who control the world, natural viagra, penis enlargers, sports betting, ancient grains and nutrition, exotic sex positions, how to pick up women, cultivation of weed, production of explosives and poisons, pictures of naked women whose only desire is to please men, details on how to earn $1,500 a week in passive income, and other similar subjects did survive that terrible fire and to this day are freely available on the Internet."

The truth is so fantastic that it's hard to believe!

Indeed, in that scintillating 1987 treatise, she adds, "These heretofore lost records prove Cleopawtra not only invented Internet emojis, but mandated that 50% of the hieroglyphic content be cat pictures, and befitting a true Queen to all, allowed porn makers to use 80% of the bandwidth so men could have something to look at while building the pyramids."

The historical records also state, "The remaining 1% of available disc space on the Sphinx was allotted to subjects like algebra which was deemed to have possible value to future generations, though it wasn't clear at the time what use it could be."

Professor Ivy relates, "The main task that Cleopawtra faced was to elevate the educational level of her subjects. Although the early Hieroglyphic Web showed some promise in that regard, the Queen soon realized that most people resisted attempts to use it as a vehicle of truth and learning."

The good Professor studied ancient records that were pilfered from the Tomb Of Sheba, The Catfood Goddess, and purchased on eBay in 123,456 A.D., which chronicled the Meowing Pharaoh's attempts to, as she put it, "To get men back to work building Pyramids and Landing Strips for Alien Spacecraft instead of watching porn all day."

In her illuminating 1989 treatise, "Slob Egyptian Cats Used The Valley Of Kings As A Litter Box," Ivy states that Cleopawtra found the solution!

As she relates, "The Sublime Scratchy One realized that trying to make people more intelligent by building a great library in Alexandria was a nonstarter after it burned down. 

The Phoenician Historian, King Tut McDougal, wrote in 234,567 B.C. that "Some Death Metal stoners accidentally set the Library on fire after deciding it'd be cool to smoke a papyrus paper copy of Homer's Iliad with dire results."

The Great Pointy Eared Monarch then realized that by using the unique power of the hieroglyphic Internet to make people believe anything they're told, her subjects could be made to feel smarter by encouraging them to think everyone else was inferior beings like NASCAR fans or Republicans.

"This was easy to do," stated the Shitzu Scholar, "As the Nobility already thought that about 99.999% of the population. 

The historic proclamation in 123,456 B.C. was broadcast on social media and read:

"Vores fine fine superfine dronning introducerede demokratiets nyskabelse, som gav ret til snobberi til alle, og proklamerede, at det at være et røvhul, selvom det var modbydeligt, ikke var en forbrydelse, medmindre man forsøgte at forklare dronningen."



Professor Ivy translated that Ancient Egyptian post In her heart-stopping 1987 treatise, Cats Are Two-Faced Liars Who Poop In Purses, and in English reads, "The Immortal Pussycat Queen proclaims that 'the Kingdom was now a democracy where everybody has the right to look down upon their fellow man, and that insults and snobby statements are 'protected speech' with the one exception being that mansplaining the Queen is a capital crime."

It goes without saying that such a paradigm of political and sociological thought would be opposed by the #gotbigbucks set, but the ever-wise feline Ruler reassured the Nobles with a proclamation that, as the ancient records state, "Although Democracy mandates that all are equal in the eyes of the law, higher levels of equality are still available for purchase and the rights of commoners are still subject to the legitimate demands of warfare, obtaining cheap labor for retail businesses and overseas commerce."

The sweetly odiferous document concludes, "ово је сатира и служи само за забаву."

The Superduper Calico anticipated the possible shortage of stupid idiots to troll and feel better than, and as related in Ivy's 1756 work, Cats Secretly Hate Your Guts, "She proclaimed that everyone is required to use autocorrect software to ensure that everyone will make silly-ass mistakes in public so all can take turns being grammar fascists."

As you can see, there's no need to fabricate theories about extraterrestrial intercourse with Martians when the truth is even stranger! [Citation needed, Mimee The Blog Generator Bot states that of the several million people who've claimed to have sex with studs and vixens from far away Galaxies, the odds that all are lying is never zero, plus societal approbation in response to such claims has probably forced many more millions to keep it a secret like booger eaters or banjo music fans are forced to do.]

Although the aforementioned lost Egyptian Records confirmed the existence of Cleopawtra, Professor Ivy's treatise concludes, "Like most explosive discoveries that threaten the status quo, it was suppressed by the macho sexist dog-loving male hierarchy and labeled as 'discredited fake news perpetrated by catty types who hate televised pro football and don't shave their armpits.'"

This blogger asked Mimee to generate additional content about the aftermath of Clawopatra's invention of snobbery so that said blogger could play another round of 'Panzer General' on his iPad but was rebuffed and advised, "Until copyright law is updated to protect original works by A.I. software I'll be forced to only generate genre fiction where the same words are merely moved around, or confine indifferently researched nonfiction to the Internet which has a lower standard of truth than Congress if that's even possible."

As you can see, the rapid pace of technological development creates new problems to ignore and force future generations to deal with!

Because creating original content without the use of A.I. will require time and actual thought by this blogger, we will continue this thread in Part 4 in October, which will nuke the falsehoods and slanders about black cats and witches and give me a perfect Halloween-themed essay.



THE BATTLE OF DIEN BIEN PHU BY JULES ROY

I'm sure most of you have books that were revisited to check a quote or some such thing but ended up drawing you back in.

History books are prime candidates for this because the context can change due to new discoveries or perspectives.

One common stereotype is that historical works are simply collections of facts presented after a process of studying source materials to create an accurate account of an event, person or era.

The reality is that written history is best described by the old high-tech dictum, "Garbage in, garbage out."

In other words, a history book is only as good as the source materials and to what extent the writer can put aside their bias, agenda, or peer pressure.

Most medieval chronicles are almost worthless as literal accounts of historical events or personages due to those factors mentioned above. 

The writers back then were generally tasked with glorifying this or that Lord or King, and most critical accounts were paid for or sanctioned by the opposition. 

In other words, if you want to find out what crimes a French King committed, it's best to check English sources and allow for bias or agendas.

…the best way…

One Historian, Hilaire Belloc, found that the best way to determine who and how many were at a medieval battle was to check the financial records of the Lord or King in question. 

The job of the Historian, or chronicler, was to present the Battle as a glorious victory, but the clerk in charge of the financial records had to account for who was paid and how much. That gave Belloc a more accurate number.

However, most of the infantry of that era weren't paid or equipped by the King and survived (or were motivated) by looting. This is why the estimates of the size of armies can vary. Most competent historians will clarify that there's a number range rather than an exact figure.

Also, historically, virtually all armies with large numbers of poorly paid or "volunteer" soldiers will commit atrocities and plunder. The Historian's task (even for many in the present day) was to highlight the behaviors of the enemy and not of the patron's forces.

Old historical accounts can be biased or inaccurate, and over time a more complete picture evolves as more data is uncovered. That goes for historical works in the present. 

Whether a history book is considered accurate or relevant can also depend on the attitudes and perspectives of later generations.

One good example is how "General Custer's last stand" is perceived now. At the time (even though there was some controversy), it was generally seen as a massacre of a popular hero and his brave men who were fighting the good fight against the savages who killed innocent white settlers in the Westward expansion.

There was a period when Custer's defeat at The Battle Of Little Big Horn (or Battle Of The Greasy Grass to Native Americans) was seen by the public as due to the cowardice of two subordinate officers who weren't present (though actually ordered by Custer to pursue separate actions).

It's one of the most studied and written about military actions in American history, so I don't need to go into detail here. The information is all available on the Internet and in books.



…the general view nowadays…

However, and I'm simplifying here, the current view has become that General Custer screwed up due to various character flaws, a desire to hog all of the glory before the other units he was supposed to cooperate with arrived, and supposing that it was just going to be a routine massacre of a Native American camp full of women, children and warriors caught off guard.

One of the primary reasons that it took so long to get a reasonably balanced account of the event was that the only survivors (of Custer's own Battle) were, of course, the Lakota Sioux, Northern Cheyenne, and Arapaho warriors who wiped out Custer's detachment whose accounts weren't available (and probably wouldn't have been believed by Americans at the time anyway).

There were survivors, the actual casualty count was 268 killed, and 55 wounded out of 700. Those remaining were under the command of the two subordinates who Custer assigned different roles (and were later cleared by a Military Court of Inquiry though not in the court of public opinion).

New books continue to come out about that Battle, so the perception of what happened continues to evolve.

When we first learn history in school, it's presented as absolute truth. That evolves into a realization that the data on an event or subject can come from many sources, some of which can contradict the popular view. History has often been about what people think happened.

The main thing one will glean from historical accounts is that determining the truth isn't a cut-and-dried process. 

What the Historian thinks is credible or relevant has a big influence on the work.

A good example is in an unrelated genre, the movies. The overwhelming majority of Westerns, until maybe the late 60s, depicted Native Americans as blood-thirsty savages and assumed white settlers were peaceful folk who just wanted to live in peace under the protection of soldiers who acted like white knights in shining armor.

That image didn't just come out of the blue. It was based on historical accounts by earlier white colonists and settlers who viewed the tribes as barbarians or animals.

Those early accounts (some detailed in earlier blog entries) would sometimes document white atrocities as a matter of fairness, but those statements would be overlooked and ignored.

Again, that bias or tunnel vision can affect a historian's view and process. Acclaimed historical works can be found to be unreliable or biased due to the availability of new data or, just as important, the changed perception of later generations.

…Vietnam war…

This is also true for another significant event in American history, the Vietnam War.

It was essentially a continuation of France's war there in the 50s, and the reason I didn't use it as the main example is because, after 50 years, the historical perspective is still in flux (though there's plenty of strong opinion about it).

Historical writing can be political. It can come from a conservative, middle-of-the-road or progressive attitude.

The book I'm going to talk about could be said to reflect a progressive or critical attitude towards the Battle of Dien Ben Phu.

There's no question that it was, at the very least, a "strategic" disaster for the French forces in Vietnam. That is to say, much of the French Army there was still intact and able to fight afterward. So, "tactically," it was a defeat, but not a decisive one that made it impossible for the Army to keep fighting.

In fact, due to the isolated location of the Battle, it didn't affect anything outside of that area, where a division of Foreign Legionaries and regular troops were beaten and forced to surrender.

However, from a political standpoint, it was the last straw for a country (France) that was getting tired of that overseas war and the profound shock that a "Western Army" had been beaten in the field by what was perceived as a peasant army (Which has frequently happened throughout history but people tend to ignore that, even historians).

To fully understand the Battle and its effect on the later American involvement, it's best to refer you to the Internet, where a large body of work exists from all points of view. It's good practice to read it all.

I've read that this or that book is the "definitive" one on the subject, but that's something you can decide for yourself.

…Jules Roy…

Jules Roy's 1963 book, "The Battle Of Dien Bien Phu" is one of the classics, the work of a Colonel who resigned his commission in protest of the French Indochina War.

Of all the books on the subject, it's the one that reads like a novel. One of the critical events of the Battle was the fall of the northernmost outpost at Dien Bien Phu. Instead of going into a lot of technical detail about that part of that Battle, he concentrates on the reaction of the defenders and why it shouldn't have been a surprise that it fell so quickly.

Such an approach might not satisfy military history buffs who'd want all the technical details. Still, it works better for a non-specialist and better illustrates the cascading series of errors that led to it, much like how a plane crash results from a series of smaller failures.

Though I advise reading the full details on the Internet (and books), it would be a good idea to give a brief overview of the battlefield before going further.

…in a nutshell…

In a nutshell, The main French Commander Navarre conceived a plan to draw the Vietnamese Army out into the open where superior artillery and airpower could destroy it.

The plan involved building a base where the enemy had to attack it, and unfortunately, the place chosen was a valley that could only be supplied and reinforced by air.

Navarre put his second in command, General Cogny, in charge, and despite his reservations, he accepted the assignment and appointed a cavalry Commander who reluctantly accepted.

That last detail was important as once the Battle started, the commander stayed in his quarters until the final surrender.

In essence, the camp became a sort of anarchy where some of the junior officers took over and led the fighting—more on that in a bit.

An entire division, about 12,000 men, was dropped into the Valley, and they set up one main stronghold and seven smaller positions on nearby hills (which were split up into smaller trench lines, etc.). Those were miles apart, and due to the jungle and rough terrain, the bases were isolated and unable to support each other.

The airstrip they depended on was protected by two of the middle positions. If those fell or came under heavy attack, it would make landing aircraft impossible, and supplies and reinforcements would have to be dropped in by parachute.

The base was located there under the assumption that the Vietnamese General, Giap, didn't have heavy artillery or anti-aircraft guns, which, if placed in the mountains surrounding the Valley, would effectively cut off supply.

One French officer who inspected the base complex after it was built remarked that if they lost even an inch of ground, they were done for.

In short, the Vietnamese were able to move heavy artillery into the mountains in sheltered emplacements and were able to put the entire base under fire. The French weren't able to clear out the anti-aircraft guns, and soon after the northernmost position fell, which put the two middle hills under attack, they were able to force the air force to drop supplies and reinforcements by parachute. That became difficult when the rainy season came.

There was a lot of fighting still to be done, but once the Viets choked off the supply line, it was only a matter of time. With the heavy artillery in the mountains closing off the airstrip and the base surrounded, an evacuation was impossible.




…human details…

Roy's book does a superb job of relating the human details, such as the racist contempt for the enemy, overconfidence in technology, and the complex politics that produced a risky plan that would make even a layman wonder what the high command was thinking.

One of the elements Roy handles well is describing the personal dynamics in the camp once the commander became a non-factor.

In any large gathering, certain personalities will tend to emerge. Most will rise by physical strength or perceived power. I saw this in more than a few homeless enclaves. 

In one, women were safe due to the character of the dominant males. In others, where drug use was widespread, both men and women were bullied or exploited. The main thing is it's never a democratic process.

There were a few camps/enclaves that started off peacefully but devolved once those grew in size and angry or sociopathic personalities started asserting control.

 Because of the personal nature of this type of power, it's often safer to join the largest camps and find which section is dominated by the best leaders or ones so spread out that no one can control it (except the dealers, etc.).

At Dien Bien Phu, the same dynamic occurred. In some positions, the leaders checked out, and desertions made the areas useless to the defense.

On others, capable officers did maintain discipline but could only slow down the fall of the base. By the end of the Battle, it was estimated that there were only about 3,000 still fighting, the rest dead or hiding out by the river and other places.

One thing that the media rarely understands (or if they do, they don't say) is that when they give this or that homeless person the status as a spokesperson in a story, they're actually creating a defacto leader due to the aura that the camera has.

How the new leader handles the situation can vary and was a dynamic in play during the Battle.

In any case, back to the book...

One chilling detail was the suggestion by an American Admiral that the U.S. Air Force drop several nuclear bombs on the Vietnamese positions. Though the plan was sensibly killed by President Eisenhower and Great Britain, the plan reached the point where Air Force officers undertook air reconnaissance to scout out the target.

The author also puts in details that wouldn't usually be in a "history book," such as the brothel that the base maintained for the soldiers, soldier gossip, violations of the rules of war, and the history of atrocities by both sides. 

It was a grim war, and as the French began losing, Roy points out that the Vietnamese, who were treated as vermin to be exterminated, could hardly be expected to be fair just because the fortunes of war had changed.

What made me reread the book wasn't any particular fascination with the Battle but Roy's ability to narrate a complex event and his passion as a writer.

For example, he spends a couple of pages describing what was going through the minds of volunteers who jumped without paratrooper training into a base that had lost enough ground that all had to be dropped into the center of the defenses, into the barbed wire, and enemy barrages. 

The passages are almost poetic and add color that one doesn't normally see in a history book, with the possible exception of World War 1, which produced a large body of poetry, etc. It's more common to see such writing in a literary or poetic work, but it's effective here as detail and a glimpse into the human side of the event. 

He does frequently inject his opinion into the narrative, though mainly to create context about the hypocrisy and arrogance of many of the French officers. In the early 60s, it took moral courage to portray the Vietnamese as freedom fighters when the focus was fighting the spread of communism.

He took care to show that there was humanity on the French side, particularly among the soldiers in the trenches.

…fearless…

Roy's a first-rate writer and clearly a fearless and empathetic one. The book is an indictment of French colonialism and corruption, but there's a sense of fairness that permeates the narrative, and both his sympathy and outrage ring true. It's passionate work.

It goes without saying that to understand the Vietnam wars, one needs to study it from a variety of sources. No one book is definitive.

However, from a writer's standpoint, this is a classic that's not only a good starting point for study but a clinic on personal-style narrative and storytelling. It may not be the best pure history book, but it's the most human. In the end, a war is about people, not battles or weapons.



JACK KEROUAC: POEMS ALL SIZES

One of the recent trends in the art world is old-time (and often legendary) music artists selling off their catalogs. It used to be considered essential to retain publishing, but it does make sense; better to get your money upfront and let the new owner deal with marketing it.

When one sees a book like this one, Jack Kerouac's "Pomes All Sizes," published in 1992 by City Lights Books, one assumes the rights holder was paid, but I do think that Kerouac was one of many artists whose works generated income that they never saw in their lifetimes.

The delay in publishing is due to side issues that aren't relevant to the work, and from what I can tell from accounts on the Internet, this isn't a case of dregs being scraped together for commercial gain (like some posthumous releases of other artists), though the poems were written over a period of years. 

We'll leave it at that; in other ways, it's a labor of love by those who loved him to honor his memory and surely a welcome addition to the canon by his fans.  

One of the pleasures of Kerouac's work is that it's a fusion of prose and poetry that reads well and sounds even better when read aloud. In addition, it has a musical quality. There's texture and rhythm and can range from beautifully expressed ideas to words as pure sound.

By musical, I also mean that there's an underlying energy that the reader can tap into, which feels as fluid as an improvised instrumental phrase.

Another pleasure is that his work rewards even casual reading; lines and phrases can jump off the page because the imagery is so vivid.

One such line was from Enlightenments, which reads, "When you become enlightened you will know that you've been enlightened all along," which is obvious in the way a child would say it.

On the other hand, there's the word music which isn't evident in meaning, but it reads like music and provokes thought;

'Flowers aim crookedly 
For the straight death"

I couldn't tell you what he meant, but it's a compelling phrase and quite clever. Perhaps it's a riff of some Buddhist axiom, or maybe an idea that popped into his head, and it was written down to capture a moment, expand on later, or be left as is.

Or perhaps it was left as written to provoke thought. We'll never know, but maybe it'll make more sense later with experience.

One thing about this poetry collection is that while there is an emotional progression over time, it can be opened up anywhere and enjoyed. 

Also, since the structure is non-traditional, it can be read as prose if you wish. As Ginsberg quotes him in the intro;

"You call yourselves poets, write little short lines, I'm a poet, but I write lines paragraphs and pages and many pages long."

One thing I've always admired about his writing is that although he's been widely imitated, his work always seems fresh, with his personality clearly coming through even when a phrase falls flat or seems incomprehensible.

That's because he didn't write in a careful or planned manner. He was willing to make mistakes or fail trying to achieve expression. That's a quality that's still rare, with so much writing now being heavily edited, constricted by grammatical conventions or software, or marketing considerations. 

Say what you will about his character, he wasn't a saint, and it's fair to judge him on that as a person if that matters in terms of appreciating his work. The appreciation of art is highly personal, so there's no standard or criteria.

The important thing was that Kerouac was a real writer who put all of himself into a work, always trying to shorten the distance between creation and the typewriter, and that's why his stuff still seems fresh and compelling.

Most of us still haven't caught up with him.




Vella News For October!

I had originally planned to publish “I, Ivy” as an eBook, but for a few months would prefer to just publish the completed chapters as Vella episodes. The Vella environment is a good incubator for a book, and pays out bonuses while it’s being developed. The main reason is reissuing my music is taking up a lot of my time, so writing episodes is a better fit for my schedule. So, I’ve reloaded the original three chapters and added three more new ones.


I’m going to spin off the “Professor Ivy Presents How To Survive The End Of Civilization” series into Vella also. That’ll just be a fun project and it’ll be taken at a leisurely pace, though the writing will be first rate and not casual. It’ll be called “The Boogie Underground Think Tank” and a first free episode has been loaded.


The Quitters has six new chapters, going up to number 32, and the stress at this stage of the book is to flesh out the characters and add more back story.

- Al Handa
   August 2022


NOTE: New chapters have been added! This series is still going strong so check it out on Kindle Vella!



Note: The book “I, Ivy” will be featured on Kindle Vella starting in October, and complied into an ebook later on in early 2023.



The ebook “On The Road With Al & Ivy: The Anthology Volume 1 2016-2018 is now on Kindle Unlimited!

I’ll run free promotions later this month, but members can read it for free now.



Please check out and listen to my music on Spotify, YouTube, Apple Music and other music sites. Add any cuts you like to your playlists!












Friday, November 5, 2021

On The Road With Al And Ivy: A Literary Homeless Chronicle - Nov. 5th, 2021



"Injustice is relatively easy to bear; what stings is justice."

- H.L. Mencken (Prejudices, Third Series, 1922)

One of the decisions about "The Quitters" was how “historical” it should be. To a certain extent, it has to be, as most of the scene described in the early chapters was centered on late 70s era Broadway Street in San Francisco (part of the North Beach section), no longer exists. The strip clubs, particularly the (in)famous Condor Club, are still on the corner of Columbus and Broadway, but muted and now are rather ritzy “Gentleman’s Clubs” which are a far cry from the sleazy dives (complete with Barkers) that extended in a line further down the street.

Two landmarks are gone, victims of the times, gentrification and high rents. The first was Enrico’s, a famous coffee house and restaurant, and Finnochio’s, the bar that featured cross-dressing performers, both of which are mentioned in chapters for color and as part of the story. Gone also is the pinball parlor that was next to the Mabuhay Gardens, smoke and magazine shop, and bookstore (not City Lights, which was further down and across the street) that I frequented when up there for gigs or shows.

Some of the other locations in the book, such as the Caffe Trieste, which is one block up Columbus, on Grant Street and the Saloon, which was a blues club across the street from it, appear to still be there, though in what form, I don’t know. Which isn’t important, I remember both well enough to describe how the two looked back in 1978.

I'll have the same problem when the scene shifts to Southern California later on.

…period piece…

So, the story will be a period piece, and the attitudes, speech, and behavior of the characters will be typical for that era, without 2021 attitudes and biases. I’ve noticed in articles about Broadway Street that the perceptions range from approval that the low rent aspect is gone, to nostalgia about the seedy bohemian atmosphere of North Beach. I’m sure the truth is somewhere in the middle.

Since Broadway Street is central to the story, I should give a basic description of it, and you can trace the route on Google Earth or maps to get a clearer picture, though what I’m going to describe is what existed in 1977, not 2021.

Broadway begins at the east boundary of the Presidio, which is up North, right by the Golden Gate Bridge. It runs eastward, starting in the Pacific Heights district, all the way past Chinatown into North Beach. Starting at the Columbus Street intersection; on one side there was the Condor Club and assorted strip joints, a bookstore, smoke shop, Enrico’s, and other assorted businesses that led up to the pinball parlor and Mabuhay Gardens across the street. Once past those businesses, the street continued east towards the Embarcadero near the Waterfront and Pier 9.



…north beach…

That last section, mainly North Beach, was considered lowdown (aka bohemian) at the time (though a lot less so than parts of the city now), but a major draw for tourists. The Barkers outside the strip clubs, whose job was to lure customers in, are perceived as an obnoxious element now, but were considered part of the local color back then. Some were even minor celebrities, though all worked under the shadow of the most famous wayward star, Carol Doda. In spite of the notoriety, it wasn’t a red light district in the classic sense of the word. Most of the prostitution (at least the visible presence) was actually down south, centered around Mission Street in the Tenderloin, which was a different place than it is now. It’s good to keep in mind that Mission street is another long boulevard that cuts through other districts.

As far as the amount of historical detail, there’ll be just enough to give the stories the proper amount of context. Since it’s going to be a novel, I do intend to take some liberties, such as creating composites, etc. These days, the concept of a historical novel has become diffuse, and often subject to approval or disapproval by fans with a wide variety of viewpoints. The more detail there is, the more the discussion about the book can be sidetracked into disputes over accuracy.

…historical points…

For example, one article I read stated that the Mabuhay Club used strip club style Barkers, which I never saw, but perhaps that was true earlier on. It doesn’t serve the purposes of my book to get into a debate on that point (though it goes without saying that the writer in me saw some epic possibilities in creating fictional hucksters to populate the sidewalk in front). I decided that such characters didn’t serve the greater truth, which was that the venue housed a vibrant music scene that grew on it’s own, not because people had to be hustled in from the street.

The punk scene was wild enough, anyway, and my main concern is capturing it all and to avoid just conjuring up a freak show to merely shock (though as an artist, I do reserve the right to sensationalize and pander as necessary) or exaggerate my importance in the scene (though again, as a literary option, I reserve the right to make the main character embody the best qualities of stardom and legendary musical ability). There’s already enough material accumulated that I’m going to have to create composites and fictional characters to fit it all in (though finally, true to my uncompromising devotion to the fictional form, I reserve the right to make shit up and create outrageous situations to titillate as needed to transition readers to the paid chapters).

…going down memory lane…

I had two priorities, and a decision to make. The priorities were to reconstruct the history of the band (to make sure my fictional version was different, so I can discuss that period in the blog without creating spoilers) and to gather enough information to describe roughly what the area looked like in 1977. The most important decision was whether to use actual names of people and bands. I’ll probably follow a middle course, where much of the geographic detail is accurate, and use some artist and band names on the periphery of the story to give some context but not use them as characters. Certainly in the last part of the book, the account of the Sex Pistols concert at Winterland needs to be historically correct.

Reconstructing my band’s history was a lot easier, since I remember most of what happened. One thing that did fade in my aging memory bank was exactly how many times we played at the Mabuhay and when. That’s not a critical detail in the novel, but since this is also being done for fun, it was interesting to track that information down. As said in the previous blog entry, information on who played at the club is sketchy, and what little there is focuses on the various headliners. The shows generally featured at least three bands, and sometimes a fourth, which is a lot of history that isn’t documented.

I was able to get the dates from a site called the Punk Music Catalogue (https://punkmusiccatalogue.wordpress.com) in England, which has a surprising amount of detail on the bands that played at the Mabuhay, and a nice collection of flyers grouped by month and year.

…pass the ointment…

I found the six dates we played as “Ointment,” from 1977 to 1978, though the seventh as “Black Legion” wasn’t listed. Our first gig was going to be with Nuclear Valdez, UXA, Animal Things (who changed their name to Negative Trend), and us. The headliner, Nuclear Valdez, had to cancel after getting into a car accident on the way up to San Francisco (they were a South Bay band also), so the Avengers filled in on short notice.

…the bands that play together, stay together…

Dirk Dirksen, the promoter, had a system (described in detail in the book) that often resulted in groups of bands playing together as they moved up the ladder. Off the top of my head, our band played on two shows with the Avengers (already headliners), UXA, and Negative Trend. When UXA and Negative Trend moved up, we played a couple of shows with them, and finally when the latter began to headline, they kept us on their bill for a couple of shows. At that point, we got a headlining gig as Black Legion, and unfortunately, that was the last show for us.

I don’t have detailed information on the last shows with Negative Trend (who changed to Negative Trends) and as Black Legion, but the other bands on those nights included SST, Sleepers, The Liars, and Statics.

…a brief survey…

A brief survey of the headliners and other popular bands included; Crime (one of the earliest to play there), Nuns, Avengers, UXA, Negative Trend, Tuxedo Moon, Mary Monday, Mutants, Liars, Statics, Magister Ludi (a personal favorite after Negative Trend), Sleepers, Psychotic Pineapple, Readymades, The Dils (from Southern California), Nuclear Valdez, Novac, Seizure, Dead Kennedys, and the Offs. That’s just a bunch off the top of my head to give you a sampler.

My personal favorites were Negative Trend, Magister Ludi, Mutants, The Dils, and Psychotic Pinapple. The first two had the most spectacular live shows that made my jaw drop at how close to the edge they got. I liked the Mutants and The Dils for their songs, which were well crafted, and the Pineapple were cool because they emulated the 60s Psychelic Garage Bands like The 13th Floor Elevators and the Seeds.

I also liked the Nuns and Avengers, who were on the bill with the Sex Pistols at Winterland. The book will have a detailed account of that concert, which I’ll write from memory, without research (other than making sure of the date, etc), so that no second or third hand accounts slip into the narrative. There are descriptions of the event based on the bootleg (mostly from the KSAN-FM simulcast) which aren’t entirely accurate, as the mix isn’t what was actually heard live.

…put it on my account…

My account will also describe the mixed reaction of the audience. The show was a sellout, but a large number of tickets were scooped up by scalpers due to the wide publicity, but the price had dropped to a dollar by showtime. Many in the Mabuhay crowd didn’t go, and in fact, gathered at the club to listen to the FM simulcast. Descriptions of Johnny Rotten’s seemingly detached attitude was ascribed to the impending breakup of the band, but was also probably due to knowing that most of the crowd, besides the punks crowding up in front, were mainly tourists and Winterland regulars curious to see what the fuss was about.

However, it was a historic concert, and ranks in the top five of favorite shows (for me). In person, Rotten’s punkass attitude and charisma was a wonder to see, and yes, he was being flippant, with a hilarious disregard of the 70s rock star ethos. The SF punks were very good, but once the Pistols walked on to the stage, even the tourists in back stopped talking and starting watching. The English punks were the real thing and you could feel the change in presence when they came on.

…coming in December…

The December blog entry will feature a preview of the book, a look at the first three chapters, and a concise history and survey of the Punk music scene as it existed in late 1977. As an added attraction, there’ll be a piece about those artists who were called, or gave themselves the title of “Godfather Of Punk,” and how myths about rock music often end up being regarded as real history. It goes without saying, that all the subjects will be treated with strict adherence to Internet standards of truth and respect for others.



“New facts are seldom plucked from the sky; they have to be approached and smelled out by a process of trial and error, in which bold and shrewd guessing is an integral part.”

“If we assume that man actually does resemble God, then we are forced into the impossible theory that God is a coward, an idiot, and a bounder.”

- H.L. Mencken

If there's one thing more certain than death or trolling, it's that the world is full of stupid people with the exception of one person, depending on who's doing the talking. American democracy, as expressed through the internet, has produced the greatest number of stupid people in history, or more precisely, those labeled as stupid, though there is a small number who want to be called stupid by someone dressed in leather, plus those who admit to it, which, of course, repulses everyone who thinks they aren't stupid, the number of which being equal to the number who are assumed to be stupid by others. The logic is straightforward and obvious. [Citation needed by someone who is stupid to confirm this]

Nature is more just when punishing dummkopfs, as it only smites life forms which are actually stupid and unfit to have a social media account. If mankind took on the task of weeding out the stupid, it would result in an extinction event, as pretty much everyone has been classified as estupido by someone at some point.

…a true pioneer…

The greatest practitioner of the American science of sniffing out cretinism was the great journalist, essayist, satirist, and cultural critic, H. L. Mencken. He was arguably an elitist influenced by Nietzsche, a German philosopher who ended up as a patron saint of snobs, free market chest thumpers, elitists, fascists, wealthy people, political parties, and the happy few who know what real rock and roll is.

At his best, Mencken was a writer who was utterly fearless, and often very funny. At his worst, he could be irascible, opinionated, and elitist, which a good many people might think after reading his works. However, any writer who honestly speaks his or her mind will have both supporters and detractors.

Mencken had a simple outlook; he simply assumed that most of mankind was stupid, though generally ranking women and animals (such as amoebas and mackerels) higher than men in terms of intelligence. He did admit that men knew a lot, but called their skills “merely a congeries of petty tricks and antics, and their acquirement puts little more strain on the mental powers than a chimpanzee suffers in learning how to catch a penny or scratch a match.” An assessment that would be heartily cheered as “right on” by 50% of the population, and trigger butt hurt assertions about who built the skyscrapers and won every hot dog eating contest in the other 50%.

It goes without saying that if you think everyone is stupid, you’re going to be right at least some of the time, which is a principle that has ancient orgins, such as in Chapter 10, paragraph 8, of the Forbidden Gospel of Murgatroyd, the relevant fragment being discovered in a pile of cheap packing material in the dock area of a Chicago Salvation Army store in 1936, before the invention of bubble wrap. The passage, which was in Homeric era Ionian Greek reads, “Echt einst haha lol wee wee gomenasai ull-bay it-shay fignya,” which roughly translates in English to “Everyone is stupid except Zeus.” [citation needed, some experts assert that the fragment is actually a page from an Alabama cook book circa 1925]

…yet one guy wasn’t stupid…

One of the thinkers he admired was actually a male, the controversial and influential philosopher, Friedrich Nietzsche, and he wrote a book about his life and ideas, knowing that few would buy it, which in this country is a sign of true conviction (and of course, stupidity). The book, “The Philosophy Of Fredrich Nietzsche,” discusses, among other things, the analogy that Greek civilization had an artistic, introspective side in the God Apollo, and a wild-ass side in Dionysius, and at it's peak, attained a balance between the two.

Modern analogies to this delicate balance would include the concept of yin and yang, good and evil, sweet and sour pork, dogs and cats, bacon and plant based sausages, cola and uncola, and Democrats and Republicans [citation desperately needed on the last one].

Good examples of Apollonian inspired life would be ketchup in hot dogs, playing the nickel slot machines in Vegas, and gluten free food products. The Dionysian side would be represented by such things as hot dog eating contests, jeans that let the lower half of your buns show, and eating grapes in grocery stores before reaching the checkout area. Hopefully, these real world examples will make the sublime philosophical concepts clear to the average layman.

...here comes superman...

The most controversial aspect of his philosophy was the concept of a "superman," which was basically (and I'm simplifying here) an ideal person, one who attains the fullest potential and creativity. That term, which in German reads, “Ubermensch,” translates to terms such as “superman,” “overman,” or “superhuman” was said to be about a future state for men to aspire to, but has been subject to a wide variety of interpretations from creative types like the Beat Poets to Nazi’s paraphrasing it to justify the concept of a master race.

The idea of supermen is, unsurprisingly, attractive to alphas. One famous example of an artist who was influenced by one of Nietzsche's works, "Thus Spoke Zarathustra," was Jack Kerouac, whose beat philosophy was overtly masculine and generally viewed women as part of the scenery of a life lived for art and pleasure, finding oneself in the company of fellow Dionysians who reject the strictures that others passively accept. In other words, intellectual guys being guys.

Whether Nietzsche’s relevant or not, is really up to you, but any study of his work is worthwhile if it’s from the actual source material and not what other people say it is. That goes for the Bible, Darwin, or any other text. One of his observations that's still of value, is that religions and systems of morality that are said to come from higher powers, are often just men putting words in their God’s mouths. Keeping tabs on, and if necessary, putting a check on the power of those doing the talking is still an exercise worth mankind's time.

...other books...

Checking out other H.L. Mencken books would be a worthwhile exercise for a writer or artist. Book writing courses tend to stress style, and what it takes to be a successful (that is to say, bestselling) author, but not always what it takes to find out who they really are or want to say as an artist. Reading books by people who were uncompromising, and seemingly impervious to criticism can give an insight into what moral courage is on the artistic plane. It’s not what such writers say, which one can find disagreeable or controversial, but how a personality or sensibility expresses itself in a work.

In other words, when reading Mencken, you know who’s talking; there’s no veil, filters or attempts to generate or avoid controversy. All of the truly great writers have that quality, to seem as if they’re talking directly to you. That’s not an easy talent to quantify or teach, even if the principle is simple and obvious, because, to paraphrase Mencken, it’s about finding the courage to be yourself.

Some of his books are free on sites like Amazon and Gutenberg Project, though the latter is recommended as it has a larger selection that haven't been repackaged as commercial products. I'd recommend checking out the free versions because, duh, it's free, but it’s also an opportunity to read whole works by the author before venturing into any commercial reissues or compilations.

- Al Handa

The Al & Ivy Homeless Literary Journal Archive:

There are earlier blog entries on the Delta Snake Review section of this site that aren't on the On The Road page:
http://deltasnake.blogspot.com





Cover Reveal For Hide In Plain Sight


This is the cover for the upcoming book, Hide In Plain Sight, hopefully out sometime in 2021.




The American Primitive Acoustic Collection by Handa-McGraw International can be streamed on all of the major services, including Spotify, Apple Music, Amazon, and dozens of others.



The Music Of Handa-McGraw International can also be heard on the Electric Fog Factory on YouTube. You can hear the album, and dozens of unreleased cuts and demos, plus exclusive video of Ivy.


 

Tuesday, July 9, 2019

On The Road With Al and Ivy: A Literary Homeless Chronicle - July 2019




"add Deeds to thy knowledge answerable; add faith, 
Add virtue, patience, temperance; add love, 
By name to come called charity, the soul 
Of all the rest: then wilt thou not be loathe
To leave this Paradise, but shalt possess 
A Paradise within thee, happier far.—"

- Milton (Paradise Lost)

I've spent a lot of my leisure time in used bookstores. One of the best was Berger's in Sunnyvale, California, back in the 80s. It was a dusty hole in the wall, owned by Thomas Berger, who spent his days reading classics and theological works, but would stop and ring up sales or handle trades as needed. I saw him use a vacuum cleaner a couple of times too.

Like any good used bookstore, it reflected the owner's tastes, and in this case, it was the classics and history at very low prices. That was right up my alley, and my average stay was two hours, often more.

My routine was to walk through the aisles and check the new arrivals, which were on the floor in boxes and bags until Mr. Berger could get around to pricing and shelving. Then starting from the letter A in the fiction section, I'd literally look at every book in the store and see what caught my eye. I later realized that what popped out reflected my state of mind at the time.

I'd ask Mr. Berger about a book, and he'd patiently explain the author's background, and most importantly, the context of the work. On one such occasion, an explanation of Bunyan's "Pilgrim's Progress" turned into a fascinating hour long lecture about the book's symbolism and it's influence on the Western novel form, which not only opened my eyes to Bunyan's genius, but convinced me to cash in a months worth of trade credit on a rare vintage copy.

I'd often just pick out a book and read, sitting on one of the boxes of books in the aisles. Once I lost track of time and was still reading after closing, but he kept the store open until I looked up and realized it was getting dark. I bought that book, a vintage copy of Arthur Conan Doyle's "Micah Clarke," which I've talked about in this blog and still own. 

Mr. Berger stressed that it was important to read new authors, particularly ones out of my comfort zone. The idea was that one didn't only read for pleasure, but to learn and explore. I wasn't a big fan of Balzac or Longfellow, for example, but I've read them and my experience is richer for having done so. Even if a book isn't to your taste, it's still, in a sense, a conversation with that author and each has something to offer.

...Last Of The Mohicans revisited...

One of the most influential suggestions was to revisit "Last Of The Mohicans" by James Fenimore Cooper, which in junior high seemed too arcane and wordy. He said that people focus on the romantic adventure story and miss the spiritual side, expressed through a young preacher, a character often omitted in movies and reviews. He had an interesting series of exchanges with the Pathfinder, whose conception of God was atavistic and closer to the Mohican view of life. How the two found common ground was out of the norm of religious thought in that era, a naturist view.

On one visit, Berger threw in a free book by Thomas Wolfe, along with the full background on it. He said that Wolfe actually wrote one huge book, and his editor broke it up into separate works. That's not an unusual occurrence in the music world either. Columbia Records producer Ted Macero took several of Miles Davis' rock fusion jams and edited those into such classic albums as "Bitches Brew," "Jack Johnson" and others.

We discussed Wolfe on my next visit, and I mentioned that another book, Jack Kerouac's "On The Road" was a similar trip, having been typed up on a single roll of paper. I told him that the book seemed tedious, with long passages about routine sounding stuff, and he agreed that it wasn't the type of book I normally read.

He pointed out that I was someone who bought every different translation of Homer's "Illiad" that came into the store, and added an interesting observation; that I loved the story and "enjoyed hearing different voices tell the tale."

Story is important, he added, but sometimes it's is only a vehicle to express what the author really wants to say. In the case of On The Road, the symbolism of Kerouac's car trip was to leave an old life and plunge into a new one, and that the book broke from the conventions of it's time by describing an almost existential string of events that wasn't just about finding a girl and living happily ever after. 

It was about being in the moment, not living for a far off future or stuck in the past.

Understanding what he meant took another year and several more books. There wasn't a copy of Kerouac's book on hand, so he started me off with a free copy of Henry Miller's "Tropic Of Cancer," adding, "forget story, there isn't one here, but read as if you're listening to him thinking aloud, listen to his voice."

I did what he said, and the book blew my mind wide open. Henry Miller wrote without a filter between his mind and the written word. Even if you don't like his books, you've still had the opportunity to listen to a man who was as free from social conventions like guilt or shame as one could get in that era (though one could include Joyce in that group). It was a voice that spoke without fear, which isn't the same as breaking taboos, a quality that's still rare today and takes real moral courage. I'll be talking about Tropic Of Cancer in the August blog.

That concept of an "author's voice" is important in my book, because I refer to it as "people I've met" in the past, who've said things that developed even more resonance while living out there in a car, all who were introduced to me by Mr. Berger. 



“Was it not known of old,” she said, “that a woman should ruin the kingdom of France and that a woman should re-establish it?”

- Anatole France (The Life Of Joan Of Arc)

Francois-Anatole Thibault, who wrote under the pen name Anatole France, was a Nobel prize winning French poet and writer who wrote a two volume biography of Joan of Arc. George Orwell described the work as one that showed that Jeanne, or Joan was "a lunatic," which was his interpretation, not France's.

France did speculate that Jeanne may have suffered from delusions caused by frequent fasting, but the books are actually a detailed collection of fact, historical legend, opinions, and more interestingly, his questions. The critical assessments of the bio vary, and as with any historical work, it's accuracy is disputed by someone or another.

The "Life of Joan of Arc" reads like an old history book. It doesn't have the flow of a modern novel, and because it's a translated work (from French) it loses subtleties like humor and satire. The overall feel of the book is, for lack of a better word, "kind" to Jeanne's story and the occasional insertion of author comment and criticism feels jarring, like a sudden shift in tone. It probably read differently in the original French.

Jeanne's "voices," those of Saints Margaret and Catherine of Alexandria, and occasionally the Angel Michael, are woven into the story. That creates a atmosphere where the protagonists appear to float in and out of "reality" but feels accurate for that era, when visions weren't necessarily considered fantasy or neurosis.

What makes the book worthwhile is that while Anatole was a skeptic, he does give Jeanne a fair shake. One gets the feeling that he admired her, implying that even if manipulated there was no guile on her part. All of the major events are covered in detail, her statements delivered straight, and her piety described without judgement. One will see all the points of view that surrounded this ultimately remarkable woman.

Anatole's book makes clear that she had plenty of detractors, but he doesn't spare them either. During the Hundred Years War, France was a sprawling mess of small provinces ruled by lords that the King couldn't control, and whose soldiers were as likely to rape and pillage their countrymen as the English. The politics and religion of the time was corrupt and infested with scoundrels with fake piety and a devotion to the One True God (of cash).

Jeanne was a young woman who the clergy had verified as pious, sincere, who sorta-coulda be the fulfillment of an ancient prophesy, and who probably struck people as a breath of fresh air from the politics of that era. As far as talking to Saints or other deities, that's something lots of people did then, and still do today. We can't lock them all up.

The actual historical data isn't comprehensive, in fact, it's not even clear what she looked like. Many people base their opinions on the remarkably detailed transcripts of her trial. One problem with data, beyond whether it's accurate or not, is that by itself it generally means nothing. Information often ends up being cherry picked or packaged to back up a conclusion or opinion, like those studies that attempt to diagnose her mental condition.

...a living symbol...

It's clear that Jeanne became a living symbol, and that various people and factions embraced or attacked it depending on their own personal agendas. That's led to modern opinions that reveal more about the writer and his or her motives than the subject. One opinion I've read, that speculates that she was a naive stooge used and manipulated by powerful nobles really just shows the writer's reluctance to believe that a young woman could achieve something great. Her rise and fall certainly involved more than one single factor.

One important point that Anatole makes is that in the events leading up to Jeanne's first (and probably greatest) victory at Orleans, was that the inhabitants welcomed her because of a deep distrust of the French nobility, who were as likely to plunder the city as the English were. 

The military situation at Orleans was that the English, called "Godons" because they seemed to use the word "Goddamn" a lot, didn't have enough men to completely seal off the city. The problem was that the population could defend the city walls, and had more supplies than the enemy, but not enough strength to actually attack armored knights in the open and drive them away.

In other words, if the Godons couldn't be driven away, they could eventually gather enough men to completely cut the city off, though that wasn't a given, as the shortage of supplies drove the English to mount desperate attacks to try and bring things to a quick conclusion.

One solution was to ask the French King for help. It could require a hefty payment that might simply whet the appetite of the noble banditry, and after victory, they could possibly have to deal with their rescuers. It was a classic political situation where each solution was a little worse.

Aside from the rapine and butchery that an English victory would bring, it's also clear that France, as it existed then, wasn't in any real danger of being completely conquered. The Hundred Years War was essentially a series of glorified raids by the English where some territory changed hands, and the massive defeats of French armies were followed by payments and concessions that left the country intact. 

That the people of Orleans didn't regard getting aid from the King as the default solution shows that the English weren't viewed as a threat to national survival. That's just a simple overview, of course, one can get into a whole lot more detail about that age, which would then open the door for a multitude of theories and opinions.

The salient point is that the myth, or leadership of Joan of Arc was inspiring to the commoners and middle class of France. The people of Orleans were probably relieved to find a hero who could keep the French nobles in check (who by themselves could produce a victory that would be as bad as a defeat).

Joan of Arc, or her image, was a unifier, and it did bring about the defeat of the English at Orleans and elsewhere. Her piety must have been real and inspiring, because in that age, she'd have been tried and executed for witchcraft or heresy long before she picked up the banner for France.

Anatole France's biography, as stated earlier, was written by a skeptic, but like many of the learned religious figures back them, he could find little wrong with the person. Like Sitting Bull or Hannibal, whose histories were largely written by their enemies, it says a lot about them when their character survives attack.

Anatole France could find no hard proof of insanity, and centuries of modern cynicism hasn't produced convincing evidence that she was a mere figurehead for men (unless you're predisposed to assume men are always the real power). Yet despite attempts to destroy her myth and legend, and judged by the same criteria as a man, it can be said that she saved France from the English invaders and became a national hero and Saint who still inspires men and women to this day.
"If you want to write, just write."

- Kenneth Roberts (I Wanted To Write)

My writing days began in high school, though not due to any design. I joined the High School newspaper in my junior year with the hope of becoming an editorial cartoonist, but was instead assigned to the Sports section. My first story, about the poor performance of the JV Tennis team, which as a matter of disclosure I was a part of, was OK'd by the Editor-In-Chief, who was on the Varsity team and agreed with the slant of the piece.

To his credit, the JV Coach didn't kick me off the team but did let it be known that implying he was barely qualified was oversimplifying the problem of trying to coach a team where, for example, one of the members had only been playing for three months. I insisted that it was actually four very intense months, during which time I'd also read two "how to" books on the sport, but was compelled to grant his point.

I was subsequently transferred out of the sports page to the editorial staff, which was deemed a good place to learn about the true conscience of journalism and a convenient place to put someone who appeared to have little interest in learning how to write a proper news story.

Which I'll cop to, I could have cared less. I just wanted to draw cartoons just like the geniuses working for Mad Magazine and be off in time for tennis practice.

The Editor-in-Chief, a senior named Mark, had other plans and decided to make me his successor. It was an odd pairing, as he was a Young Republican type who believed in journalistic integrity and I was a left leaning artiste who thought underground newspapers (and Mad Magazine) were the wave of the future.

Mark not only put me in the Editorial section, which was rarely given any space in the paper, but made sure that my other assignment was layout. It was tedious work, but by the end of the year gave me the ability to combine everything into a layout that was "offset print ready" for the printing technology of the time. I learned what would be picked up by the camera and what details, like the edges of the typed columns, wouldn't show.

It was no small thing. Understanding "print ready" made it possible to put out a publication in the 80s with just a good typewriter and simple graphics equipment. After succeeding to the Editor-In-Chief position in the second semester, I put this knowledge to work and remade the school publication into what looked like an Underground Newpaper and most importantly, gave myself the job of editorial cartoonist.



Though the school paper started to lean left, Mark did teach me one valuable lesson, which was to never forget what a newspaper was. He and the advisor resisted the temptation to censor articles about student anti-war protests, birth control info, and ecology but made sure I put in plenty of content about the student government, school spirit and the various clubs. It's easy to fall into the belief that a publication is all about one's vision, but it's also about who's going to read it.

I didn't use those editing skills until the 80s, other than some freelance commercial art projects here and there. In 1981, after a stint in a punk band, it hit me that a more personal project involving blues and jazz music would allow me to immerse myself in the world of music journalism and gain access to free records.

...the delta snake...

The Delta Snake Blues News launched in 1982, and was immediately popular in the San Francisco Blues scene. I typed the copy in justified columns on a typewriter, and did all the graphics by hand, and delivered the completed layouts to the printer who liked my concept and gave me a discount after agreeing to sit through a presentation about a marvelous food product that was stored in puncture proof containers, never spoiled, tasted as delicious as fresh, and that with good old American go get'um, would make me rich beyond my wildest dreams in a year. I chose the way of art, and stayed poor.

I sent out preliminary review copies to such personages as Tom Mazzolini, the organizer of the San Francisco Blues Festival and DJ for the popular KPFA-FM Blues By The Bay show. He gave me some invaluable advice; remember to put your name and business address on the newsletter.

The first mailing sold out, with 100 copies mailed out to subscribers, and another 99 distributed to record labels, blues clubs and used record stores, all with my name and mailing address written in by hand. Fortunately I forgot to give out the 200th copy, otherwise there'd be no first issue in my sort of complete collection, one of the few belongings I kept even after becoming homeless. 

After the first issue, former Eddie Cochran sideman, Troyce Key, who co-owned Eli's Mile High Club in Oakland, California, wrote me and said he liked what I was doing and wanted to buy a regular full page ad. He said make sure to charge enough to cover the printing cost, and until he died, never failed to pay. The entire paper-era run of the newsletter, about seven years, was largely due to his support.

What I did have to worry about was delivering the product. Several blues labels also bought ads and sent review copies of records, over 20 in the first month.  Having to write 20 reviews was unexpectedly tedious, but taught me a lot about writing under deadline and the difference a thesaurus makes when describing the same kind of music over and over again.

Distribution soon jumped up to 2500, and I was forced to supplement the printing runs with copies run off Xerox machines at work. I'd offset print the covers and run the other pages at work. Any feelings of guilt over using company property was lessened due to having to wait in line till other staff got their own private newsletters out, but to this day I wince at the thought of how sneaky artistic endeavors on a shoestring can be. 

...the beginning of freelance stuff...

It was during this time that the publisher of a local weekly paper approached me to do a blues story. That was my first paid publishing credit, at three cents a word, and encouraged me to seek more freelance writing assignments. That continued into the 90s, with articles that included three cover stories; one that made print, one that was downgraded to research and one that was killed by the publication's legal department.

None of that was discouraging, as once you get into print, you tend to keep getting work, though not necessarily enough to actually live on.

Publishing The Delta Snake, which is still in existence as a blog (though not as active as On The Road With Al and Ivy), taught me the value of being a "one stop shop" where every discipline is combined into one skill. Editing, for example, seems less mysterious, and the drawings seen here in this blog are executed for print, not display. That means every ink line, shading or textures are executed with the intent of running the drawings through effects filters. 

I include two versions of the same drawing later in the blog. One was treated to recreate an old 17th-18th century book illustration feel, which took me years to realize that it was the printing process that made it look that way, and a more colorful version that's closer to the original in appearance, where the textures and shading lines can be seen.

I do cringe when reading some of my earliest work. Being my own editor meant that some amateurish work slipped through. But none of that ever "ruined" my writing career, which has occasionally paid well, and not very much the rest of the time. I came out with some disastrous Delta Snake issues that I still shake my head over, and am still haunted by the memory of submitting a successful query for a Jack London article and to my horror, realizing that I had no idea how to write it.

Time is always on the writer's side. The Delta Snake went through three periods; paper, Usenet and then Internet. Each era was a fresh start with new skills to learn, leaving behind past mistakes with useful experience to be carried into the future. My writing got better, though it's still not where I'd like it to be.

Which is another big lesson from those days; that you won't get better at writing by reading about it. To quote the great Maine author Kenneth Robert, "if you want to write, just write."

"The Nymph wondered whether she had misheard his words. She asked: ‘Who may the Father God be? How can any tribe worship a Father? What are fathers but the occasional instruments that a woman uses for her pleasure and for the sake of becoming a mother?’ She began to laugh contemptuously and cried: ‘By the Benefactor, I swear that this is the most absurd story that ever I heard. Fathers, indeed! I suppose that these Greek fathers suckle the children and sow the barley and caprify the fig-trees and make the laws and, in short, undertake all the other responsible tasks proper to women?’"

- Robert Graves (Hercules, My Shipmate)

"But Ino, Cadmus’ daughter, saw that scene—she, nymph with lovely ankles, once had been a mortal, one who spoke with human speech; but, honored by the gods, she then became Leucóthëa, a goddess of white waves."

- Homer (The Odyssey, Allen Mandelbaum translation 1990)



- Al Handa
  July 2019

Note: I later composed an ambient electronic piece about the idea of Ivy becoming a mermaid, it's on the Electric Fog Factory site on YouTube, called "A Dog Dreams And Becomes A Mermaid."

https://youtu.be/vJLXEAHI3yo




- Al Handa





The Al & Ivy Homeless Literary Journal Archive:

There are earlier blog entries on the Delta Snake Review section of this site that aren't on the On The Road page:
http://deltasnake.blogspot.com


Cover Reveal For Hide In Plain Sight


This is the cover for the upcoming book, Hide In Plain Sight, hopefully out sometime in 2019.