22 Chicken Skin Moments

Ry Coode

Chicken Skin Music was the title of a Ry Cooder album of long ago. The title referred to music that gave you chills.

Since we waste time on social media with lists, I decided to list the songs that unfailingly give me this feeling.

Goose bumps. Hair on the back of the neck. That stuff.

I’ll try to be specific and point out the parts of songs that affect me so.

This is just today’s list. Another day might be radically different. For instance, Celtic music is absent here, yet I listen to it a lot at home and have that strange and magical chicken skin feeling.

Great collection of songs here. You can thank me later for giving you this wonderful afternoon of listening.

Let’s start with Ryland Peter Cooder.

“Rally ‘Round the Flag” by Ry Cooder. He sounds like the last survivor of Chickamauga. He can barely mutter the battle cry of freedom, but he’s determined to try, This might get us off to a slow start with our musical program, but so what? I believe that’s Van Dyke Parks on piano. Great slide playing, of course. Ry Cooder, duh.

“My Back Pages” by the Byrds.  The whole thing, but especially McGuinn’s evocative solo. We could also add “Chestnut Mare.” To me, the solo carries the emotional weight of the brilliant lyrics. This has become my motto — I was so much older then; I am younger than that now.

“Series of Dreams” by Bob Dylan . Especially his buildup to the fade and the fade. There’s something swirling and mythic and wonderful about this song.

Aretha Franklin

“The Dark End of the Street” by Aretha Franklin. There are so many great versions of this song, from James Carr‘s original to the version by the songwriter, Dan Penn. But the bridge of Franklin’s version takes us to Jupiter. It’s truly, deeply otherworldly. And that desperation: “They’re gonna find us, they’re gonna find us.”

“Mother Country” by John Stewart. Especially the second verse about the blind man in the sulky. I don’t like narration in songs, but John Stewart pulls it off. From the opening strum, this song has me.

“This Whole World” by the Beach Boys. Brian Wilson’s moment at the end, when the instruments drop out and it’s just him. Or maybe that’s Carl Wilson. They give us this whole world … and they bring it in under two minutes. This is beauty and craftsmanship.

“Not Fade Away” by the Rolling Stones. The opening chords. I fucking love Buddy Holly, but dude, the Stones beat you at your own game on this one.

Nanci Griffith

“Gulf Coast Highway” by Nanci Griffith. She kept re-recording this, but she got it right in the 1989 recording with Mac MacAnally. When she gets to the final verse, I nearly go into a coma. If only she ‘d spelled her first name Nancy, she would have been perfection.

“Candy’s Room” by Bruce Springsteen. After the whispered introduction, Max Weinberg’s drums explode into the song and create one of those Great Moments in Rock’n’Roll History.

“Sweet Old World” by Emmylou Harris. Just about everything on the “Wrecking Ball” album gives me chills. It’s that Daniel Lanois fellow, her producer. He knows how to push those buttons. For more Emmylou chicken skin, listen to her Christmas album as Neil Young flies in from Mars to warble ‘hallelujah’ in the background of  “Light of the Stable.”

“Four Strong Winds” by Ian and Sylvia. The whole damn thing. A nearly perfect recording. Ian Tyson gets the testosterone boiling. This is a beautiful blend of male and female voices. Sylvia Fricker sings so beautifully on “Someday Soon.”

The Beach Boys

“Add Some Music to Your Day” by the Beach Boys. A pleasant enough song until midpoint, when Brian (or is it Carl?) sings, “Music, when you’re alone, is like a companion for your lonely soul.” Then he soars. Poultry time, my friends. Pawk, pawk.

“Bugler” by The Byrds. Sung by Clarence White. A boy tells us how his dog, his best friend, died. This reminds me so much of my childhood in Texas … and that old movie, Biscuit Eater. (Don’t get me started on Old Yeller.) When one of our family dogs died, we were not allowed to utter the dead dog’s name again. Dry your eyes and stand up straight — Bugler’s got a place at the pearly gates.

“That Lovin’-You Feelin’ Again” by Emmylou Harris & Roy Orbison. Lord, I’m a mushpot. But I can’t deny that I love this song. What beautiful voices.

“Like a Rolling Stone” by Bob Dylan. Yes. Every time I hear it, I’m slayed. I’ve never been able to hear this without turning it up. I especially like it as the song roars toward the conclusion and Dylan makes that sound, as if he can’t himself believe what he’s in the middle of doing. Fucking awesome. Every time I hear it.

Clarence Carter

“Making Love (at the Dark End of the Street)” by Clarence Carter. He used only one verse from the original song, and spends the first part of the song preaching about cattle copulating. Never have I heard the ridiculous and sublime so well married in a song. After talking about mosquitos fucking, he manages to achieve some kind of majesty at the end of the song. Chills. And marvel: how did he do that?

“Hello in There” by John Prine. Thinking about my late grandparents. Prine’s whole body of work is chicken skin music. Sometimes, his songs are so good that I can’t listen to them. I’m afraid I’d collapse. On The Tree of Forgiveness (2018), his last album, there’s a song called “Summer’s End.” It destroys me. From beginning to end, John Prine had it.

“2000 Miles” by the Pretenders. The way Chrissie Hyde’s voice rises as she sings “it must be Christmastime.” I have a firm tactile memory of this song — driving cross-country through a blizzard to see my children. I always associate this and Dylan’s Infidels and Emmylou’s Wrecking Ball as cold-weather albums.

Carlene Carter

“Me and the Wildwood Rose” by Carlene Carter. The best and most autobiographical song on an album dealing with her considerable family legacy. The last verse moves one to tears. Great storytelling. If you loved a grandparent, you’ll understand.

“The Lakes of Ponchatrain” by Trapezoid. Feel free to assassinate me while this song is playing. It’s so beautiful, I won’t mind. Really. The dulcimer solo carries home this song of doomed and impossible love.

Mama Tried” by the Everly Brothers. On the great Roots album, this follows a snippet from an Everly Family radio broadcast when Don and Phil were in single digits. That moment, when the broadcast ends and the opening of this Merle Haggard cover begins, is one of many high points on that great album. Also: a slow remake of their early song, “I Wonder if I Care as Much.” Sorry, Merle, this is the odd moment when a cover version beats your original — but just by a badger hair.

The Beatles

“Hey Jude” by the Beatles. My favorite Beatle song, especially for the fade – and for the time and place where that song came in my / our history. This song is so connected to that tumultuous, overwhelming year, 1968.

Pet Sounds by The Beach Boys. The whole thing. A cop-out, I know, but when I hear “Wouldn’t it be Nice” — especially the fade –- “Sloop John B,” “God Only Knows” and the rest of it, I’m both exhilarated by the beauty of the music and saddened that the world is without the angelic voice of Carl Wilson. Carl could even take a weak song – Mike Love’s “Brian is Back” comes to mind – and turn it into a thing of beauty. When I hear them fading away at the end of “Wouldn’t it Be Nice,” they truly are forever young.

“Spanish is the Loving Tongue” by Michael Martin Murphey. The singing and playing is beautiful and the song even manages to overcome one verse that is spoken, not sung. I’m a mushpot, so this one always gets to me. You know who you are.

“Born to Run” by Bruce Springsteen. Sorry to be so obvious. This is the best Phil Spector record that Spector never made. Phil would have crammed this whole world into a shorter record. Too bad how it ended with Phil. I’d like to see his remix of this. I bet he’d bring it in under three minutes. It would be a tight, claustrophobic record.

“Blind Willie McTell” by Bob  Dylan. Hypnotic. Masterful. This song never fails to get to me. Wonderful use of language and image. And to think – it was an outtake. “Lord, Protect My Child” is another beautiful Infidels outtake.

“Highwater (for Charley Patton)” by Bob Dylan. One last Bob song. This is of a piece with “Series of Dreams” and “Blind Willie McTell.” This is Dylan’s whole history of the doom and dread of the 20th Century. I’m utterly drained after every listen.

Marvin Gaye

What’s Going On by Marvin Gaye. The whole thing. When I got the original LP, I thought, “This album is so great that if there isn’t a Side 2, I’d still be happy with it.” That suite on Side 1 is so beautiful, especially when Gaye preaches and begs us to save the babies! save the babies!

I can’t type anymore.

Chills, dude, chills.

Playdate with Bob Dylan

As I contemplate the many pleasant afternoons in my life, oddly enough, it’s one of the non-carnal ones to which I often return in memory.

It was an afternoon in the Tune Town record shop in Bowling Green, Kentucky. I was still in my twenties, a young dad, and I was there to pick up a book I’d lent to the guy behind the counter, Bill Lloyd.

Bill Lloyd in his Foster & Lloyd days.

Yes, that Bill Lloyd, A few years later, he was half of Foster & Lloyd and on his way to his career as one of the most admired, beloved and respected musicians in Nashville.

But on that day, he wanted to return my copy of It’s Too Late to Stop Now, a book of essays by Jon Landau, who had forsaken writing about music to become Svengali for Bruce Springsteen.

I went to pick up the book but luckily the afternoon went as I’d hoped and elongated. It became an adult playdate.

You’ve got to hear this, he said — again and again.

It was a weekday, so the store was essentially ours. A few customers came and went, but Bill kept pulling records from under the counter and popping them on the store turntable.

He guided me through an afternoon of songs — wonderful, swirling music, stuff I’d never heard before. With the record shop at his disposal, he took me through his world, and played me stuff from Buddy Holly’s demos, recorded in his apartment just weeks before his death. He introduced me to The Dictators Go Girl Crazy and I became a lifelong fan of Handsome Dick Manitoba. I was stunned by the import-only White Trails by Englishman Chris Rainbow. That was a thrilling collection heavily influenced by the Sunflower / Surf’s Up era of The Beach Boys.

I kept notes in the plain pages at the back of the Landau book. Within a couple of years, I’d tracked down and bought all of the records Bill played for me that day.

I love adult playdates and now I feel as if I’ve had another rewarding musical afternoon, this time with Bob Dylan.

Dylan’s new book, The Philosophy of Modern Song, is sort of like that long-ago afternoon with Bill Lloyd, only without the music. (I hope a soundtrack album to Dylan’s book is imminent.)

Bob Dylan

It’s as if we’re seated on the floor in front of the turntable, and Dylan is flipping through his albums saying, You’ve got to hear this.

He’s picked out 66 songs from all across the musical map, and he tells us about them. There are no details about recording and only once or twice does he examine the songs from a professional songwriter’s viewpoint. He never indulges in self-reference, about a particular song’s influence or ways in which he would approach the same material.

So it’s not a discographical reference. Like a lot of Dylan’s prose, it’s fanciful, often hilarious, and notoriously unreliable. We assume the recording details at the front of every chapter are correct, but all bets are off when it comes to his flights of fancy.

And he takes such flights frequently. With several songs, he goes off on wild tangents.

Consider this meditation on footwear, which I excerpt I from his commentary on “Blue Suede Shoes” by Carl Perkins:

There are more songs about shoes than there are about hats, pants and dresses combined. Ray Price’s keep walking back to him. Betty Lou got a new pair. Chuck Willis didn’t want to hang his up. Shoes reveal character, station and personality. But for all that shoes revealed, they did not give up their secrets easily. [Consider] the white buck, a shoe so proud if its immaculate surface that it came with a small brush to buff any blemish from existence. And one can’t forget blue suede shoes. Has ever a shoe proclaimed its frivolity more joyously? Has any article of clothing ever said more plainly that it wasn’t meant for the farm, that it wasn’t meant to step in pig shit? Poor Carl Perkins, watching Elvis Presley sing his song “Blue Suede Shoes” on TV in 1956 from a hospital bed. At that point, Carl’s version had sold a million copies, but a car accident slowed the momentum of Carl’s career and it never truly recovered. Elvis, on the other hand, was all sullen eyes and sharp cheekbones, backwoods-born but city-livin’, truck-drivin’, hip-shakin’ with a feral whiff of danger. Carl wrote this song, but if Elvis was alive today, he’d be the one to have a deal with Nike.

Feral whiff? It’s writing like that that makes me wish Dylan published prose more often.

Turns out he’s not just the winner of the Nobel Prize for Literature, he’s also the master of the Dad Joke.

These vamps are like transcriptions from those off-the-wall monologues Dylan used to deliver when he hosted his Theme Time Radio Hour on satellite radio. The book is much like the show in the sense that he wants to educate us about the music that made him.

A treatise on the bluegrass music of the Osborne Brothers’ 1957 recording of “Ruby, Are You Mad?” somehow morphs into a discussion of heavy metal music. He concludes the two forms of music have a lot in common: “This [bluegrass music] is speed metal without the embarrassment of Spandex and junior high school devil worship.”

He loves tall tales. Discussing Roy Orbison’s “Blue Bayou,” he references Linda Ronstadt’s hit version of the song. “A lot of people cite The Dickson Baseball Dictionary as listing ‘Linda Ronstadt’ as a synonym for a baseball,” he deadpans, because the ball “‘blew by you.’ When Herb Carneal announced a Twins game and the opposing team’s batter would take a strike off a fastball, Herb would giddily exclaim, ‘Thank you, Roy Orbison.’”

There’s no such entry in my edition of the Dickson book, but why quibble. I’m not sure Dylan’s writing would last more than a couple of minutes in the fact-checking department of The New Yorker. Those carnivorous Keepers of Truth would roll up the manuscript and toss it in the dustbin. But who cares? Dylan’s obviously having fun.

Except when he isn’t. There are a couple startling essays on music than turn tragic and unforgettable. You’re laughing along with his word play and then suddenly shocked into silence.

Ry Cooder

Somewhere, Ry Cooder is blushing. Dylan lavishes the great guitarist with Himalayas of praise. His chapter on “Old Violin” reminds me that I need to rethink Johnny Paycheck. I’m suddenly questioning if I missed something in the singing of Perry Como. And what love Dylan’s shows Judy Garland.

The artists range from hillbillies to rappers, with Frank Sinatra, Rosemary Clooney and Bing Crosby thrown in, alongside The Clash, Harold Melvin & the Blue Notes and artists you’ve never heard of. He cares little for political correctness and says, at one point ,that as a field of knowledge expands and is stretched tighter, the skin of society becomes too thin for the comfort of ideas.

There’s a lot of pocket wisdom in the book and it’s as if he just used the premise of writing about records to reveal this wonderment of prose writing.

Note: There are no entries for The Beatles, The Beach Boys, The Rolling Stones or Dylan.

It’s a beautiful book, filled with oddball and esoteric illustrations. The cover features Little Richard, Alis Lesley (she called herself the Female Elvis) and the great and doomed Eddie Cochran.

As much as I love hard copies, I supplemented this purchase of paper with the audio version of the book. I heard Bob was doing part of the narration. He ends up doing his fantasias, which sound like coffee-shop beat poetry read aloud. His segments have a different audio texture than his other narrators.

And what a cast of collaborators. The lineup includes Jeff Bridges, Steve Buscemi, John Goodman, Oscar Isaac, Helen Mirren, Rita Moreno, Sissy Spacek, Alfre Woodard, Jeffrey Wright and Renee Zellweger.

Helen Mirren, part of the narration crew

You’ve got to hear this. Bob doesn’t point us to any of his recordings, but he does include some contemporaries — Willie Nelson, Cher, Jimmy Webb and others — and, of course, honors the forefathers of rock’n’roll: Little Richard, Rick Nelson, and Johnny Cash.

But — and here’s where you need to take notes — he introduces us to recordings that mean so much to him: “Take Me from This Garden of Evil,” an unreleased song, recorded by Jimmy Wages in 1957; Harry McClintock’s 1927 recording of “Jesse James”; and “Keep My Skillet Good and Greasy,” recorded by Uncle Dave Macon in 1924. I know I’ll be tracking down “Doesn’t Hurt Anyone” by John Trudell, released in 2001 … one of only two songs from this century to make Dylan’s cut.

And that makes sense. Bob Dylan is, after all, a pure product of America. He is the American musical experience wrapped up in the bones of sinews of one human being, and he wants to share his love with you.

You’ve got to hear this.

Over a Cheever

I was at a tender and impressionable age when I discovered the short stories of Flannery O’Connor and John Cheever.

John Cheever’s grave in Norwell, Massachusetts. It’s adjacent to the parking lot for a place called Cheever Tavern.

They were life-changing.I was introduced to O’Connor by my mentor, Starkey Flythe.

Starkey was Georgian and Southern Gothic, so that was a natural development of his preaching to me.

I often refer to working with Starkey as my graduate school. He was a lovely man and the world is poorer without him.

Here is a short film of Starkey reading one of his poems. It’s a beautiful piece of work. Go to the link, then scroll down to “For My Absent Friend.” https://www.williammckeen.com/news/

I read O’Connor’s Complete Stories in one long inhale. With my friend, Harry Allen, we conversed as if we were characters in her story “Greenleaf.” She gave us a new language. She was a wonderful writer.

Oddly, her novels didn’t move me the way her short stories did.

Not sure how I came to John Cheever, but Starkey was probably the culprit.

Cheever wrote of a different world — the New York suburban life of highballs and infidelities. I again inhaled his collected stories (The Stories of John Cheever) in one gulp.

Decades later, I read the massive book straight through again. When I moved to Massachusetts, I was amused that I settled near Braintree and Quincy, Cheever’s old stomping grounds.

Flannery O’Connor

I have a friend who coaches the tennis team at Thayer Academy, the school that expelled Cheever.

I’ve been in a Cheever mood recently and discovered that I’m working one street over from Cheever’s apartment on Bay State Road.

He taught at Boston University for a while. Then, curious about his burial, I discovered he is in the First Parish Cemetery in Norwell. It’s right across the street from where son Charley works as a food runner. (The Tinker’s Son — frosty libations and swell vittles.)

So I played hooky from grading yesterday and found his grave. It’s a few feet away from the parking lot for a restaurant called Cheever Tavern.

There it was. This great writer’s grave is next to a parking lot. He’s buried next to his wife, Mary, and his son, Federico. Federico was a celebrated professor of law. He died while kayaking in 2017.

There is no great meaning or burning epiphany to report, but finding Cheever’s grave was deeply moving.

The Tavern wasn’t open, but I go by the place a couple of times a week, so I’ll drop in for a Scotch in honor of those two masterful storytellers.

John Cheever in the 1970s. He spent a couple of deeply unhappy terms teaching at Boston University before his career revived with Falconer and The Stories of John Cheever.

Cheever Tavern looks spiffy, and the menu might be too rich for my blood.

There is no entrance on the main street.

The tavern is behind a convenience store and a coffee shop, and you have to drive around back to find the joint.

I’ll let you know what it’s like, assuming the maitre’d doesn’t kick me out for being a lowlife.

Google translates a review of the French edition of my book about Hunter S. Thompson

My book was called Outlaw Journalist in the English-speaking world. The title was a little more cumbersome in French. I saw that a review of the book appeared in a French publication, so I copied and pasted it into Google Translate and this is what I got. I particularly like the phrase “monkey emeritus.”

Hunter S. Thompson was the inventor of gonzo style: journalism written by a living pharmacy, a way to crack the American dream without skimping on LSD, peyote, Tequila, Chivas Regal and other amphetamines, a columnist who is featured as the character Principal’s reports.

The excellent biography by William McKeen does justice to this monkey emeritus.

The cover of the French paperback features this Al Satterwhite photograph, taken in Cozumel in 1974.

The monster was born in 1937 in Louisville, Kentucky, a city providing half the world’s bourbon. Adept of creative vandalism, the juvenile seeks to silence his demons by engaging in the Air Force. Editor of a cabbage leaf for sport pilots, it is already the bombing and the chameleon. He was fired in 1957 for “rebel and superior attitude.”

Here grouillot to Time columnist bowling Puerto Rico goalkeeper villa in Big Sur, freelance for The Observer in Latin America. Adept of hitchhiking in bermuda, the character loves shooting rats with a 357 Magnum. Reader Hemingway at the time of Bob Dylan, this atypical madmen consonant with a new generation of columnists. They call Tom Wolfe, Joan Didion, Terry Southern. Their way? Integrating the psyche of a journalist in the article itself, deal with the real weapons of fiction. In this new journalism, Thompson adds a kind of intimate caving with whims and exciting. Set in 1964 in San Francisco, he lives between the world of psychedelic hippies and the leather community while the Hells Angels, which he dedicated in 1967 an essay memorable him to be beaten by those crazy bikers. “Journalism, he said, pays for our continued education.

Now camped in his hut in Aspen, Thompson throne with his eternal cigarette holder and his Hawaiian shirt in the woods elk stolen Hemingway. Looks like a kind of Walt Whitman redesigned by Robert Crumb. The brilliant crazy wrote to President Johnson asking him to be appointed Governor of Samoa before embarking on one of his terrible raids journalism. Will pay for the presidential candidates of 1968: Richard Nixon, his staff Antichrist, “a nightmare of intrigue, bullshit and suspicion”, and his rival Humphrey, “an ignoble body electrified.

“Hunter did not commit suicide, Hunter followed the Way of the Samurai” (Iggy Pop)

Freak. Described by one witness as “a cross between half-mad hermit and a Tasmanian devil”, this psychotic Celinian is recruited by the fledgling Rolling Stone magazine, which he made the beautiful days. There he publishes Loathing in Las Vegas, the story of a drift distorted through the game city, wrote to the Dexedrine and bourbon during the summer of 1971. Journalism vision, stretched, torn by lightning psychotropic, as if the Stones put music in the Apocalypse of St. John. The legend of gonzo Thompson begins to take shape. The man, safari hat covers the presidential campaign of 1972 or the fall of Saigon, and sometimes signed “Martin Bormann” on hotel registers, becomes a character in the comic strip Doonesbury Uncle Duke, a reporter with the glasses of ‘Aviator seeing bats everywhere.

After 1976, Thompson patina. Cocaine him gnawing nostrils. His wife Sandy left him. He was fishing for tarpon in Key West, is the portrait of Muhammad Ali, hangs out with Jim Harrison or John Belushi, then resumed a weekly column in the Examiner. Working in his kitchen in the middle of televisions turned on, the super-freak of the Reagan gently invite to vote for Bill Clinton, whom he lent “the loyalty of a lizard who lost his tail.” The man who loved to “dedicate” his books with a bullet becomes the totem of young Hollywood, revered by Sean Penn or Johnny Depp, who will play in the film Fear and Loathing in Las Vegas. But, less a prisoner of his mythology, the old hunter scalps in 2005 will choose the end of Hemingway’s heroes: a .45 caliber gun in his mouth. “Hunter did not commit suicide, Hunter followed the Way of the Samurai,” says Iggy Pop. Consistent with this life pyrotechnic is the gun that his ashes were eventually scattered.

Hunter S. Thompson: journalist and off-the-law, William McKeen (Tristram, translated from English by Jean-Paul Mourlon, 496 p., 24 euros).

Hunter S. Thompson

I Dream of Maisel with the Dark Brown Hair

I’ve been a fan of “The Marvelous Mrs Maisel” from the start.

Rachel Brosnahan as Midge Maisel

The only way the show could be better would be if there was an option that allowed me to leap into the screen and run away with Midge Maisel.

That sort of happened the other night.

In my dream, Midge and I were reporters for an unknown news venue — wasn’t sure if it we were working in a newspaper or a television newsroom — but we made a great team. Midge was so good that she was offered the job of Rome bureau chief.

She refused to take the job unless I came as deputy chief.

I’d say my dream came true, except it didn’t. It remained a dream. I woke up in Massachusetts, not Italy.

Still, it was a satisfying dream.

Rachel Brosnahan (Midge) and Alex Borstein (Susie, but also Lois on “Family Guy”) were the first to reap rewards. But what an ensemble this has become. Tony Shaloub is great as Midge’s OCD Dad, Kevin Pollak is brilliantly irritating as her father in law and Marin Hinkle (Midge’s mother) has emerged as a secret weapon, stealing lots of scenes this year.

Lenny Bruce (played by Luke Kirby) has been in the show from the beginning, but this season ::::::::::SPOILER ALLERT :::::::::::: he finally crashed the custard truck with Midge.

It’s a great show and I love it. **Sigh** If only it was real. I’ve never been to Rome.

An explanation

I’ve been gone.

I escorted son Travis to a week-long baseball camp at a Major League training complex. It was a great experience for him. He ate three squares at the training table, had his uniform washed nightly, and lived like a player, except that he repaired nightly to the soundproof suite he shared with his pop at the local Marriott.

I went to the camp twice daily, when parents were let in for games.

On the second night, Travis racked out, Our Lady of the Most Indelicate Gastric Symptoms visited. She visited me 17 times in little more than an hour. She stayed away the next two days, but I spent those days writhing in my sheets in the soundproof suite. I alternated between a hot fever and those shaking chills.

Sometimes, the fevers stopped.

At the last game, on the last day, I began shaking and collapsed over a huge Gatorade bucket, my fingers frantically grabbing for something. Can’t remember what, exactly, but it had the texture of perfectly cooked black beans.

The athletic trainer said I was suffering severe dehydration and malnourishment. I’d had no interest in food the whole week, consuming only one meal — a fish sandwich, no fries nor slaw — the whole time. I didn’t miss it.

Camp was over so Travis bought me SmartWater and I guzzled. While attempting lunch, Our Lady visited me three more times.

We got on a long plane flight, made it back to the splendid South Shore. I was at the door of my doctor’s office when it opened Monday.

I was a frightening visage, a silent tribute to Johnny Cash gone horribly wrong. All in black of course. My hair waterfalled over my eyebrows like it was Lubbock, 1955. I was pouring sweat. My physician recoiled and ordered me to the emergency room.

I got there, and spent the (full) day in the modern health care equivalent of Titanic steerage. Poked and prodded all day, we were entertained by a geezer yelling “Oh my GAWD” for the full five hours of his trying to move his bowels.

I was eventually checked in and spent the next week being MRI’d, Cat Scanned, shot-up, IV’d, specimen’d. What was it? No doubt severe dehydration. That really serious fever was a result of a sepsis episode from a bad blood infection. (I suppose there aren’t any good blood infections.)

I speak with Our Lady of Gastric Weirdness several times a day.

I didn’t read a book or monitor social media. I was content with CNN, the Olympics, and Turner Classic Movies. Mucho noir this week.

In a loop in my head, you were with me as I led battalions of Busby Berkley dancers into the valley of death as we faced the czar’s forces, dressed in purple helmets honoring Dolly Parton’s hairstyle, circa 1974.

I owe you.

This is a picture of me, autumn 1968, Bloomington, Indiana. I have no further explanation for it.

Sweet Mysteries of Life

My father died when I was young, and there are a few million things I wish I could talk about with him. He was 53 and I was 20. I’ve significantly outlived him.

I inherited most of his books — and it’s daunting. He had everything. Go into my living room, where I keep this prized library, and you’ll find an impressive collection  of world literature. Run your fingers over the spines: Thuycides, Plato, Aristotle, through all of Jane Austen and Henry James, and that fun couple, Herman Melville and Nathaniel Hawthorne

This photograph of Raymond Chandler kind of looks like my father.

I have a beautiful edition of Leaves of Grass, printed (appropriately) with a grass leaf cover. I have his copy of The Bible as Living Literature

He loved Vladimir Nabokov, and could recite parts of Finnegans Wake from memory. He was a huge fan of James Joyce and so the portrait of Joyce next to the living-room bookshelves — which I purchased from a Dublin street artist — is there in tribute to him. I’ve appreciated Joyce’s short stories but never made it through Ulysses or Finnegans Wake.

I have such strong memories of my father performing passages basso profundo.

But his tastes were so catholic. Note lower case. 

My father was one of those guys with a book in every room — living room, family room, bedroom, bathroom. Different books for different moods.

I share one of his addictions, though mine did not appear until many years after his death. We both love(d) detective fiction.

I remember when we were stationed in England in the 1950s. Dad had a lot of paperback mysteries strewn around the house. My brother got custody of those books when Dad died, so I’ve been playing catch-up.

Erle Stanley Gardner, creator of Perry Mason

The recent HBO series devoted to the Perry Mason origin story got me reading the Erle Stanley Gardner omnibus my son Jack bought for me last year at a garage sale. Mom and Dad used to devour those books.

I bought a few Raymond Chandler collections from eBay. Dad, in particular, loved Chandler.

And there was a less-well-known writer, named John Dickson Carr. I remember so clearly my father reading his book, The Problem of the Wire Cage. I await the arrival of a battered 60-year-old paperback from eBay.

I wish I could talk over these books with my Dad. I was so unformed when he died. In the last year of his life, he bought me two books that meant so much to me — The Boys on the Bus by Timothy Crouse and In Cold Blood by Truman Capote. I was the only member of the family who showed no interest in following him into a medical career, so he wanted to support me in the work I chose.

Carl Hiaasen

Somewhere along the way, I became a fan of mystery novels. Maybe it started with Carl Hiaasen’s books, back in the 1980s. I’m not sure those are traditional mysteries — they’re more like farces with undertones of ecological skullduggery.

His latest book, Squeeze Me, spoofs the crimes against humanity at the Palm Beach White House, where the president is known only by his secret service code name: Mastodon.

Hiassen’s novels have only a couple of continuing characters. Alternating novels feature Skink, the renegade former governor of Florida. War hero and patriot Clinton Tyree returned from Vietnam filled with idealism and entered public life. He was elected governor, but then became frustrated by the rampant corruption in the state, and so disappeared.

But he didn’t exactly disappear. Tyree went underground as an eco-terrorist, subsisting on roadkill.

Thankfully, Skink appears in Squeeze Me. (He has also appeared in one of Hiaasen’s entries in his best-selling series of young-adult novels. Hoot is the best-known of his YA books.)

Squeeze Me got me laughing during this pandemic, and I wrote about that book a few posts back. Find it here.

Michael Connelly

But my old man would have really loved books by two writers whose work is like crack to me: Michael Connelly and Tom Corcoran.

Both are known for their long-running series of novels with continuing protagonists. Connelly and Corcoran are so expert at their craft that it does not matter in what order you read the books. You can read the latest Connelly novel about Harry Bosch and not feel left out.

Bosch is the character to whom Connelly most often returns. He was introduced 30 years ago as a Vietnam veteran, born to a prostitute and a (then) unknown father. His mother is murdered, Bosch grows up in foster homes, serves as a tunnel rat in Vietnam before becoming a cop. With each case, he avenges his mother’s murder. “Everybody counts or nobody counts.”

Along the way, Connelly has introduced other continuing characters, including FBI profilers Rachel Walling and Terry McCaleb. He had to kill off McCaleb several years back, because Clint Eastwood bought the rights to a novel featuring McCaleb. The character was around 40, but when he was played by the Great Squinter in Blood Work, Connelly realized he had to dispose of his creation. In a meta moment, Connelly addressed the issue of Eastwood’s major plot twist that perverted the relationships in the Blood Work novel. This showed in conversation, when McCaleb notes — not long before his demise — how it sucked to be played by a geezer in the movies.

Along the way, Connelly created another character. Since he showed a great affinity with police stories, he decided to master the courtroom thriller. Thus was Mickey Haller born. Turns out he’s the half brother of Harry Bosch — we finally find out the identity of the father — and works out of the backseat of his car. Connelly inaugurated a series of Lincoln Lawyer novels, then two years ago, introduced a young detective who lives in a lean-to on the beach, Renee Ballard. 

Another continuing character, Jack McEvoy, harkens from Connelly’s days as a newspaper reporter. He appeared in The Poet, The Scarecrow (one of Connelly’s very best) and Fair Warning. Once a mad-dog journalist, these days Jack works for a non-profit reporting collective. Connelly keeps up with the times. His characters often show up in each other’s novels. Bosch might appear in a McEvoy book and Bosch makes frequent walk-ons in the Mickey Haller stories.

(FYI, Bosch is the excellent Prime Video series starring the perfectly cast Titus Welliver as the detective. If you have not seen it, six seasons await your binge. The seventh season is in production.)

A few years back, the jacket of a Tom Corcoran novel bore a quote from Connelly that said Corcoran’s book Air Dance Iguana was “the reading highlight of the year.” 

That is high praise. 

Tom Corcoran

Corcoran’s protagonist isn’t a police detective. Alex Rutledge is a Key West photographer well connected to cops and reporters and gets roped into solving mysteries in America’s southernmost city. 

Corcoran’s books have the added attraction of their setting. He gives us the underbelly of Key West, not just the tourist version. His books are fecund with sights, sounds and tastes of Key West. 

As an even further added attraction: the setting, the heat, the lack of clothing, the island breezes . . . they all combine to make these Corcoran books sexier than your average detective novel.

I’ve read all of his books and his new one, The Cayo Hueso Maze, is his best. Again, you can start with this Alex Rutledge novel, then read the rest of them — and trust me, you’ll want to — in any order.

Corcoran was an Ohio boy, but was assigned to Key West in 1968, and he’s spent most of the last 50-plus years in the islands, and he knows the town’s deep history, having palled with Tennessee Williams, Thomas McGuane and Jim Harrison. He wrote a couple of songs with new-kid-in-town Jimmy Buffett (whom he also housed when Buffett lacked a place of his own) and co-authored two unproduced screenplays with Hunter S. Thompson.

(Of course, if you’re interested in Corcoran’s life, you can always read my swell book, Mile Marker Zero.)

We are in the middle of a global pandemic, so reading a Tom Corcoran book might be the only way to take a trip to the island.

Click on these links to buy the two latest books — Connelly’s The Law of Innocence and Corcoran’s The Cayo Hueso Maze

Michael Connelly’s website: www.michaelconnelly.com
Tom Corcoran’s website: www.tomcorcoran.net

Land of the freak and home of the brave

Hunter S. Thompson lived a huge life. It’s so monumental that it’s nearly impossible to tell the whole widescreen Technicolor story. 

Hunter S. Thompson in “Freak Power”

I know, because I tried to wrestle that life between covers when I wrote Outlaw Journalist a dozen years ago.

At least I had the luxury of a book with wide-open pages.

To tell Hunter’s story on film is tougher. Maximum ass-time in seats rarely exceeds two hours, so you have that limit.

So what’s happened with tellers of Thompson stories is that they have begun to break off chunks of this epic life, to focus on just a part of the narrative.

A couple of years ago, Timothy Denevi examined Thompson’s 1970 political campaign and his influential role as a journalist covering the 1972 presidential campaign. He called his excellent book Freak Kingdom.

Click above to order the film.

Daniel Joseph Watkins put together a lavishly illustrated coffee table book celebrating that 1970 campaign and now he’s co-directed a new documentary. Both the book and film are called Freak Power. 

Watkins and his co-director, Ajax Phillips, have done a masterful job filleting the contours of Thompson’s life and creating a riveting, inspiring and heartbreaking documentary of a critical time in the life of Hunter S. Thompson and his country.

As the Sixties limped to that decade’s sad conclusion, Thompson retreated to Aspen, Colorado. He evacuated the Bay Area after a few years in San Francisco, where he’d witnessed the birth of the counterculture. 

He found peace and beauty and the community he wanted in Aspen — like-minded friends he fondly called freaks. As was the case with most of the country in that foul era, there was a generational divide in the town. 

Aspen’s powers-that-be included old-guard Germans who’d come to the Colorado ski village after ending their Nazi careers. They had become the new establishment, and, joined by the conservative town folk, they went to war with the long-haired young folk who’d moved to town to ski, fuck and smoke dope.

One of the stores posted a sign: No Hippies Allowed.

Into this world came Thompson, who soon joined in with the other young folk — Thompson was 33 in 1970 — to look for a different kind of society.

“We were the aberrants,” Thompson’s friend Ed Bastian said. “We were freaks of nature. So we might as well call  ourselves freaks.”

With his friends, Thompson helped established the Freak Power movement. He was placed on the ballot as a candidate for sheriff, with a platform that called for renaming Aspen “Fat City.” It was a move to scare away developers and tourists. “Sod the streets at once,” he said elsewhere in his platform. He wanted a pedestrian town.

Click on the cover to order.

Though Thompson was funny, running for sheriff wasn’t really a joke. He believed that politics was the art of controlling your environment. And he and his friends thought they could really establish a new utopia in the mountains.

We so rarely take funny people seriously. Many assumed his campaign for sheriff was some sort of prank. Watching the film, you can see idealism in his eyes.

And what we also see in Freak Power is Thompson’s seriousness of purpose. He had a lot of good ideas, and planned to use the office of sheriff — if he’d won the election — as sort of an ombudsmen within the community. 

Again, Thompson was ahead of his time. The sort of law-enforcement model he suggested is similar to the proposals we hear in the wake of the defund-the-police movement.

So he was putting forward a lot of great and innovative ideas, but he couldn’t help himself. He had to be funny. 

For example: the incumbent sheriff, Carrol Whitmire, had a short, well-groomed head of hair. Since one of the gripes the Aspen old guard had with the hippies was with their tendency to be hirsute, Thompson shaved his head, so he could refer to Sheriff Whitmire as “my long-haired opponent.”

Freak Power shows the campaign in all of its glory. It makes no effort to tell the full-life story of Hunter S. Thompson. That might take three 10-episode seasons on Netflix.

Click on the cover to order

Instead, you see this brilliant guy, climbing to his peak. His first book, Hell’s Angels, was behind him. Fear and Loathing in Las Vegas and his campaign coverage for Rolling Stone were ahead. (His first article for Rolling Stone was about the campaign)

Watkins and Phillips use 1970-era films from a variety of sources. The images are crisp and the sound is excellent. There’s nothing about this film that looks dated.

As always. Thompson’s civic wisdom is timeless. His analysis of American political experience — spoken 50 years ago in an Aspen hotel — could have been spoken yesterday.

Things are pretty foul. A lot of friends shake their heads about the state of the modern world and say, “I wonder what Hunter would say about all of this.”

He’s already said it. 

Listen to him in Freak Power and re-read his political coverage. He warns us about the nation’s Trumps, no matter what their names. Denevi, in Freak Kingdom, pays tribute to Thompson’s enduring political wisdom.

Freak Power is a fantastically well-made film, laser focused on that long-ago campaign but with wisdom that resonates today. The story is told with the vintage film and with voiceovers by the surviving participants. They appear at the end, old soldiers speaking of their battle and their eventual survival. 

Throat, meet lump. 

Laughing to keep from crying

Carl Hiaasen practices rage humor.

Carl Hiaasen

He’s so angry — over the environment, greed, political imbeciles, and general assholery.

Yet instead of standing on a mountaintop to spew screeds about injustice, he uses humor to craft magnificently twisted tales in which the bad guys get what they deserve. (Besides, there are no mountaintops in Florida.)

He makes us laugh as he eviscerates the unjust. I just finished his latest, Squeeze Me, and in the modern landscape, there is much that angers Hiaasen.

I’ll give nothing away, but a lot of the action takes place at the Florida estate of the President of the United States. He’s a rotund toupee-wearing blowhard referred to only by his Secret Service name, Mastodon.

It’s a wonderful book. A couple of times, I had to close the book and sit and laugh for a moment. I had a chuckle every other page or so.

But as I was reading — and laughing — all I could think about was the righteous anger underneath. I’ve read all of Carl’s novels and they are without exception excellent books. I marvel at his word choice and the music of his language.

What a great, distinctive voice.

His writing is masterful and his passion is there, the foundation underneath the humor. I’ve always been fond of Double Whammy and Native Tongue and Lucky You. But hell, I love all of his novels. I can’t think of one that wasn’t simultaneously funny and thought provoking. You rarely find someone who can succeed on both of those platforms.

He’s deft, this Hiaasen fellow.

Every now and then, I recall Native Tongue, which is about a corrupt South Florida theme park called the Amazing Kingdom of Thrills. Every afternoon at 3, the park watches a parade called the Pageant of Florida History, featuring tributes to wastewater and break-dancing migrant workers. I’ve broken out in random laughter on the subway when that crosses my mind. (Usually my fellow passengers scoot away from me when this happens.)

But this new book — Squeeze Me — may be his best work. It so well reflects our time, set as it is in the post-Covid-19 world. Carl has us laughing just to keep us from crying.

It’s funny. When someone is a social critic, those on the far right think they’re unpatriotic or anti-American. Seems to me the critics are the ones who love their country long after a weaker soul would have given up on the enterprise.

Carl’s so angry about the maggots destroying the environment and our system of democratic government. That anger inspires him to make us see, through laughter, the lurking tragedy. When I think of what’s behind the anger, I recall John Lee Hooker, who sang, “It’s in him and it’s got to come out.”

Lucky for us, he channels his Wagnerian rage into his novels. Rarely has fury been so funny.

I hope he’s OK, though. This book makes me wish I could buy him a bowl of soup.

My Dream of Merle

I used to think dreams were our doorway into the next world. I thought that because after my father died, he kept coming to me in dreams.

Merle Haggard

I remember once in a dream, we were walking and suddenly he stopped. I asked if he was coming with me. He said, “No, I stay here.”

Then I woke up.

I just woke from a different kind of dream. As it was coming to its conclusion, I found myself in a gas station that a couple was converting into some kind of restaurant. There were tarps between the bays in the old garage and the woman in the couple — an extremely friendly person, eager to talk and easy on the eye — kept me company while I waited. 

I didn’t know what I was waiting for until Merle Haggard walked up. I was surprised by what a small man he was. I towered over him — something that just doesn’t happen to those of us of supremely average height. 

He was thirsting to talk though and I was so pleased because it’s so rare that you get to tell an artist — especially one who is dead — how much their work means to you. We talked about various songs and their composition and some of his performing stories.

I talked about my daughter Mary, who works in the music business, and what an odd strangely-scheduled life it is. He began talking about the inspiration for some of his songs, and he couldn’t make it through reciting the lyrics to “(Mama’s) Hungry Eyes,” without sobbing.

We were both heaving, unable to speak because of our crying. Then I told him how much I enjoyed that album of his called “Let Me Tell You About a Song,” that came out in 1972. Each song was prefaced by its origin story. That album was my gateway drug to Merle. The songs I remember from that album spoke for racial tolerance and justice.

Talking about those songs, Merle collapsed again and I helped him up and he composed himself. After a bit, we dried our eyes and decided we needed to go our separate ways. I hugged him and told him I loved him and he smiled and said it’d been a pleasure.

I go out front of the former gas station and start walking west, toward the sun. It is blinding me, but I see a caravan of three cars heading my direction, going too fast. Next to the third car is a boy riding a bicycle, banging on the window outside the back passenger seat. I look inside the car — as best I can, considering the blinding sun — and see six riders, three in each row, stoic, looking straight-ahead, ignoring the boy. I jump back on the curb just before the kid would have run me over, and keep walking.

Behind me I hear a crash and turn in time to see one of the cars sailing through the air, and into another construction site across the street. I turn around and run to  the crashed car nearest to me and pry open the door. The passengers are as before — steadfastly stoic, not at all upset by the crash. Still, I pull them from the car one by one. No sign of the boy on the bicycle.

I get the six people into the former gas station, for the accident has occurred right in front of the place, and ask the woman half of the couple of help me get water for the crash victims. I get each of them settled in one of the former car-service bays where I had been opening my heart and soul to Merle (and vice versa) just moments before. 

I need to go find the other two cars and take care of those passengers. Just then a stretch pulls up in front of the station, driven by my former girlfriend Lisa — a woman I dated more than 20 years ago and haven’t seen since. I tell her what happened and she immediately parks the car and gets out to help. We find the six people in the second car, but they are wedged in too tightly to easily remove, so we bring them cups of water until we can free them.

Still no sign of the boy.

Then I wake.

Merle Haggard
Let Me Tell You About a Song
1972