Showing posts with label Mabuhay. Show all posts
Showing posts with label Mabuhay. Show all posts

Tuesday, January 4, 2022

On The Road With Al And Ivy: A Literary Homeless Chronicle - Jan. 4th, 2022



"With an old and tried swordsman like myself, knowledge of the use of his weapon is everything; but with a young Hotspur of your temper, strength and energy go for much."

- Arthur Conan Doyle (Micah Clarke)

Internet experts state that in the early prehistoric days of mankind, when men were men, and women could have as many boyfriends as they felt like having, climate change created an extinction event that wiped out all of the man eating dinosaurs and saber tooth tigers, who in their hungry heyday made sure that no human being lived longer than, say, ten years. This removed one of the biggest reasons that cavemen and cavewomen didn’t last very long; leaving only disease, starvation, minor injuries, warfare, and marriage.

The longer life spans created new social phenomena, such as villages, condos, Kings and Emperors, celebrities famous for being famous, organized warfare, government, poor people, and of course, reality shows.

 However, the most pervasive sociological innovation was the “Generation Gap,” as it was called in the 60s. The first recorded instance of the younger generation pissing off their parents and calling them old farts was in Ancient Greece, the first civilization that had an alphabet that didn’t consist of pictures of animals and Gods. 

...the earliest travel blogger...

As recorded in a fragment of Book 13, Page 2, paragraph 10, of the ancient Lost Gospels Of Murgatroyd discovered in the recycle bin of a Chicago Hair Salon, the legendary Greek travel blogger, Herodotus O'Grady, describes an inscription on a newly manufactured vase that reads, “Achilles, Eiste ena palio fart," which was later unearthed in 1994 by an Ebay seller who found it at an flea market sale in Raleigh, North Carolina. 

Some Internet experts claim that the purported vintage Greek vase is actually a bottle of pressed virgin olive oil bottled in New Jersey in 2010, and of dubious quality, but as we all know, Ebay has strict measures in place to prevent the sale of fraudulent items, so the claims of the seller can be taken at face value. [citation needed, please define "at face value"]

...the generation gap...

The Generation Gap has certain aspects that haven’t changed throughout mankind’s history, and the most egalitarian is that everyone gets to be the vivacious, know it all whippersnappers who are sneered at by the cynical, beaten down by life old farts who bridle when their achievements aren’t treated on the same level as Taylor Swift winning a Grammy. 

Then in few years, longer if the older generation tries to extend adolescence with cosmetic surgery and asserting that 50 is the new 20, the young snots are confronted by a new crop of sass mouth delinquents who can eat junk food and not gain weight, and aren’t aware that the Beatles were the greatest thing since sliced bread and adult diapers.

This generational conflict was, at one time, muted by social controls such as teaching respect for elders to young minds not yet able to produce audible cuss words, corporal punishment, making kids stand in corners or bedrooms without supper, cutting allowances, and Lifetime Movies, but history has proven that it’s a losing battle, and time is on the side of the pups that gradually become aware of their awesome power and love for death metal music. Commercial advertisers, who follow the more sensible outlook of money grubbing, know all this, and focus on the younger demographic.

 ...childhood's end...

This blogger is aware that childhood and adolescence is a time for discovery, wonder, sexual awakening, and the assumption of greater responsibilities in an ever changing world, but that’s all been beaten to death by Hollywood and the media, and is boring even to the young target audience that now prefers the joys of making millions on social media, eating various chemicals in Tik Tok challenges, anonymous Internet trolling, and cancelling artists for the slightest reason. 

Though in all fairness, this sort of thing has been going on since the Ancient Greeks wiped out the city of Troy just because someone stole a King’s wife. If Achilles, the big stud warrior of the Trojan War, had paid more attention to his brand, we’d be seeing his face on cereal boxes. Todays young heroes are much more saavy.

 ...Jack London and Tom Wolfe...

Two definitive stories about the Generation Gap, besides my latest Punk Rock satire, "The Quitters" (retitled from the original Electric Fog Factory, see the included first chapter later in this blog entry), is Jack London’s classic “A Piece Of Steak,” which covers the concept from a Darwinian perspective, and Tom Wolfe’s “Electric Kool-Aid Acid Test,” which has a more sociological angle, and is one of the definitive studies of the formative years of the Baby Boomer generation.

These works delineate the two classic points of view in any generational type story; the older viewpoint of experience and wisdom, and the younger theme of discovery and exploration.

...a piece of steak...

Jack London’s short story, published in the Saturday Evening Post in 1909, is about an aging boxer named Tom King, who in his younger days had been a dominant fighter, flush with cash that was spent as soon as it was earned. The scene opens with Tom eating a humble meal of bread and gravy, that his wife had to borrow the flour for, and who sits by and watches, as there's only enough for one. The two children have been sent to bed early in the hopes that they wouldn't notice that dinner was being skipped.

The scene isn’t as dire as it might seem, as Tom has been given the opportunity to fight in a winner take all match, with a prize of 30 quid, which would change his fortunes for the better. That sparse meal is a final effort by the family to send him off in the best condition possible, though he still feels hungry afterwards. He grumbles that even a single piece of steak would make a huge difference. A passage about trying to pretend that his pipe has tobacco adds to the picture of destitution.

London, as usual, does a good job of creating a vivid picture of the fighter’s inner thoughts as he heads for the match, mixing seamlessly with the details of a once vibrant life and career. The account of Tom's struggle to defeat the younger boxer is textbook live action narrative, a superb piece of writing.

Like many of London’s stories, it’s about how age slows down the vitality of youth, and evolves into guile and skill gained from experience. However, London’s message is consistent, you can slow down Father Time, but in the end, you’ll always lose.

 ...acid test...

Tom Wolfe's book, "The Electric Kool-Aid Acid Test," about Ken Kesey and his Pranksters, has a youthful outlook, that of exploration and rebellion, though it's a complex, detailed chronicle of the rise and fall of a movement. I've discussed this book in an earlier blog, but here will focus on a different aspect of the story.

The tale isn't just about a generation gap, one could say that Ken Kesey's aim was to build a new society based on the widespread use of acid to, for lack of a better term, free people's minds.

In fact, one of the purposes of the "Acid Tests" was, as one of the leaders put it, to learn "how to function on acid." As history has shown, the end result was psychedelic style rock concerts, complete with light shows to simulate the acid trip experience and of course, make a lot of money, which is the American Way.

...intentions..

Kesey's intention wasn't to create a new class of millionaires in the entertainment industry. Tom Wolfe said, in a later interview, that Kesey's (and his followers) early experience with acid created an ecstacy type experience that was common to new religions, though perhaps a better term is revelation or paradigm.

Kesey's group, The Merry Pranksters, did make a sincere attempt to create a new, freer society based on a sort of nonauthority, where the leaders suggested rather than gave orders (much like most Native American tribes).

The movement was bankrolled by Kesey, who used the royalties from his book, One Flew Over The Cuckoo's Nest, so most of the problems in creating a new society, like food production and other such things weren't a factor. Everyone just followed his lead and embarked on a series of journeys and spiritual exercises, albeit with a lot of partying, sex, and the occasional hazing of squares and other unhip types. In the end, the whole trip did end up depending on one leader, whose rise and fall determined the fate of the Pranksters.

I'm oversimplifying, of course, the interpretation of the events can range from cynical to florid romanticism, and Wolfe masterfully navigates a middle course in his book.

...opinion...

My opinion is that Kesey was on to something, but it takes a lot of moral courage to reject the system and to live outside of it. Basically his followers eventually chose safer courses and built a society based on an outward change in appearances but followed the time honored Western principles of structure, commerce and heirarchy.

Another way to put it was that Kesey was heading in a metaphysical direction and was willing to make mistakes or explore what could be dead ends for the sake of enlightenment, which someone from an Eastern culture would understand, but not a Westerner used to leaders who at least behave like infallible winners of the game.

The Electric Kool Aid Acid Test by Tom Wolfe is an examination of a youthful, if not young, attempt to supplant an older system, which one could say was a partial victory that created some change but in the end was as far from the original conception as the Catholic Church was from what Jesus preached. 

Both works are worth reading for more than that idea. Both have passages that would be considered politically incorrect now, but any perspective from a writer who has the ability to stand outside of the box and describe what's going on inside is worth reading and learning from.

...the rise and fall...

Perhaps the real common thread with the London and Wolfe's stories isn't the struggle between young and old, but about the age old cycle of creation and decay.

It's a cycle that's going to be present in the Al and Ivy book, and in The Quitters.

Author Michael Crichton noted this in "Eaters Of The Dead," not to mention Wolfe and others, that this process isn't one big discreet cycle that goes on to the next like history books tend to imply, but of many that run concurrently. When the Model T Ford car began to appear on roadways, there were still plenty of horse drawn vehicles still in use. One cycle was just beginning, another was still in it's prime.

A smaller example in 1977 was in fashion; punks wore straight leg pants when flared bell bottoms were still in vogue.



...a tapestry of colors...

In the The Quitters serial, you'll see this same tapestry of cycles unfolding; 60s music had become big business with all of the usual corruption, but musicians also found a multitude of opportunities in the expanded genres like metal, disco, and punk. 

That is, if you could change with the times. I saw all this in the Mabuhay Gardens. There wasn't this monochrome picture of punks with spiked hair. The crowd clearly had a mix of punks, tourists, leather and stud types, Surfers, cross dressers and trans (mostly from the Finnochio's scene across the street but SF had plenty all over), all manner of eccentrics, and those still living in, or in the process of transitioning out of the 60s.

...the early days...

The early chapters of The Quitters unfold over a single night, but by the end you should have a nice picture of the SF punk scene (as opposed to a long descriptive narrative more suitable for a history book).

As the book progresses, you'll see that what happened in the club (actually a restaurant) was part of the teeming nightlife and endless cycles of change in San Francisco. In fact, many of the current residents will barely recognize what The City was like back then.

The episodes are set in the SF Punk scene, but about music and the business as a whole. The motivations of the musicians there, and the fans, were no different than any other genre. There'll be some change when the scene shifts to Southern California, and it's obvious that there's some parochial attitude due to geography and lifestyle. 

Any author has to serve truth, so the picture I'm going to paint will have to be complete, warts and all, with both saints and sinners. Otherwise it won't be a human story, just more myth making, which really just serves the business end, and gives no insight as to why over 40 years later, the music created back then still survives and is loved by fans of that era.





...Electric Fog details and preview...

The first nine chapters (called episodes) of my serial novel, "The Quitters" are now live on Amazon Vella.

The basic format of this serial, which are called episodes on the site, are short chapters of about 1000 words each. After some experimentation, it seemed that was the ideal length for an episode, and a good way to view the story is to see it as a weekly situation comedy or drama, but with a read time of 5-10 minutes each. I'll adjust the length depending on how readers respond. The site doesn't record how many people read it (except on the author's dashboard), so the only actual visible stats are follows and "thumbs up," with the latter appearing to be the most important in terms of public perception.

Feedback is important on the Vella platform (all of Amazon actually), so any "thumbs up" will be deeply appreciated.

The primary category is humor, since it is a satire, so I wasn't bound by genre conventions like in mystery or romance stories, but the type of humor in this story will have to find it's audience, though I can say, if you like the On The Road With Al And Ivy blog and understand it's humor, you'll like The Quitters. As far as a second category, it could fall into historical fiction, LGBT, or even adventure, but I'm going to rotate that around or not bother with it until I get a feel for what those categories mean in the Vella site. Those terms can mean different things depending on the audience.

The paid chapters start at the fourth, though Vella gives new readers 200 free tokens, which would take you well past halfway through the book. 

Which is fine with me, my main concern is audience and not trying to profit so soon. A book about Punk Rock will be a slow burn, but readers will find that it's a story with real depth and insight about the era. The book will also cover 60s music, folk, jazz, 70s Rock, and events culminate at the now famous Sex Pistols concert at Winterland, which was both the apex, death, and rebirth of the Punk movement.

...all about fun...

I should note that the tone will be lighthearted, as I enjoyed my time as a Punk Rocker. Many of the facets of the scene were ripe for satire and parody, and since this is a humorous book, I've taken every opportunity to do so, but the main goal is entertainment.

Although the book will be set in the SF Punk scene, it's also a story with real characters and intended to relate to anyone who enjoys music or has artistic ambitions. The characters are not going to be cardboard caricatures or lampoons, and represent a wide range of personalities. You're going to see a lot of the characters change or develop more depth as the book progresses. 

...some details about the band...

The main character is Nym, the bass player, who is the youngest member. Nym's personality will appear to be a mix of naïveté and optimism, which will be tested as events develop, and there's the prospect of cynicism developing as the real world begins to intrude. How and if that optimism survives in the face of adversity will be a central theme of the book.

The drummer is Hydie, who reminds Nym of an older sister, Ida, who is part of a theatre group, and in many ways is the defacto leader. She lives in Santa Cruz (California) with her girlfriend, who in 2022 would be referred to as her partner, 

and represents both the female experience in the early punk days, and provide some insight why the beach community there became a haven for lesbian culture. There were a lot of gays in the punk scene, so her character isn't just an attempt to add diversity. 

The titular leader is Roder, along with his pal, Quill, who are hard core surfers from the Santa Cruz scene. They are geniuses at self promotion, but whose singing talents fall considerably short. Both will provide a glimpse into the politics of the punk scene in San Francisco, and of the insular, but fascinating surf scene in California. Surfers were early fans and sympathizers of punk music.

The new lead guitarist is Jem, a hippie still sort of stuck in the 60s, but with the era's best qualities as readers will realize in the later chapters. He starts off looking like a real hippy dippy type, and seemingly lost in the charged atmosphere of the punk club, but his reasons for leaving 60s style rock will reasonate with anyone who's ever had to choose between growth and staying in a comfort zone. Through him, you'll see both the light and dark side of the 60s counterculture.

The first three chapters are free and can be read via the links below. Also, here's a small sample of the first episode:




The Quitters by Al Handa


A fun, entertaining story about a musician in the 1977 Punk Scene in San Francisco, loosely based on the author's experiences in the now legendary Mabuhay Gardens. The episodes will also reveal that many of the performers and fans were LGBT, Surfers, and from fringe subcultures, who all lived in a city that few residents in 2022 would recognize.

You're invited to treat the story as righteous truth or considerably less, but please do be entertained and thrilled as the events unfold here.

EPISODE ONE: Our Fifteen Minutes Of Fame Begins

Wednesday evening at the Buhay Gardens, I’m standing off the left of the stage with the rest of the band, waiting for Marley, the promoter of the punk shows, to arrive. It’s my first gig as the bass player, I had to switch over from guitar when the bassist quit last week. I’m not happy about it, but bass players are hard to find on short notice. The new guitarist, a long haired hippie guy named Jem, rehearsed with us for the first time yesterday.

Marley, a short guy who dresses like a 50s style beatnick out of North Beach, arrives and without looking to see if everyone’s here, starts talking. If you want to play here, you follow his timetable.

 He says, "No one knows yet what’s good or bad in punk, so it doesn’t matter if the crowd cheers or boos, as long as there’s a strong reaction, and when your time’s up, the sound crew cuts the power, so don’t get cute and try to steal minutes from the next band." 

 He starts to jump onto the stage, but turns and adds, "A little advice, I don't know what you all want out of  this, but whatever it is, the only thing that matters is you have 15 minutes to convince me to bring you back. Your future isn't in someday wanna be a star La La Land, it’s today, so be what you hope to become, right now."

 Marly walks over to the mike to announce our group. My makeup's melting under the hot stage lights. It’s dripping into my eyes, so I wipe it off with my ripped tee. No new face I guess, but it’s OK, I'm still me even if the mask comes off. We don’t take our eyes off him, because the clock starts when he steps off.

 Without asking for the crowd’s attention, he goes into his monologue,

 “Welcome to the Buhay Gardens, San Francisco’s premier punk showcase! The first band tonight are the Quitters, it’s their first gig,” he smirks and pauses for the mosh pit regulars to begin heckling. After a few seconds to let the catcalls bloom into fuck you city, he adds, “The set runs exactly 15 minutes, which may be all the fame they deserve, so you poseurs who want to form a punk band, this handle might be available tomorrow. Help them live up to their lame name! The Quitters!”

End of excerpt...click link below to continue (for free of course)


The Electric Fog Factory.

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 2022.




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, December 28, 2021

On The Road With Al and Ivy: Special Announcement For December!

This is a special preview edition of the blog, there'll be a regular entry coming in the first week of January 2022 with all of the usual features plus more related items about the book.

The first nine chapters (called episodes) of my serial novel, "The Quitters" are now live on Amazon Vella.

The basic format of this serial, which are called episodes on the site, are short chapters of about 1000 words each. After some experimentation, it seemed that was the ideal length for an episode, and a good way to view the story is to see it as a weekly situation comedy or drama, but with a read time of 5-10 minutes each. I'll adjust the length depending on how readers respond. The site doesn't record how many people read it (except on the author's dashboard), so the only actual visible stats are follows and "thumbs up," with the latter appearing to be the most important in terms of public perception.

The primary category is humor, since it is a satire, so I wasn't bound by genre conventions like in mystery or romance stories, but the type of humor in this story will have to find it's audience, though I can say, if you like the On The Road With Al And Ivy blog and understand it's humor, you'll like The Quitters. As far as a second category, it could fall into historical fiction, LGBT, or even adventure, but I'm going to rotate that around or even not bother with it until I get a feel for what those categories mean in the Vella site. Those terms can mean different things depending on the audience.

I should note that the tone will be lighthearted and fun, as I enjoyed my time spent as a Punk Rocker. Many of the facets of the scene were ripe for satire and parody, and since this is a humorous book, I've taken every opportunity to do so, but the main goal is entertainment.

Although the book will be set in the SF Punk scene (and later on in Southern California), it's also a story with real characters and intended to relate to anyone who enjoys music or has artistic ambitions. The characters are not going to be cardboard caricatures or lampoons, and represent a wide range of personalities. 

The main character, a bassist called Nym, is young and still open to experience. Nym's personality will appear to be a mix of naïveté and optimism, which will be tested as events develop, and there's the prospect of cynicism around the corner as the real world begins to intrude. How that optimism survives in the face of adversity will be a central theme of the book.

The drummer is Hydie, who reminds Nym of an older sister, Ida, who is part of a theatre group, and in many ways is the defacto leader of the group. She lives in Santa Cruz (California) with her girlfriend, who would in 2022 be referred as her partner, and will represent both the female experience in the early punk days, and provide some insight why the beach community there became a haven for lesbian culture.

The titular leader is Roder, along with his pal, Quill, who are also hard core surfers from the Santa Cruz scene, who are geniuses at self promotion, but whose singing talents fall considerably short. Both will provide a glimpse into the politics of the punk scene in San Francisco, and of the insular, but fascinating surf scene in California. Surfers were early fans and sympathizers of punk music.

The new lead guitarist is Jem, a hippie still sort of stuck in the 60s, but with its best qualities as readers will realize in the later chapters. He starts off looking like a real hippy dippy type, and seemingly lost in the charged atmosphere of the punk club, but his reasons for leaving 60s style rock will reasonate with anyone who's ever had to choose between growth and staying in a comfort zone.

The first three chapters were uploaded ahead of the start date to make sure there were no problems. It went smoothly, so I figure this is as good a time as any to announce the book going live. 

Feedback is important on the Vella platform (all of Amazon actually), so any "thumbs up" will be deeply appreciated.

The paid chapters start at the fourth, though Vella gives new readers 200 free tokens, which would take you well past halfway through the book. Which is fine with me, my main concern is audience and not trying to profit so soon. A book about Punk Rock will be a slow burn, but readers will find that it's a story with real depth and insight about the era. The book will also cover 60s music, folk, jazz, 70s Rock, and events culminate at the now famous Sex Pistols concert at Winterland, which was both the apex, death, and rebirth of the Punk movement.

The first three chapters are free and can be read via the links below. Also, a small sample of the work is below the cover picture:





End of excerpt...click link below to continue (for free of course)
The Electric Fog Factory.

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 2022.




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.

The Electric Fog Factory.

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 2022.




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.


EPISODE ONE: Our Fifteen Minutes Of Fame Begins

Wednesday evening at the Buhay Gardens, I’m standing off the left of the stage with the rest of the band, waiting for Marley, the promoter of the punk shows, to arrive. It’s my first gig as the bass player, I had to switch over 
from guitar when the bassist quit last week. I’m not happy about it, but bass players are hard to find on short notice. The new guitarist, a long haired hippie guy named Jem, rehearsed with us for the first time yesterday.

Marley, a short guy who dresses like a 50s style beatnick out of North Beach, arrives and without looking to see if everyone’s here, starts talking. If you want to play here, you follow his timetable.

 He says, "No one knows yet what’s good or bad in punk, so it doesn’t matter if the crowd cheers or boos, as long as there’s a strong reaction, and when your time’s up, the sound crew cuts the power, so don’t get cute and try to steal minutes from the next band." 

 He starts to jump onto the stage, but turns and adds, "A little advice, I don't know what you all want out of  this, but whatever it is, the only thing that matters is you have 15 minutes to convince me to bring you back. Your future isn't in someday wanna be a star La La Land, it’s today, so be what you hope to become, right now."

 Marly walks over to the mike to announce our group. My makeup's melting under the hot stage lights. It’s dripping into my eyes, so I wipe it off with my ripped tee. No new face I guess, but it’s OK, I'm still me even if the mask comes off. We don’t take our eyes off him, because the clock starts when he steps off.

 Without asking for the crowd’s attention, he goes into his monologue,

 “Welcome to the Buhay Gardens, San Francisco’s premier punk showcase! The first band tonight are the Quitters, it’s their first gig,” he smirks and pauses for the mosh pit regulars to begin heckling. After a few seconds to let the catcalls bloom into fuck you city, he adds, “The set runs exactly 15 minutes, which may be all the fame they deserve, so you poseurs who want to form a punk band, this handle might be available tomorrow. Help them live up to their lame name! The Quitters!”

End of excerpt...click link below to continue (for free of course)

https://www.amazon.com/kindle-vella/episode/B09PC1XQKB?ref_=d6k_applink_bb_dls

Electric Fog FactoryElectric Fog Factory

Tuesday, December 7, 2021

On The Road With Al and Ivy: A Literary Homeless Chronicle - Dec. 2021




"You may well ask me such things, that to some I shall answer truly, and to others I shall not." And she added, "If you were well informed about me, you would wish me to be out of your hands. I have done nothing except by revelation."

- Jeanne D'Arc (The Trial of Jeanne D'Arc, trans. by W.P. Barrett)

The historical origins of music aren't clear. However, the internet, which is never at a loss for words, provides a wealth of competing theories, which as a matter of fairness, will be listed without comment, though I'll omit the purported dates so we won't have to remember anything.

The various wellsprings of song include:

Lyre accompaniment to Greek poetry recitals, accompaniment to seasonal and fertility rites, celebrating a successful harvest, bird songs that inspired the Flintstones and Barney Rubble to explore their inner fem, tribal drummers playing long boring solos so people started adding vocals, aliens giving ancient Egyptians another nudge towards higher civilization after Cleopatra complained that the pyramids could be built by any peasant with Legos, artists trying to make money without working in fields or factories (the quest continues to this day), marching bands needing gigs in between wars of conquest, promoters trying to spice up monotonous gladiator shows, Johann Sebastian Bach needing something to do when not having sex with every woman that came within 10 feet of him, desperate attempts to make mimes less irritating by adding soundtrack music, trying to inspire people to buy more stuff for Christmas, and the release of the Beatles Sgt. Pepper album. [citation needed, some experts claim that modern music started with the release of Lady Gaga's Born This Way single]

...the dawn of professional musicians...

The search for the origins of professional music isn't so elusive. It dates back to the early period when people began to congregate into villages similar to modern day social networks like Facebook and Twitter, with the resulting array of social behavior ranging from a global love of cats to the intense hatred of people one hardly knows, and of course the practice of "unfriending," though back then it was called exile, banishment, or witch trials. 

The earliest known reference to musicians who no longer performed useful daily tasks, such as food production, defense of the village, or crafting implements, appears to come from Sumerian clay cuneiform fragments that experts estimate were written around 234,456 B.C. and are from the second chapter of The Lost Gospels Of Murgatroyd, page ten, paragraph 14, and translated by the Shitzu U scholar Ivy Shitz in 1946, which reads:
 
"I travers'd the iniquities of the world during harvest,
I lay in sweet repose, hidden from dutys of the plow,
 to find succor in bless'd sleep and escape
the devilish rancor of fellows resenting mine sloth,
and in dream comes heav'nly visions of undiminisht light,
severe in lustre, full of bestial harlots, casual in vertue,
with wanton amours, rivers of Mead,
and wings to fly from all werk,
to enjoy the love of a fawn'g mosh pit multitude.
Then the guiltie Serpent appears, and so sayeth,
to sate thy rockn'rola appetites, becometh a musician,
and be deliver'd from judgement, whether in Heav'n or Hell,
and attain the ease thee seeks."
 
It should be noted that some Internet sleuths claim that the verses appear to be a clumsy transposition of Middle English with phrases inaccurately lifted from texts by Bunyan and Milton, and furthermore, the clay fragments appear to be actually part of a broken Hello Kitty ashtray that was discovered in the clearance section of a Chicago dollar store, and the date on the price tag indicates the date of manufacture is 1982. Said experts add that the purported cuneiforms are just brush texture marks from a cheap paint job intended to keep the price of the item at a dollar.
 
Since we're all familiar with the inaccuracy of internet data, these so-called corrections can be dismissed as fake news, and the transcription can be assumed to be as accurate as a modern day bio of a rock star or Hollywood actor, well within Internet standards of veracity.

...godfathers of punk...
 
It was probably around this time that Godfathers of Punk appeared, though most Internet accounts vary depending on which Record Label press release is the source document. Because of the vast and confusing body of data on the subject, it’s best to leave the subject a matter of personal conviction between each person and their streaming playlists.
 
…before we go into the history of punk rock…
 
In attempting to present the reader with an accurate history of a music genre, we have to address the fact that artists will say anything to get people to buy albums.The temptation to lie like a dog isn't exclusively a musical vice. Politicians routinely issue outrageous statements with no appearance of embarrassment or shame, and certainly in America, such elastic standards of truth are considered justified if the goal is to get super rich. 

As such, I'll assume all musical sources are true unless proven otherwise. Also, I won't bother with dates or names so no one has to remember anything.
 
The music industry never made any secret of the fact that they were in the entertainment business until the 60s, when the young rebels of rock and roll rejected the shallow values of money grubbing, reliance on top 40 singles, embraced the importance of relevance and social consciousness, and explored the deeper artistic aims and profit margins that could be achieved through the broader canvas of the long playing album.
 
The major labels were certainly taken aback at first, but came to Jesus very quickly; after all, the higher markup on albums made revolution, peace, and love a win-win for all, and figured that once these rebellious crusaders became rich, they'd see the light and get serious about extracting every possible revenue stream from their adoring fans.
 
Which is how it pretty much stayed through the CD era, as artists and labels kept prices up by increasing the content of new releases to 50-60 minutes, even if that meant consumers had to buy the whole package to get the song or songs they actually wanted. Sure, singles were still released, but were priced well above that of old school 45s.

...the turning point...
 
The turning point in the United States was the development of what was known as the “concept album,” which in theory meant the songs were part of some really deep theme, man, or in the case of one famous example, The Who’s “Tommy,” told a story that had a lot of deep meaning and significance. Like with Tommy, the story could be so awesome that it was necessary to issue the work as a double album, which not only allowed the plot to fully develop, but increased the take. Like sand in a bikini bottom, art and business always finds a way.
 
That was when the United States and England began to diverge (again); while the Yanks moved towards albums, the British artists, as a general rule, still thought in terms of releasing singles first for an audience that wanted the songs heard on the radio, then following up with albums. Even progressive rock groups, who specialized in long, complicated songs, made sure to release airplay friendly singles.
 
The point was, you released 45s to get airplay, and made your money doing live performances. Of course, it’s more complicated than that, but good enough for the purposes of this blog entry.
 
…singles and LPs…

That’s why punk rock developed differently than in America, and without the English rockers, the music could have just ended up being a cult or critic’s band type genre. There, most of the radio airplay, which was critical to success, centered on the BBC and pirate stations. That made it easier to break one’s music, and all a band needed was a single (or even a tape with the pirate stations). I’m simplifying, of course, but across the Atlantic pond, a band or artist didn’t necessarily need to record an album or even get signed to get attention from the music media.
 
In other words, the British music culture never abandoned the single, which in America had receded in influence during the 60s. That’s an important difference, because how the punk genre developed in England influenced it’s American counterpart.
 
Singles were always the primary form of promo, and given the most studio time. A group might spend a couple of hours recording the single, and be given just one more to record the rest of the album. The single, at least the "A Side," represented the artist's best effort to sell music to the public. American groups in the 60s eventually started recording albums first, then selecting cuts from it to be singles. This practice would be reinforced by Rock mags that'd mainly review the LPs as a unit, unlike English pubs that would have celebrities commenting on the latest singles as well.
 
 In England, even groups like the Beatles would release singles first, then later include those on an album, or in the case of songs like "Rain," or "Hey Jude," those would end up on a later compilation album. Singles  would often be left off of a U.K. album because it was seen as making the public pay for the song twice. There's a lot of other reasons and exceptions, of course, but as a generality, that's basically how the two cultures approached singles.
 
…the beauty…
 
The beauty of a single is that the consumer generally knows it from radio airplay, wants the song and can buy it. The lower cost also encourages people to take a chance on a new group. Until the advent of streaming, the main choice the labels offered was to buy a set of songs, most unheard, and unlike most other products, there was no money back guarantee. In the CD era, new releases were almost always near the one hour range to keep the price up, which taxed the abilities of more than one group to fill with killer cuts. Most consumers have experienced the joy of buying an album and only liking some of the cuts, but as with products like phone-based customer service and autocorrect, the consumer has learned to eat poop and like it.
 
There were always singles, of course, but the CD versions were more expensive than vinyl 45s, and never really caught on. Labels (and artists with big expenses) had no incentive to give consumers just the songs they wanted. Which, incidentally, is the reason why the industry hated cassette decks that could tape songs off the radio. Most consumers won't buy albums if they can get the actual song they want (for free or otherwise).
 
…indies…
 
Indie artists have always put out albums, of course, but after going through the expense and labor of putting one out, they ran into the dirty little secret of the music business, and the major labels had the same problem, which was that distributors hold most of the power, both in distribution and payment. More than one indie label in the 50s and 60s went under when the distributor screwed them out of their money.
 
That's why Walmart, the biggest retail seller, can require an otherwise rebellious artist to put out a PG rated version of an album (in America, revolution is all about saying a lot of dirty words). You can be a rebel, if you don't mind losing millions in sales. Most end up choosing compromise, which is the American Way, and most fans will understand the deep angst involved. [citation needed on the last sentence, I'm just assuming consumers think like Record execs and millionaire artists]



…very early punk…
 
By the late 70s, a new band in the US that wanted to make the big time faced many obstacles besides fighting oppression by The Man and achieving world peace. There was the expense of "pro level" instruments and equipment, and being told that labels required quality demos that could cost thousands of dollars to record. Then the tape was submitted to the labels, who would only choose a few from the thousands submitted. If you were lucky, one of the label A&R men might discover you, but most had to submit demos.
 
If you got signed, your advance was generally a loan against royalties, and if the record flopped (or didn't make the money back), as most did, then you either played what they told you to try and make the money back, or they owned your publishing.
 
…you can make it…
 
An artist could break through on a regional level, mainly through live performance, but their ability to make money from recording was limited by the ferociously corrupt music media and of course, being at the mercy of distributors who might not even bother to pick up a product that wouldn't sell the minimum number of copies required to make the kind of profit that was considered worth the trouble.
 
There was one exception, where a new sound or culture would arise in some city or region that the industry couldn't ignore, like the psychedelic bands in San Francisco, or the beat groups in England, but that wasn't always a given. A scene in Boston got a lot of hype in the 60s, for example, but not much came of it.
 
Keep in mind, I'm moving very quickly. For a deeper understanding of music history, a search on Google can unearth a lot of interesting and fun detail to flesh out my narrative or confirm my ignorance. Either way, please follow your heart, or whatever your spirit animal tells you to do.
 
…Back to England...
 
Just before the English Punk explosion in the 70s, there was a popular club level music called Pub Rock, which was essentially sped up R&B and 60s rock, which spawned groups such as Dr. Feelgood and Brinsley Schwartz, and was headed in the same direction of the NYC scene that featured groups like the Ramones and Patti Smith, that is to say, cult status fortified by support by friends who were mostly Rock critics.
 
However, two things happened, both in England and in America.
 
The Pub Rock movement became a scene where many of the future punk stars got their start. One example was Joe Strummer, a founding member of the Clash who was in a group called the "101'ers" and another being Nick Lowe who was a member of Brindley Schwartz, who became a solo artist and producer for the influential Stiff label (Elvis Costello, etc).
 
In the states, an English manager/promoter named Malcom McLaren had failed to make a group called the New York Dolls into big stars, and went back to England and tried again with a group called The Sex Pistols. From this point on, the events are historical and well documented on the internet and worth further study. I could delineate it all here, but I do need to start getting to the actual point of this essay. My duty to truth demands it.
 
…getting the breaks…
 
What broke punk wide open wasn't massive record sales, but the Sex Pistols managing to capture both the imagination of a subculture of young people looking for something new, and generating an epic amount of negative publicity that, as usual in such cases, had the effect of raising their profile to the international level. That made people talk about punk, and even the mainstream media began looking around for punk bands to cover.
 
The crowning glories were that their single, Anarchy In The U.K., was banned from the BBC, and causing an national uproar when they responded to an interviewer's challenge to say obscenities on TV and thus finding it almost impossible to find places to play in the ensuing uproar. Which of course had the effect of putting punk on the map. Not many artists can say that a whole country hated their guts, though a great many try to achieve that (though not too hard of course, just enough to sell records).
 
The Pistols had one other big effect on the scene; the audiences that came to the early Sex Pistol gigs included fans like Joe Strummer and Billy Idol, and bands like the Buzzcocks were formed by those fans who often hadn’t played in a band before or could even play instruments. It was a similar situation to the early 60s rock scene there.
 
…basic currency…
 
The currency of punk was the single. Groups that the industry wouldn't touch put out singles which were eagerly played on the pirate stations there.The basic aesthetic was; if you wanted to play, then form a band and just do it. Put out a single if you were capable of creating a song, don't wait till some label found you. That resulted in the recording of a lot of music that varied in quality, much like today’s digital age, but the lack of gatekeepers and perceived expense made the music game accessible to a lot of young people, who took advantage.
 
The emphasis on live performance also gave fans an on opportunity to see bands up close, which wasn't unique of course, but in America, music had evolved too much into American Dream territory, to make it big and play big gigs for lots of money. It was all about stars and audiences buying albums and watching them in big halls and stadiums (or in disco, dispensing with musicians and just playing records).
 
It goes without saying that punk eventually ended up there too, but young people really do prefer to see and hear music from their own generation, so each wave has to rise and fall so the next get their turn.
That's a very broad stroke, but essentially the truth. Like I said in the October blog, if it wasn't punk, it'd have been something else.
 
The whole punk thing created an opening for a new generation of musicians, and that's why the Pistols are such a big symbol in the upcoming serial novel. Musicians have played in clubs and bars forever, but only at certain times did they feel that it was part of something bigger and could play their own songs and music.
 
…other examples…
 
Other periods that were similar included early Delta Blues, 50s Chicago Blues and Rock and roll, Doo-Wop, Early Rap, Bop, and free jazz, to name a few. Artists that were playing something new, and important enough that the money wasn't always the point. It was something they loved enough to do for free, which was often necessary because of the often low or non-existent pay they had to accept to play.
 
Many of the people reading this blog will understand that sensibility; writing indie books, doing crafts, hobbies, or playing/recording music has to be from love as the financial rewards aren't often there. Most of the bands who played punk didn't earn much, but got the chance to feel like part of something bigger, and like the feeling an indie author gets when he or she publishes a book, there's a feeling that they've beaten the odds and did something not everybody could do.
 
That was Punk's biggest contribution; it helped reset the cycle (in rock) and made the starting line open to anybody again. In the pre-digital era, that was no small thing.
 
…important and influential punk artists and groups…
 
As far as a list of important punk artists, that’s something the reader can find in abundance on the internet. The lists can vary, depending on the compiler’s tastes, or agenda, but most are sources of many hours of rewarding exploration, listening pleasure, argument, and judgements as to the level of intelligence or taste in other cretins and philistines who don't get it.
 
What I can do, though, is list the groups that were important to me and other punk rockers at the time. What was heard in the Mabuhay, both on stage and over the PA system during breaks, and talked about by artists there were often different than described in articles about the music.
 
For example, the San Francisco rock scene that started in the 60s was still vibrant in 1977, yet the Mabuhay never played anything by the Jefferson Airplane or other psychedelic groups. There were writers at the time that asserted that many of those now legendary groups were Godfathers of Punk, but in reality, it was sort of true, and sort of not.

...record collection...
 
As an avid record collector, for example, I had every Airplane, Hot Tuna, and Grateful Dead album, but had no desire to hear that stuff in the club, or even thought of them as musical heroes or influences there. The names that meant something included The Sex Pistols, Clash, Wire, Generation X, Ramones, Patti Smith, Television, Iggy Pop, The Stooges, to name a few, and in terms of 60s groups, one heard talk about the Kinks, Stones or even Captain Beefheart rather than the Beatles or Beach Boys.
 
There wasn’t a consensus either; there were punk artists that thought this or that group was “too pop,” and most of the mainstream attempts to incorporate punk were laughed at, particularly the ones who did it to prove they were the original punks. I won’t name examples of the latter, but will quote Lenny Bruce who said, “there’s nothing sadder than an aging hipster.”


THE SERIAL NOVEL, "THE QUITTERS" BY AL HANDA, THE FIRST CHAPTER DEBUTS IN FIRST WEEK OF JANUARY 2022, MORE DETAILS TO COME LATER THIS MONTH!

…which brings us too…
 
Which brings us to a preview of the upcoming serial novel, "The Quitters." (maybe it's actually a non-sequitur transition but its getting around time for this blog entry to wrap it up...).
 
The main objective is to convey some of the energy and feeling of the era, and to avoid the clichés that have become part of the Punk Rock ethos in print and popular media (unless it helps the story). The general mythology is that it was this spontaneous, ribald, and angry trip, and to some extent that was true, but a lot of it was pretty much like the Buddy Holly movie, just a bunch of young musicians who just wanted to play new music and maybe become successful (but as a novelist dedicated to making it real, man, some mythology may be inserted to inflate the importance of my characters).

...the beaten path...
 
My path to punk music started in the various new and used record stores that I frequented. The best ones carried a wide range of music publications, and I read every one I could afford (and loitered in the store and read at the rack when I couldn’t). Like most who ended up liking punk, I was getting bored with what was in vogue at the time; well dressed disco dancers in platform shoes, really really really long power ballads by guys in spandex, and the mellow singer-songwriter thing. It was all getting a bit old by 1977.
  
What I saw in those music magazines, particularly the ones from England, were accounts of new punk groups, which of course made me seek out or special order the records. For example, the first single I bought was by the Sex Pistols, and the first album was the first Clash release, both only available as an import at the time. I was fascinated by articles about New York's punk scene, which was centered in clubs like CBGB’s and began to buy albums by the Ramones, etc.
 
The album that really knocked me out was Television’s “Marquee Moon,” which wasn’t punk the way the Ramones or Pistols did it, but was intense, different, and displayed incredible musicianship. In fact, Johnny Rotten of the Pistols was on record as hating the group because it reminded him of the Grateful Dead, but later groups like R.E.M. and U2 cite them as an influence. In my case, the album showed that punk was a sensibility, not a style, and open to new ideas and influences.

...one problem though...
 
The main problem was that I lived in the SF South Bay area, and didn’t know anyone else who liked punk until I ran into an old friend who was thinking of forming a band that would play atonal blues punk, influenced by Captain Beefheart and Frank Zappa. I immediately signed on as the guitarist (not that I was that good, but I was the only one he found who was willing to play punk). I was also the youngest member until later on, though relatively old for a punk rocker at age 23.
 
Which is one of the key points of the novel, which is the main character is the youngest member, and has a different outlook on what transpires, though in keeping with the fictional aspect, the music played will be quite different from what my band did.

The main character is Nym, who's quite young , and at the start of the book has just switched over to bass after being the guitar player for a couple of months. The leader is an uncomplicated surfer type named Roder who lives in Santa Cruz, California, who shares vocal duties with his friend, Quill, whose actual ambition is to be a stand-up comic. The guitar spot is held by a succession of players who come and go, and the drummer is Hydie, who has an odd link to Roder, and gradually becomes a mentor to Nym by chapter five.

This big sister-little sister relationship will continue when the scene shifts to Southern California and Nym begins playing in the surf-punk and paisley underground scenes.

...technical terms...

I’ll avoid technical terms as much as possible. The main reason is the classic stand-up comic adage, that if the house band is laughing, you’re in trouble because the routine is too in-crowdish. Some musicians who read my book might roll their eyes at how some of the passages read, but the point is to get the average reader to understand what's happening on stage in layman terms, and have a clear picture of what’s going on from a point of view they haven’t seen before.
 
Also, like said earlier, I want to convey some of the energy of the time and music, and the best way (in my opinion) is to do it in first person, and in more or less in real time. That’ll also include interior dialogue, which does occur even when playing at extremely loud volume.
 
Because the narrative will run in real time, certain details like songs will seem to be passed over or given short shrift. However, loud two minute songs at max speed have different effects on the musician’s mind, depending on what’s going on around him or her. One number might feel like it comes and goes quickly, but others will feel like it’s goes on for a long time. 

...standard line...

The standard mythology is that an artist feels the most alive and spiritual on stage, but really, the feelings can be all over the map, and that's why you have the occasional musician who berates the audience or even walks off the stage. It's a business that requires the work and cooperation of a lot of people even at the club level, and subject to human frailty and emotion.
 
Movies about music have one main difference from real life; the soundtrack makes it seem like the musicians hear the same thing the audience does, but there were gig’s where I could only hear myself, or one of the members of the band played played their part wrong and the sound became a jumbled mess that we all had to find our way out of, which needs to happen fast in a two minute song. Luckily, as you’ll find out as the novel progresses, music played at max volume can hide a lot of mistakes in real time (which in live albums are generally fixed in the studio later).

...one final thing...

One final detail; the first person viewpoint will shift on some of the chapters, much like the Japanese classic book and film, "Rashomon." One reason is that I feel traditional exposition would slow the pace of the narrative. I'd like the reader to feel like they've just stepped into the flow and find out more about the characters through their actions, thoughts and words rather then being told in descriptive third person passages. Shifting the narrative view makes the process easier, and I think more natural.

I’m not going to describe events with hindsight. The characters are all young, and my view of what happened then differs from how I see it now. That means, for example, that attitudes towards the elder statesmen of rock and roll might seem uninformed or disrespectful, but in retrospect, not necessarily wrong. Punk rock did get trash talked, particularly in the early days, and the story will be more interesting if it reflects the times rather than attempt to present some sort of adult perspective (which, let’s face it, would make for a boring book).
 
It’s important to note that the book is going to be a satire, a humorous work, and one of the inspirations is Junichiro Tanizaki’s book, “The Secret History Of The Lord Mushashi.” What Tanizaki did was take the respectful Confucian style of historical novels and reverse the sensibility, so that all of the petty and scandalous things that were normally left out were put back in, and exaggerated in lurid detail. A cynic might suggest this is already the norm in modern biographies, but that’s only partly true. Most bios are tightly controlled by publisher legal departments and concessions agreed to in exchange for access to the subject.

...other influences...
 
Other inspirations are Soeseki’s “I Am A Cat,” a popular smarty pants serial in Japan that ended up running three volumes, Robert Graves’ “I, Claudius,” Charles Dickens’ “Pickwick Club,” Arthur Conan Doyles’ “Sir Nigel,” Tom Wolfe’s essays, and Mad Magazine in the 60s. I’m sure writers can come up with modern equivalents, but I’m just listing what my own influences are.
 
Another influence permeates the book. A while back, the artist Todd Rundgren said in an interview that rock critics needed to be the same age as the artists. The reason is older critics often become cynical and jaded over time, and forget that each generation rediscovers rock and roll, and that it feels new and exciting to them. Also, music does change, and that the influences often aren’t what an older person might assume.
 
So when I say that the book will reflect what the punks felt and thought back then, that’s what I’ll try to keep in mind. Back then, it all felt exciting, and while later on, yes, it did become all business once money came into the picture, that hadn’t happened yet.

There was only one punk club (that survived for any length) in SF at the time. Nobody was getting rich, or knew where the music was heading or even what was good, but we wanted to give it a try and find out. That's a feeling everyone should have at any age.

- 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.




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.