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

"And as you learn the magic, learn to believe it. Don't be 'surprised' when it works, you undercut your power."

- Diane di Prima (Revolutionary Letter #46 - 1968)

The earliest known incident that referenced the Code Of Chivalry was recorded on a copper leaf fragment from the Lost Gospel Of Murgatroyd. Internet experts have estimated the date of origin to be 11,000,987 B.C. in Ancient Sumeria, and it was unearthed in 1998 by an treasure hunter using a metal detector on the Chicago side of Lake Michigan. 

Some critics assert that the fragment is actually a piece of a copper bracelet featured on a TV shopping channel that was claimed to have a therapeutic effect on carpal injuries suffered while attempting to complete online customer service forms.

The treasure hunter posted the discovery on social media, which have stringent policies in place to combat fraudulent claims thus the Sumerian origin of the fragment can be considered authentic by normal Internet standards of accuracy.

The fragment relates that a noble knight named Enki McDougal stabbed his opponent in the back while the referee was explaining the rules of the duel. He then commissioned an epic poem by Inanna Beethoven that described the heroic combat which lasted several hours, and of the foxy Princess who promised really hot sex to the winner.

The story was later recounted in an 18th Century chivalric romance by noted poet and plagiarist William Lyrpantsonfre called, "The Noble Quest Of Sir Bacondip" which chronicled the brave knight's arduous and dangerous journey to find the rechargeable electric drill that Jesus used as a carpenter.

...some expert testimony...

Professor Ivy of Shitzu U, who has a B.S. Degree in Speculative Internet Theory, states that "while it may seem that 18th Century writers were creating Chivalrous Mythology to differentiate European slaughter from that of Barbarian cultures like the Mongols, Huns, or French; it was in fact an attempt to motivate mankind to aspire to greater levels of ethical conduct in the exploitation and extermination of Natives, women, and men without mustaches."

Heady words indeed! It's no wonder that Chivalry mainly exists in the realm of literary arts and motion pictures and not in real life. When such ideals are brought into the temporal sphere, it would descend to the banal level of preachers who cheat on their wives, corruption of government officials, and Social Media Influencers.

...basic tenets...

The basic tenets of the romanticized version of Chivalry was utter fidelity to the King, good character, observance of the Sabbath, lifelong military service by the wealthy in wars that involved an actual risk of mutilation or death, mercy to the defeated, and respect for women.

It's not surprising then that a revival of Chivalry would be a nonstarter in the United States, though perhaps some sort of version could be worked up with no penalties for failure to live up to such lofty standards. I believe the modern term is "self-regulating."

There's similar lip service in pro sports, organized religion, politics, nutritional science, and in the financial sector, so it's doable, but it might only have a narrow utility in online war games and dating site profiles. [citation needed, lying like a dog on a dating profile might be legal in several states]

...the modern age...

It goes without saying that my description is a bit on the flippant side. 

Chivilaric concepts have survived into the modern age. The idea that two men settle a quarrel by stepping outside and having a fair fight, either with fists or in Western lore a gunfight is basically medieval trial by combat where the assumption is that God protects the righteous or the idea that a woman is under a man's protection, which goes back to ancient property law.

The percentage of medieval men who adhered to such principles is probably about the same as it would be in modern times, which is sorta kinda mostly true, more often than not, but maybe and maybe not.

Every woman who's been exploited, abused, assaulted or killed was technically under the protection of a man who would give his life to save her, or at least kick the poltroon's ass. It's not doubting the protector's love, sincerity or power to protect to say that Chivalry only works most of the time at best. It's an ideal that as with religion or ethics, men fall well short of perfection.

...White Company and Sir Nigel...

Arthur Conan Doyle wrote two books, "The White Company" (which originally ran as a serial in a magazine) and a prequel, "Sir Nigel" that were set in the Hundred Years War era.

Unlike romance novels like Sir Walter Scott's "Ivanhoe," or King Arthur and his Knights of the Round Table, Doyle's two books depict the wide gap between mythology and reality. Doyle's Knights and their peasant or mercenary infantry companies talked the talk, but often didn't walk the walk. 

Sir Nigel's White Company made no pretence of fighting for honor, even if their leader did. They intended to fight and accumulate as much loot as possible. One of the main characters, an archer named Sam Aylward, makes it clear in a recruiting pitch that booty (both kinds) was a primary reason to serve the King.

In one scene where Sir Nigel and Company go after pirates, it's made clear that no quarter was to be asked for or granted, which was actually how ancient naval warfare was fought. The losers, unless high born and could offer ransom, were thrown overboard during or after the battle. Chivalry was conditional.

I should note that one exception was in galley warfare, where the losers would often be pressed into service as rowers or sold as slaves. You've all seen the movie " Ben Hur," it's like that except only the newest slaves would have tans.

...Sir Nigel...

In The White Company, Sir Nigel is portrayed as an elderly "Don Quixote" type, always trying to pick fights but issuing challenges in language dressed up with chivalric phrases. A good parallel is old Japanese samurai movies where the ronin are constantly fighting each other to gain employment or reputation. The chivalry described here is more like "professional courtesy," and applied only to the nobility.

Doyle was certainly aware that real medieval warfare was brutal and often a business concern, but takes a middle course where the knights espouse the ideals, but describes the different reality like with Sir Nigel's obsession with finding more honor through duels.

A reader has to take into account that Doyle's intention was to entertain, so a lot of the contradictions described are definitely tongue in cheek. One running gag is that many of the characters are carrying what they think are authentic religious relics, such as a nail from the Cross, and other odds and ends that purport a connection to The Savior. All have been obviously swindled, and even Sir Nigel, the cultured and educated knight treasures his relic.

...a homage...

Both books pay homage to medieval romance literature, with what can seem like overly long descriptive passages of people (that can run over two pages in an ebook). Reminds me a lot of James Fenimore Cooper books, with lots and lots of exposition.

Arthur Conan Doyle felt that the historical novels were his best work, and whether that's true or not, each reader has to decide for him or herself. I think his best was "Micah Clarke," which had the same theme about a trio of characters who go through a great adventure but not as episodic as White Company, with funnier satiric passages than the Sir Nigel book.

However, if you like an author, why choose? They're public domain books so read 'em all. Even the most uneven, The White Company, has plenty of brilliance to enjoy and in spite of it's flaws, I've reread it several times over the years.

As one critic said about Doyle, "The man never wrote a boring word," and whether or not he was at the top of his game in every work, the man was a stone writer to the core, and always worth reading.

...book trailer now on Electric Fog Factory on YouTube!

Book Trailer for "The Quitters" by Al Handa, a Serial Novel on Kindle Vella.

The trailer geatures 60s, EDM Dub, and punk music from DJ Boogie Underground, Mark McGraw and Handa-McGraw International on YouTube.

https://t.co/I1xT4IVPuD

...desert island discs for 2016...

I mentioned in an earlier blog entry what music meant to me in 2016, when living in the car. Though it didn't "save my soul," that doesn't mean it was useless or without value. Music certainly entertained, elevated or depressed my mood, and provided some context to what was going on.

The biggest shock was that most of the time, I didn't want to hear any music at all. It was depressing to listen and the reason was mainly because I couldn't play it. I could, if I was willing to expose an easily fenced guitar, but the only thing dumber would have been to let people know you had drugs, firearms or large amounts of cash (none of which I had). You risked becoming a target. 

As it was, I was regularly cased, and there were attempts to break into my car. I let it go without calling the police because at least the thieves might spread the word that I didn't have anything worth stealing. I also avoided acting protective or secretive (except with Ivy, but nobody faulted that with a pet) for that reason. 

...in brief...

In short, playing an instrument in public wasn't a good idea. Particularly during the six weeks the car was inoperable, and couldn't leave the area. It's more complex than that, but in a nutshell, if I couldn't play, it affected my enjoyment of music. But there were times I enjoyed listening and certain songs do stand out even now so this list of "desert island music" is a good companion piece to past blog entries that talk about music.

I should note, for those who haven't read my earlier blog entries, I eventually found that the remedy for not wanting to listen to music was to write. That saved my soul.

One note about the review format. I'll mainly talk about my impression of each song, and not provide descriptions of how the songs sound. Such detail might have been useful back in the day when one had to get a physical copy of the song but these days, any that I talk about can be easily accessed through a music service or YouTube. Saves you from having to read florid streams of consciousness of how the song exemplifies the struggle to blah blah blah...

My 2016 Desert Island Discs (in no particular order).

Best Kept Secret: Case/Lang/Veirs 

This was what I called a "coffee house song," a tuneful alternative piece with a nice spunky rhythm section and strings. Which was what I first heard. It took maybe three listens before I realized it was a pop-folk piece due to the noise level in a crowded Starbucks. Although it wasn't very inspiring in the middle of a four hour hike in 90 degree weather, most flavors of coffee tasted better when this song was playing. It has staying power, and is still on my playlists and ipod.

Just Do It: Copacabana Club

A pop-funk song with killer hooks. This type of number tends to cut through crowd noise and ended up as another keeper. Like "Best Kept Secret," it's a good Summer song and it's world music flavor was an additional reason to like it.

Never Be Mine: Angel Olsen

Angel was one of the hottest Alternative artists in 2016, and this mournful paen to unrequited love was a great torch song. Her emotive voice made the song too depressing to listen to in a car at night (when that's your home). It was definitely a coffee house tune. I keep it on my playlists and ipod, though once the book is completed, I may put it to rest along with other memories of that time.

...Ipod Songs...

Once I ran out of high blood pressure medicine (and didn't realize any drug store would try to get it refilled for you), the only alternative was to exercise as much as possible. When the average temperature was 90 degrees, that meant hikes and walks rather than jogging, which for most of the distance involved carrying a 13 pound Ivy, water, and a basic backpack of around five to ten pounds.

In this case, music was essential, particularly "workout" type stuff. That meant my iPod as that didn't require a subscription. The problem with workout music is that at high volume, it can be as tiring as heat, so I'd listen for maybe a couple of miles, and then just coast the last mile or two. By that time I'd have to let Ivy walk a bit anyway, though she didn't seem to mind being carried either.

Slang (live ver.) Def Leppard

This was generally the song I started hikes with, though AC/DC's "Highway To Hell" was a close second. I was a Def Leppard fan before becoming homeless, but it was really the beat which was ideal as a pace setter.

 Fijian Sunset: Ali Campbell UB40

Summer means Reggae music is on my iPod, though this song came to my attention when reading about the split that occurred with UB40. The main singer, Ali Campbell formed his own version and this was be of the songs the new lineup recorded.

One interesting thing, and it's in my book, is that other than Dave Davies (Kinks), this group was the only celebrity act that communicated with me and used their social media accounts to help. Though it was mainly their media staff, it still helped my morale when Ali's UB40 told their fans to read my blog and contribute to my GoFundMe, and even more touching, urged me to keep playing music.

Fijian Sunset had the perfect beat for the middle of a hike, when the heat and weight started to have its effect on me.

Spin-O-Rama: The Primitives

One of my favorite 80s groups was the Primitives, and several of their cuts are still on my playlists and iPod. By 2016, they were primarily seen as former stars that still had a strong cult following. This cut was a archetype power pop song that could have been on any of their 80s albums and been considered a great song.

Lord I Want To Be A Christian In My Heart: John Fahey

John Fahey is the artist who got me into playing guitar. One of his eccentricities was that he was very anti-church, but played hymns that clearly were a big influence on his style. This was a favorite during the time I still had a guitar as it's a good "porch picking" number, that is to say, it can be played casually and still sound good. I've said that music didn't save my soul out there, but Fahey's music certainly fed it.

She Moved Through The Fair: Bert Jansch

One of the legends of folk guitar who's influenced everyone from Jimmy Page, Neil Young, to alternative artists. His fusion of folk and jazz is hard to duplicate because his timings were idiosyncratic, often moving from one idea to another as opposed to keeping a steady tempo. The most obvious reason is that his guitar was keyed to the vocal line, which like old style blues, doesn't lend itself to a pure instrumental approach. This was the Jansch song I listened to all the time back then. It's a melancholy piece that actually soothes, which is the mark of an artist who can communicate angst, but also humanity and warmth.

Vagabond Moon: Willie Nile

The 1980 live version, from the Bottom Line in NYC was a perfect song for sitting in a car at night, observing the area to make sure it was safe to sleep. It's a romantic tale set to a folk rock backing, but I pictured it as a song where Ivy and I could look out into the night and see something beautiful. It helped put the fear that was often present in my mind into the background.

Special Streamline: Booker White

Also known as Bukka White, he was one of many great blues artists from my favorite era, the 20s and 30s. The catchy hypnotic rhythm and tough slide guitar riffs sounded good during a hike. His music was created in the hard living and heat of the South, and I'm sure it lifted spirits back then as it did mine in the hot and humid days in Gilroy, Ca.

Bill Cheatham: Leo Kottke

Kottke is often mentioned in the same breath as John Fahey, as well they should. Their early albums on Takoma helped created the American version of concert guitar. Like with Fahey, I could name a couple of dozen inspirational performances, but this cut is the one I seemed to listen to the most.

Forty Years: Let's Active

A fine number from Mitch Easter, who produced those great early R.E.M. albums. It's the song I imagined myself playing the most out there, which tied in with what I thought would be treasured once the homeless period ended, which was to be able to play instruments again. I was wrong, but that was no fault of this very wistful, evocative song.

Dishy: Candypants

A very dirty but witty uptempo pop song that evokes the mid-70s Kinks sound. The album got a lot of good reviews, but was the only release by this band. I keep it on my playlists and iPod and even after my book finally comes out, I'll still be listening to it.

Fireworks Music: Handel

This piece is one of the few I mention by name in the book because it goes back to my childhood. My first instrument was the violin and once past the basic exercises, my teacher set us to learning Handel. The English master is like a musical God because for a couple of years, his baroque compositions were a major part of my musical world. For reasons I elaborate on in my book, childhood events had a large bearing on my homeless experience.

Actually, once I started this list, a bunch of others came to mind. Maybe a part two in the future...

...impressions of Vella...

"The Quitters" has been on Kindle Vella for about six weeks now, long enough for me to have some initial impressions. I won't delve too deeply into what Vella is, as the technical details can be easily looked up on the net. Although it's relatively new, there's been plenty of opinion posted on the service both good and bad, which is well worth examining.

Keep in mind that I'm talking about my own experience with Vella, and make no claims about how you should feel about it, or if it's something everyone should do.

I have to say that so far, I like the experience. Unless you have a fan base that'll follow you to Vella, it's not a place where a writer can count on getting new readers, but the site dashboard and upload features are a good environment to get used to Amazon KDP and exposing your novel.

...built-in house...

Vella doesn't seem to have much of what musicians call a "built-in house," which means an audience that comes to Vella to find new books, unlike Radish or Wattpad, which  have large followings. I personally think that it might take another year or two to reach the level of those two established services.

A new writer can get a better deal from Vella in terms of pay. If you produce regular chapters (called episodes on Vella) and have some activity, it's possible to qualify for a bonus which will easily be more than your royalty rate. The Amazon bonuses make this a good option for a new writer, and it helps morale to be paid while working on building an audience.

I read one opinion on a discussion board that dismissed that and said that Wattpad paid more, and Radish had more income potential. However, you become a paid writer by invitation on Wattstack, and Radish requires a 30 page manuscript or writing sample to even apply. That may change due to competition with Amazon, but right now, Vella is the easiest to get started on.

As far as publishing a free serial novel for exposure (like on Wattpad), that's not an option for me. If I wanted to publish free chapters for maximum exposure, I'd just include those on each blog entry, which has an average monthly visit rate of 40,000 to 50,000. Most of you reading this probably have blogs with a larger audience than what you'd get starting from scratch on a free fiction site. 

...radish...

Radish is another matter. If you study the site (always do that before any submission), and feel that your work will appeal to that audience, then it could be worth your while. The site has a definite following, and seems to have a good idea of how to promote their product. Your serial can be on both Vella and Radish, so starting off with Amazon can be a nice way to develop a story that can be accepted on the latter later on. 

The Vella interface is simple and functional. I've been able to go back and revise parts of the book and change even the title without hassle. I've seen my chapters go live within a couple of hours (though the waiting period is officially 72 hours).

Also, the format is very flexible and a book can be revised on the fly. On Feb. 16th or so, I'll be taking the original three opening chapters and compressing those into two, the current chapter four will be moved and become the new chapter three. That gives the free chapters more substance. The prevailing wisdom was to go small on the free chapters, but six weeks in, my preference is that readers get a fuller experience right away. The new alignment will provide a better balance of action and character development.

...accept no substitutes...

In the music world, there's no substitute for playing live or releasing recorded work to the public as far as developing your skills. A person can practice everyday for years, and find that the live or recording environment is very different. The first chapters in "The Quitters" deal with that, how live work differs from the practice studio.

It's the same with writing. As I write this blog entry, I'm always conscious of the fact that people will read it. After a few years of publishing it, I've had to learn to ruthlessly edit myself, to be aware of how even casual phrases and passages will read to others. There's a difference between amateur and professional level work.

If you're a new writer, and can upload up a chapter a week (or whatever you can manage), putting a serial novel on Vella is a good first professional step. Having a new book that can be seen in your Kindle should have the desired effect of keeping your mind on getting the next episode out. Until an audience develops, work hard and earn the bonuses and you'll feel like a pro writer. When the book is finished, you can wait 30 days and have an ebook to publish to boot.

One perception problem that Vella might have is that because it's part of the Amazon empire, that the site should already be successful and making everybody rich. It's really just a well capitalized start-up, and well behind the competition in terms of audience. Money can buy a one time audience to a well hyped spectacle, but it won't buy an audience that'll keep coming back to a book site geared towards mobile devices. Now that it's on Kindle, it could morph into a wider experience, but until then, Amazon can get people to look, but the writers are what's going to keep them there. 

If the writers complain and nit pick the site, that's a problem that Amazon would need to address. By the same token, if everyone crabs about Vella and it gets wide coverage in the media, then writers are helping to kill that market. Unless you create your art in a garage for personal satisfaction, there's going to be the business side.

Amazon has the responsibility to make Vella an environment that'll attract authors, who'll have to come in with both eyes wide open, but cognizant of the fact that after that, they're on their own. There's a decent enough royalty rate in place, much better than with music streaming, so the writer has to has to produce a book that people will buy (in parts). After that, there's promotion, and more writing. The way it works in the entertainment business, only a small percentage will become big, but there's plenty of niches and of course, the satisfaction.

One common denominator that's present in the big success stories, most worked very hard to get there and we're ready for an opportunity. That's an element that every writer can control. A new site like Vella may not be the route to success, but a real writer won't discount any avenue to show their work. You never know where that opportunity will come from.

I've made it sound simple because it is. Other factors such as audience, royalties, how long it'll take for Vella to attract a large paying fan base, and whether or not the book makes money are all things to consider, but Vella is a legitimate outlet for your work and backed by one of the richest corporations and publishers in the world. It's going to be around for a while, and having a novel on the site might be a good thing if Vella finally takes off.

Of course, if you have something better in mind, go for it. 

Chapter Overview With Samples:

With eight chapters live, those who've read the book can see that the various plot and character arcs are starting to really develop. The first three chapters, which describes an audition gig in real time, has bits and pieces along with the action passages that begin to flesh out the personalities involved.

As you can tell from the chapter titles, this isn't going to be a mythological bad boy punk story where everyone wears ripped t-shirts. If for no other reason, SF Punk wasn't like the press photos and canned interviews. There was a definite intellectual or anti-intellectual atmosphere in the scene, and plenty of tongue-in-cheek talk. There's a definite strain of black humor (and slapstick) in the proceedings. You really had to have a sense of humor in that scene.

Also, how Nym's personality and musical skill develops is important later when the scene shifts to Southern California, with it's considerably larger and more diverse music scene.

Chapter 3 and 4 are a break from the fast paced action, and gives the reader a glimpse of Nym's world, of the motivations and aspirations, introduces a new character, and creates a more complex picture of Jesus Guy, who comes off a really weird dude in the earlier chapters.

The idea is to give the free chapters more substance, and insert a new one that I was going to write later, but decided needed to be earlier in the story. Most readers who visit Vella will get 200 free tokens, so the changes don't affect my chapter plan. That many tokens will get you through most of the book.

The new Chapter 3 will follow Nym after the gig. This will give the reader more insight into Nym's personality. This new chapter will be live around Feb. 17th or sooner if it's completed before then.

Chapters 5 and 6 pick up the pace, though each features more character development. Both Ross and Stew show flamboyant public personas which turn out to be more interesting and detailed in Chapter 8. 

Chapter 7 focuses on Marly, the promoter who's infamous for his tough comedy routine to clear the Club before closing. As you go deeper into the book, it'll become obvious that a large part of the Punk scene is part of his long range plan that mostly succeeds, but also has the seeds of future discord and division.

Chapter 8 is a personal favorite (along with 4 and 6), as it gives me a chance to put many of the characters in one place and able to talk casually. There's a hint of future controversy that'll create a lot of turmoil in the later chapters.

The chapter 9 excerpt is from an episode that isn't completed yet, but Nym's personality is fleshed out further, both in inner dialogue and as seen by a couple of other characters.

...Chapter Excerpts...

Chapter 4: Nym’s Cool World

"It's a crisp August evening in the sin section of Broadway Street. The summer crowds are gone, and the sound of cars and busses are replaced by the shrill, desperate pitches of strip joint barkers now fishing in depleted waters.

Night is the best time, there's less detail, and the world’s simpler. It's easier to be me, enjoying the feeling of knowing I’m coming back to play again.

I’m skipping the third band, and just workin' on my Punk 'tude outside the pinball parlor next door. I'm puffing on a French cig, which adds cool and helps me resist the rich smell of Phillipino food from the restaurant section of the club. My macaroni and cheese dinner with a coke chaser is starting to wear off."

Chapter 5: The Negatives: A Punk Action Movie In Real Life

"The crowd’s colliding like bumper cars, so Ross jumps and twists in the air, giving the tourists a picture of wild, chaotic energy. 

It's like a modern art painting in motion! The Negatives' show has something for everyone! 

I'll have to ask Ross how he manages to get so much of his tongue hanging out like that. Whenever I try, I start gagging.

The fourth song, "Planet Toe Jam" is slower, which cools down the slam dancing. They want the crowd to just stand there, which sets up what's coming next. Plus in a longer set, it helps to have a romantic number so people can slow dance if they want to."

Chapter 6: Herman Hesse's Glass Bead Game - The Punk Version

"I gotta say he looks the part of a great artist; a big burly skinhead type who named his band after a Hermann Hesse novel. He says names like "Steely Dan" from Burroughs' "Naked Lunch," are too New York for his taste. Besides, being named after a dildo is so 60s!

I took Ida to see his show last month, and after she calmed down and agreed to not press charges, described the act as "Butt Love horseplay masquerading as performance art. It's definitely not entertainment."

I told Stew what she said, and he had the comment added to the group's press kit and asked me to thank her for the great review!"

Chapter 7: Marly Tells A Punk Bedtime Story

"Marly cuts the horn, then freezes like a brave knight who's just slain a dragon, which seems odd until I realize that some tourists are taking pictures. 

I subtly turn so my left side faces the cameras and pout at the ceiling. I take the goolie out of my mouth and hold it with two fingers near my chin, so the smoke curls near my face. Keeping it in your mouth makes you look like a puppy chewing on a biscuit, not very punk."

Chapter 8: Celebration At The Pup Chuck Wagon 24 Hour Hot Dog Diner

"There's no better place for a rising star to bask in new found glory than Pup Chuck Wagon, the 24 hour hot dog diner, a haven for San Franciscans who have more coolness than cash. Cheap food and everything you sit or eat on is washable!

I can afford a mustard dog, small fries and coffee if I use my bus money. It's only a half hour walk home and this night of achievement calls for a feast!"

Chapter 9: Nym's Walk Home

"How did you know I spent my bus fare?"

Jesus guy sighs, "You passed a bus stop on Stockton without stopping, I'd have given you the fare but Phil came, so I just took the next bus."

"You assumed Phil would give me fare money?"

"I ordained it, it's what I do child, besides, I can't go giving you cash every time you go broke, my wallet would be so light it'd float me back into Heaven and I'd have to do the Resurrection all over again."

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

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

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.

-Al Handa

djboogieunderground@gmail.com

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. Note: only available on YouTube until February 21st

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.

On The Road With Al and Ivy: A Literary Homeless Chronicle - Dec. 2020

"Here we were heading for unknown southern lands and barely three miles out of hometown, poor homely old hometown of childhood, a strange feverish exotic bug rose from secret corruptions and sent fear in our hearts."

- Jack Kerouac (On The Road - The Original Scroll)

In the pale moonlight, which lent a wanness of its own to the delicate face where thoughtful care already mingled with the winning grace and loveliness of youth, the too bright eye, the spiritual head, the lips that pressed each other with such high resolve and courage of the heart, the slight figure firm in its bearing and yet so very weak, told their silent tale; but told it only to the wind that rustled by, which, taking up its burden, carried, perhaps to some mother's pillow, faint dreams of childhood fading in its bloom, and resting in the sleep that knows no waking.

- Charles Dickens (The Old Curiosity Shop)

One of the things that young children like to do is form clubs or groupings that can blur the lines between fantasy and reality. It is, in essence, the creation of worlds that the kids can step in and out of, to enjoy a different life or situation or even seek protection.

These fantasy worlds can teach values, and the concept that people can maintain an identity or viewpoint that the outside world might not approve of or believe in. At best, it can create vision and a conviction that the world can be changed, and at worst, trading individuality for protection and belonging within the context of a gang or mob.

This isn't the same thing as a dream, which is a goal that can give direction to a life even if unfulfilled. Like an athlete who keeps in shape and out of trouble to be ready for an opportunity, a dream isn't always simply a faith or wish but something that gives shape to the present.

These early groups, both informal and formal (like the Boy Scouts), become archetypes that we fall back on to bring order or coherence to a chaotic or desperate situation. We also can even see virtues in criminal organizations that mimic models stressing loyalty or courage.

...the man from U.N.C.L.E....

In my childhood, I was recruited into the local chapter of U.N.C.L.E. (From the 60s spy series) which was organized by another fourth grader, Richard, who felt that the then current craze for Batman and the Monkees was for little kids. What was impressive at the time was that he owned the actual Man From U.N.C.L.E. spy kit, complete with pistol, code equipment, and a very official looking badge.

The spy ring wasn't very large; mainly because membership was only open to those who had the guts to execute perilous missions, and the fact that I was apparently the only one who measured up. In any case, the Sunnyvale branch was even smaller than the local Boy Scout troop.

I was able to rise to the level of senior agent after procuring a rather cheap but serviceable cap gun, and was able to accompany Richard on patrols to root out and eliminate the members of K.A.O.S., which was from the wrong show (Get Smart), but a much cooler enemy to save America from.

We'd creep around, peeking through fences and closely staking out weed patches that could conceal evil doers until the cops, who were called by concerned neighbors, put a stop to the missions. My embarrassed parents made me quit and if the truth be told, it was a relief as the cost of caps was eating up an allowance that could barely cover the cost of model airplanes and glue, and that our attempt at stealth was a miserable failure as it seemed that everyone knew about the secret organization and brutally teased me about it.

Still, it was fun while it lasted, and that sense of belonging was an instructive lesson in the value of groups and how qualities like loyalty is created by the person. No group mentality can really instill that; it's a creation by each member and can involve the building of a world that may not make sense of the universe, but can bring order to it.

There is another such world that comes to mind. Like all constructs, it's an imperfect analogy, but it resonated with a lot of people. That being the world of Mario Puzo's Godfather.

 

"War isn't an art, it's business"

- Kenneth Roberts (Lydia Bailey)

"It’s all personal, every bit of business. Every piece of shit every man has to eat every day of his life is personal. They call it business. OK. But it’s personal as hell. You know where I learned that from? The Don. My old man. The Godfather."

- Mario Puzo (The Godfather)

The Godfather by Mario Puzo hardly needs introduction. It's a classic and many of it's characters and passages have entered into our folklore and vocabulary. It spawned two great films and one pretty good one, and will be read by people a hundred years from now. It's very much like Homer's Iliad, a work that people in ancient times loved to hear over and over again even though the story was well known.

The most famous phrase, "it's not personal, just business" has popped up in many movies since then as a standard phrase for gangsters and businessmen (who are often interchangeable). It essentially means that this or that action was done purely for business reasons, and has the secondary purpose of giving the speaker an air of pragmatic professionalism.

It goes without saying that the story is filled with people who take things very personally.

That axiom and other phrases in the book are a thin veil of reason covering the cold blooded criminal activity from which the Corleone family builds it's power and wealth. Puzo's genius is the willingness to be a dispassionate narrator, so that the reader gets a real feel for the Mafia world and their value system. 

The problem with any dispassionate account is that in presenting the Corleone Family code of loyalty and honor is it can become a virtue system for those who see nothing wrong with a predatory business. There's plenty of those types in a capitalist system. The assertion that it's the reality in the legitimate world does have some truth to it. After all, the only difference between Alexander the Great and a common pickpocket is a matter of scale.

...the great conquerors, and Robin Hood...

The dressing up of crime with virtue or other qualities is a common human trait. Alexander conquered what we would now consider to be third world countries and is seen as a great man. Genghis Khan did the same thing to Europeans and was seen as a barbarian. This isn't simply a matter of racism; Napolean Bonaparte was seen the same way by the coalition of Kings and Emperors that opposed his European conquests.

The Robin Hood myth is a similar situation. The story dates back to the 1300s, and could have one of a few different origins (from the metaphysical to the revolutionary). The most common modern image is that of the adept archer who "steals from the rich and gives to the poor."

The Robin Hood we now know stems from books written in the 17th and 18th century, and the classic 1938 film with Errol Flynn. In fact, most films since have made no serious attempt to change that image of the heroic archer dressed in green. 

That image of a generous bandit fighting the evil Sheriff Of Nottingham is a common one found in a lot of different cultures, and stems from the historical perception that the legal arm was often corrupt or muscle for the privileged. That was often the case, of course, and even today in many countries, it's hard to tell the difference between the government and the crooks.

...basic ethos...

It goes without saying that the basic ethos, to rob from the rich and give to the poor, can hide a multitude of sins, which can include corruption and murder, which are overlooked or forgiven if the right right people are the victims and the common people given a cut.

What's overlooked is that these heroes have one quality in common that makes so many identify with and revere them. It's not their sense of loyalty, which is just common sense and good organizational tech, or pragmatism in the face of oppression. As far as giving to the poor, that's just good business practice (and always accompanied by a brutal willingness to kill anyone who snitches).

The reason so many people love those characters is that they were winners.

A classic film by director Martin Scorcese called Wise Guys showed a group of gangsters who were brutal and greedy with a code that was based on fear and a hatred for authority. The movie audience enjoyed their charisma, but none ever entered the pop culture canon because they didn't win.

I've talked before about Phillip K. Dick's book, Solar Lottery, whose characters ascribe great virtues to someone who's lucky or a winner, and it applies here. People overlook the darker actions of characters like Michael Corleone or Robin Hood, who would kill to get their way and just assume the victims were just people who deserved it, or more specifically, died according to the rules of a game that had winners and losers (with no one was forced to play).

...signs of a winner...

It isn't just crime. The notion that money or power gives some sort of pass is true, particularly in America, as both are signs of a winner. Most politicians, businessmen, or even celebrities only get called out on their transgressions after their run of success has ended. If you're making a lot of money for someone, you can be a swine but be viewed as a Saint.

The various levels of The Godfather book (and movies) are pretty well documented and analyzed, and that's not surprising given the complex, layered nature of Puzo's work. So other than what I've just talked about, there's no point in bloviating further on the points of loyalty and other parables as it adds nothing new to the discussion.

Now, the book itself, that is to say, how Puzo told the story, is of particular interest. The narrative differs from the movie versions in that the characters' thoughts and motives are described in much more detail. It results in a story that has more emotional complexity and a definite strain of black humor that runs throughout the book.

We're not talking about laughing out loud humor, but where one can see the absurdity of a passage, even if the thought or situation makes sense. There is a scene where one of the bosses, Clemenza, is saddened by the thought that the younger killers preferred the gun to the garrote (to strangle the victim). Puzo's narrative is perfect, and can be read as a quiet meditation about the loss of old virtues, or a satiric look at the civilized veil the gangsters have put over their ruthless business.

...all for one...

That expert mix of levels is reminiscent of an earlier classic, Dumas' The Three Musketeers, which was intended as a light satiric work, but now seen by many as a straight adventure tale that extols the virtues of chivalry and courage. It can be seen both ways, as Dumas' dry humor is from an earlier age and isn't obvious to modern readers. 

Dumas makes it clear that there is a satiric underpinning when d'Artagnan is introduced as a young Don Quixote, but what was obvious back then isn't so much now. An early scene where the young man, who's been instructed by his father to make a name for himself by fighting anybody when the opportunity arises, tries to pick a fight with a mysterious stranger is a masterpiece of dry humor.

d'Artagnan thinks he sees a gentleman in a coach mumbling something insulting about his humble horse, and attempts to pick a fight with him. On the surface, the various cues that the young man sees as grounds for a duel are gestures that could have sparked a scrimmage back then. 

However, the affronts are all in the young man's impetuous mind, and in spite of the gentleman's arrogant but impeccably polite attempts to sidestep the situation, the future Musketeer draws his sword to force the issue, and it looks like a traditional duel is about to begin.

That is, until the gentleman's friends and bystanders suddenly intervene and beat the budding young duelist to a pulp with stick, shovel and tongs. An ignoble end but certainly for his own good. The effectiveness of the passage is all about timing, and Dumas' ability to mix the trajectory of a glorious gentleman's duel with a subtle buildup to a burlesque ending. It was good enough to survive translation from the original French to English, which is even more remarkable.

...dry humor...

The Three Musketeers is a book full of people who extol the time honored virtues but often fall short, and always in a very human way. Dumas gives the characters a great deal of humanity. They aren't caricatures. We can see a little of us of d'Dartagnan's attempts to become great. His motives are no different than a modern person trying to get ahead in life. 

What do both books have in common? Characters who espouse and say they live by an inspiring code full of honor and courage, and who don't see the contradiction in their knavery, cheating, killing and thievery. 

However, how could the characters do otherwise? They were created to entertain and enjoy, and few pay money to see Saints (who are often boring or annoying). It's not Puzo's and Dumas' fault that their books are seen by some as some sort of ideal or reality.

So in the Godfather, when Clemenza bemoans the lack of character in younger assassins, we may not agree or even see it as black humor, but can sympathize with the idea that technology can often lessen our humanity. In his mind, personally strangling the victim may have been brutal, but it required that the killer see the life being taken and a personal sense of the reason. It wasn't as impersonal as the bosses made it seem.

...the reformation and war...

That's a fine line, and it's understandable that many may not see it that way. It does relate to real life, particularly in warfare.

Put another way, in ancient times, going to war was personal. You had to grab a weapon and kill the enemy by hand. As a result, early armies were small, and it took a lot to create a large scale war. Which happened of course, but it was rarely a casual decision. 

Technology has increased man's killing power a thousandfold, yet gives many the impression that war can be surgical and targeted in such a way that only the bad guys die. The accidental killing of civilians, as seen by a bomber pilot, for example, is almost seen as an abstract, a job that, well, isn't personal, just business.

Impersonal war does create the equivalent of road rage, both in the attackers and victims.

One aspect of world war 2 that isn't reported very much is that downed pilots were often attacked and even killed by civilians if the authorities couldn't get there in time. The bomber pilots could view their killing as an abstract act, but the effect of the bombs was anything but that to civilians on the ground. In fact, most experts now acknowledge that the bombing of civilians often increases the will to keep fighting.

The weaponized drone is a very modern weapon, but is really just an old fashioned bomber that doesn't put pilots at risk. It kills well away from the civilians who pay for it, who accept the assurances that every attempt is being made to limit civilian casualties (and let's them go about their daily lives without giving it a second thought). 

That impersonal and seemingly "surgical" nature has made drone deployment more and more frequent. However, drones have accidentally killed women and children, and it is considered an act of war by its survivors who do take it personally. Drones are more likely to trigger a future war than any nuke sitting in a silo, and the next major terrorist attack may well involve one and I doubt the victims will see it as purely business and not personal.

...back to Clemenza...

So the question in Clemenza's mind about how guns had eroded the old virtues could have another meaning. That is, the less humanity in any warlike activity, the more casual the cruelty becomes. Just because a fictitious gangster thought it doesn't make it any less true. After all, people are getting killed right now on our behalf with weapons financed with our tax money, so one has to wonder how much better we are in that respect.

...you've come a long way baby...

There's another aspect of Puzo's book that's of interest; his depiction of women, which was different from the movie versions. The Godfather films omit many of the story lines of the women characters. 

One character, Lucy, is just seen as a quickie partner for Sonny Corleone at the opening wedding scene, and in fleeting moments after. In the book, she was not only Sonny's long term mistress, but she goes on to have a very different life in Las Vegas after his death. Some of Sonny's character development is from her thoughts and interactions with him.

Such characterizations wasn't because Puzo was a feminist. He was far from it, and in his now out of print collection of essays, The Godfather Papers, he made that clear. However, he did see women as the saner sex. While the men were off doing their criminal duty, the world of home and family were seen as the true world in a sense. The Don's dictum that men weren't real men unless they were involved with their families implied that.

That's a subtlety, a finer shade of the notion that home and family are part of a successful man's world. The modern term is having a balance.

...motherhood...

Puzo in his essays said that God was wise to entrust the task of having and raising children to women, as men would screw it up. Which is arguably true; motherhood is often treated as a service sector job by traditional males, and their protection and support of a wife is conditional and subject to whim. His point was that men prefer the world they've built, and most wouldn't sacrifice that for a child. 

That's a 50s sensibility, of course, and one could argue that it now applies more to the subset of men who still feel that women are inferior. The evolution of old school masculinity into what amounts to a modern sexual preference (and not the automatic mainstream norm) is one of the great triumphs of the feminist movement, which has also liberated men more than they'll ever know. At least in some countries, much of the world hasn't changed much for women.

...macho, macho man...

Most macho dudes couldn't live the life they impose on women. Sure, they'll buy a bunch of toys to do BBQ when they feel like it, or accept praise not often given to women for paying attention to a kid, but in terms of sex and power, men completely don't get it because they see the wrong analogy. Joking about being raped or used by a woman is actually avoiding the subject.

The correct one is prison, where another guy (or guys) can make you have sex even if you don't want to (or are not in the mood?), and that happens day in and day out. You're not loved or cherished, and forget trying to voice any objection, just bend over punk. To be empathetic to the women's side, a man has to be willing to imagine being subject to the power of a male who regards you as an object. One would think that men who have to work for a jerk would understand the feminist point of view, but empathy isn't one of our strong points.

...the alpha thing...

Doing the modern Hollywood thing, like adding a woman who acts badass like the men, may be good box office, but ultimately adds no revelation to the issue and tends to simply validate the alpha male view. Being an apex (or wannabe) isn't an invalid personality or choice, but simply narrow. Keep in mind that for every conquering alpha like Alexander the Great, there was a whole bunch of apex men who led men to death and defeat trying to stop him.

The concept that women need protection by men (generally from other men) is due to thousands of years of conditioning and natural selection (by men). Women who were physically strong, too smart, or didn't prefer men were quickly given corrective action, transferred to the sex industry, or burned at the stake as witches. There's plenty of men who can't defend themselves or a woman, so the question of who's the weaker sex is actually more about what kind of world do we want to live in.

Puzo's book expressed more truth because of the uncompromising portrayal of the mafia world, and in giving females human traits instead of making them into T&A dolls and Madonnas. It also showed where his sympathies actually lay, which was laid out more explicitly in his essays. Puzo never wanted to romanticize the Mafia.

That's what I see in the book, anyway. Like I said earlier, The Godfather is a layered work that people will see different things in, depending on their point of view. Whether you enjoy the adventures of gangsters, musketeers, or bandits who rob from the rich and give to the poor, it's good to keep in mind that projecting virtue on such archetypes inevitably leads to at least some absurdity. 

Masters like Puzo or Dumas knew that, and it's a good writer who remembers to do the same thing.

"I can not write poetically; I am no poet. I can not divide and subdivide my phrases so as to produce light and shade; I am no painter. I can not even give expression to my sentiments and thoughts by gestures and pantomime; I am no dancer. But I can do it with tones; I am a musician…. I wish you might live till there is nothing more to be said in music."

- Mozart (in a letter to a boy who asked him how to learn to compose)

They say that music will save your soul, but any pitch to buy something, particularly music, should be taken with a grain of salt. The rhapsody over great music can range from a new paradigm of thought, to a strenuous projection of faith like the worship of bell peppers that look like the Virgin Mary, or that albums never have boring cuts.

When approaching the subject of music, it's a good idea to treat it like religion. That is to say, there's a difference between the spirituality, and the church, which is what happens when people (and money) come into the picture.

It's important to keep in mind that any music that requires purchase has only one goal in mind; to separate you from your cash. If the consumer won't buy a relevant uplifting message for these troubled times by legendary artists, then they'll try something else. Many times with the same legends even. Maybe some scandal, who knows.

A visitor from France in the 1700s once remarked that in America, that there were so many colonels that it was safe to address any strange officer by that rank (I can't recall the source, but will add that to a later revision of this blog entry). The same goes for music, as most artists who survive the marketplace to record a second album can be addressed as "legends," particularly if they've made a great deal of money.

What helps is that the music business is similar to professional sports, and has the appeal and satisfaction that any sanctioned snobbery, machoism, sexism, and hero worship can being to the table. It's not easy to display your superior taste, intellect or atavistic appreciation of real rock and roll to those cretins who prefer commercialized pap (who think the same of you).

What's more, thanks to the Internet, and decades of modern music publicists, the origins of music are as cluttered with conflicting theories and Godfathers Of Punk as diets and nutrition.

...modern music...

Music history is so shrouded in myth that it couldn't be elucidated within the confines of a blog entry, but the one image that could seemingly help a homeless guy, the image of musician as a romantic rebel that lives outside of society, is the least useful. 

Plus acting poor costs a lot of money. Plenty of musicians are broke of course, but it take an expensive well oiled publicity machine to make sure the buying public knows that.

It goes back to the notion that musicians were mere servants of the rich, which is also the case today but the more successful ones can afford publicists to proclaim that money isn't important with a straight face. The fact is, in the ancient age of Kings, everyone below the rank of monarch was a "servant" in varying degrees. 

Musicians who landed a good gig could count on a decent to great living, assuming they weren't cheated, and escaped the banal drudgeries of farming or taking a musket ball for the King. Even Mozart, who died broke, did so because his spending habits, not the cruelties of the music business.

In other words, very little has changed in the music business except that we're now expected to believe that an album doesn't contain any bad cuts, and that all artists are grateful to their fans. 

I'm sure some will say that all this a cynical view of the music business, but I'm sure most out there know that it's all very much tongue in cheek and no harm is intended. We all know that ((http:\ insert advertiser name)) commercial music has saved more lives than Jesus and continues to be a dynamic and positive force in these troubled times.

...music will save your soul...

I went into the homeless life with a great love of music that, like most of my old life, died and had to be reimagined. All of the cherished axioms like music will save or soothe your soul, provide deep insight into life, or that albums never have throwaway cuts, turned out to be like the old Church exhortation to endure one's lot to earn a place in heaven.

In other words, a lot of people will sell you faith instead of substance.

Don't get me wrong; I came away from street life with the same deep love of music, but it had been redefined. It's easy for a music enthusiast to get into acquisition instead of listening (or playing). Knowing the track order of over a thousand albums, or thinking that this or that edition of a release has a better mix is fun, but it's all a trivial parlor game to someone eating a can of beans for dinner.

It would seem obvious that for someone like me, who loves music to the point of fanaticism, that any book that springs from my imagination would be peppered with music lyrics and references. In actual fact, the book will have virtually no mention of artists and songs.

...emotion and practicality...

The reason is both emotional and practical. There wasn't a song that played any central role in any of the chapters, and there's no reason to pretend that any did for the sake of atmosphere or to make a hip reference. There was music around, in the air, like in a coffee house, but it tended to be functional, like the furniture.

One can add song references but unless it's actually a factor in a scene, why add free promotion for a song title that could date your work. The shelf life of most hits is a few months, and even old classics can bring in unintended perceptions from the reader's mind or go over the heads of others.

...walk on the wild side...

I remember reading an old interview with Lou Reed, who stated that he avoided using slang in his solo work. The reason was that songs from the 60s that used terms like "groovy" became dated and would often be dismissed by succeeding generations. Which is true; even a lot of Boomers will cringe listening to a song that talks about how far out or heavy this or that was. 

To be fair, adding song or genre references can be a means of placing a scene in time or adding atmosphere. In Hermann Hesse's Steppenwolf, the differences between jazz and Mozart do play a role, but even then, the author doesn't rattle off song names. That conflict was part of the greater theme of change in the book, and it was the aesthetic that was important.

...some song names...

For example, three songs come to mind when thinking about the coffee houses in 2016. Angel Olsen's "You'll Never Be Mine," Case/Lang/Veirs "Best Kept Secret" and Copacabana Club's "Just Do It" all played regularly over the wall speakers back then in 2016. All are songs I still listen to, and now are evocative of that time, but back then, were what Frank Zappa once called part of the scenery.

Mentioning those songs in a chapter would require delineating the context and mood it created, and as we all know, describing music in words is a real half assed way to communicate how it sounds and affects people. It's better to talk about an artist, actually, rather than a song. Which is why movies and TV shows are the perfect vehicle for specific songs. There's no substitute for the actual music.

Also, those three songs were part of a hundred that aired one evening (in the book), and no one stopped what they were doing to dance or otherwise be set free by the music. I know that sounds cynical, but in real life, most came to drink coffee (or meet internet dates), and not to journey to the center of their minds.

There was also one important reason those songs, or any songs didn't resonate at that time. Once my ability to play music began to go away, all I heard most of the time was silence.

Like I had written in an earlier blog entry, it wasn't a case of seeing things coming down to one precious instrument. The expensive or rare ones went first, as those were the most salable and the feeling was relief. It was when the last cheap ones had to be sold off for as little as 20.00 that it hit me that the music was going away.

...the central pleasure...

The central pleasure, being able to play, couldn't be easily done out there. In San Francisco, for example, even the romantic image of buskers playing their hearts out for coins was alloyed by stories of musicians being mugged by other homeless for their instruments while playing in public. If one had an instrument of any value, it was best kept hidden.

It delineates more clearly over the course of the book, but among other things, the ability to pick up an instrument and play was one of the few choices I had. Being homeless exposed me to a lot of situations I couldn't control. Playing was part of my makeup, what I was. Keeping the two small instruments and having the option to play preserved that.

It was as described in the blog entry about the Kenneth Roberts book, Northwest Passage, where Colonel Rogers reminded the wounded character that he needed to survive to be able to fulfill his ambition to become a painter. The underlying principle was that higher aims were valuable to survival.

...more important...

Music, and writing became more important again over time. All those things that add up to a self image did. I saw that when people accepted being "homeless," many just spiraled downwards further into drugs or alchohol.

Hard core drug addicts are difficult to save and can pull others down with them. People who get drawn into their culture can end up addicted, or get in trouble by association. It's an identity that can't help survival. 

I never took a drink out there, or used any drugs. That isn't a brag, there were others who did the same thing. The reason was simple; if you spend any time out there, you really see the consequences of drugs. After the summer partying, you see the wreckage in the fall and winter. It's one thing to be out partying with friends, or on a bender at home. Doing that while living outside is very dangerous, especially for women. 

I had to be helped to get out of there, but even that wouldn't have happened if I wasn't in a condition to be helped. Holding on to an identity of musician and writer may not have helped in a way one could see, but at least with me, it was important enough to protect it by not becoming a drug user or thief. It was my process of course, others who survived had other routes and motives as you'll see in the book.

...Topanga...

There's one chapter in a coffee house, where I finish the edits on a musical number called "Topanga Reprise" that was recorded just prior to become big homeless. It was about a year later in 2017, and I found that it was a different experience than if it had been done earlier. 

It wasn't even a track I'd played on, I was mainly playing as support during the practice phase. It just sat there in my laptop for several months until the Ali Campbell UB40 Fan account on Twitter communicated that they hoped that I would continue to play music. Which was a surprise as they had given the blog a great deal of support, but I hadn't thought they knew I'd played.

I had gone into a dead period by them, not even listening to music very much. The fact that someone on the account took the trouble to find out that I had been in a group before and encouraged me to keep playing had a profound effect. A mere gesture, perhaps, but even small wins counted out there, particularly from a celebrity account.

It made me look around for a project, and I remembered the Topanga track and began working on it that night in a coffee house (daytime was out of the question in 90 degree heat with Ivy to care for).

I immersed myself in the rough track, and it felt like a return to the early joy felt when starting to learn my first instrument in the 5th grade, the violin. The old axiom that the brain is the real instrument became clear, whether the music comes out of a violin, or another vehicle, it's really about creation. 

It was clear then that something had changed in my mind about music, and that sensibility is still evolving now. Which is what it should have been doing all along before it got all gunked up with attitudes and the material dreams.

Though UB40s heyday was in the 80s, and had since split into two entities, Ali Campbell's UB40, and UB40, that's one case where a group name has to be mentioned as Ali's fan account on Twitter was intimately connected to my situation well before starting music again with the Topanga track.

There wasn't any particular song that "saved" me out there, but "music" certainly played a part in surviving as a better part of my self. To that extent, yes, music (and I should add, writing), certainly did help save me and my soul.

- Al Handa

djboogieunderground@gmail.com

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.

-Al Handa

djboogieunderground@gmail.com

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.