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“Currents” from Original Son

09 Saturday Apr 2022

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I write about music a lot and often look at it through the lens of how it impacts me emotionally. So, I will write about the album “Currents” from LA band Original Son through the same lens. (Note—guitarist/singer/songwriter Johnny Calderwood is my original son.) It will be interesting to see where this exercise takes me. It may be a jumble of parents, friends, musicians, creative souls, and flawed humans. I guess we will see.

The album “Currents” shows Original Son’s roots in punk and builds out from there. In my mind, the band and the record are just good old-fashioned kickass rock and roll with a heart and a conscience.

This image has an empty alt attribute; its file name is cdcover-e1649126759978.jpg

The ten songs are full of emotion, from deep anger to natural optimism. Rhythmic shifts and musical intensity slam against subversively upbeat choruses, creating a fast-moving thrill ride. The connectivity between music, lyrics, and performance has the flow of good storytelling. The arrangements drop surprising little hooks, with background vocals, percussion, snatches of piano, and some tasty Hammond organ adding to the sonic picture. Producer Tim Hutton keeps it all flowing, never stealing focus from the guitar-bass-drums vibe that is the core of Original Son.

Johnny Calderwood Guitar, Vocals
Justin Chester – Bass, Vocals
Jeff Robinson – Drums

The musicians – singer/guitarist Johnny Calderwood, bassist Justin Chester, and drummer Jeff Robinson, sound like a band– an honest compliment to them. Each player has a knack for dropping lines and phrases that make me go, “Woah, I didn’t see that coming, or just DAMN!!!” Younger, hipper reviewers have compared their playing to more contemporary musicians. I hear flashes of the players I have listened to over the years. In Justin, I hear John Entwistle as much as modern players like Flea and Mike Dirnt. Drummer Robinson reminds me of Mighty Max Weinberg, not so much in tone but in intense, rock-solid time and taste. (I asked John, “how hard does he hit?” to which he replied, “As hard as he needs to.” A compliment I know musicians who play in bands will understand and appreciate.)

 As a guitarist, Johnny is an intense, dynamic rhythm player with a thick tone that fills out the mid-range with solid time and controlled aggression that lays down a bed for his crazy-good vocals. His solos, mostly short and to the point, dispense with gimmicks and make statements appropriate to the song. He shows a surprising range of stylistic influences, and nods to everyone from Mike Ness to Neil Young. I’ve had a love-hate relationship with his lead tones, but I have realized over time that his sound is his sound. His note choices and poignant phrasing in his short solo during “The Avenues” stopped me cold and had me hitting rewind. Moments may go unnoticed during casual listening, but these little glimpses beneath the bold and brash add dimension to my understanding of the artists.

The opening track, “Castles,” made me sit up and think, what do we have here? A dark, almost menacing eighth-note bassline joins with gritty power chords dragging a tail of feedback and crashing cymbals. A forceful voice asks, “This is the end/ Are we running out/of solid ground/did you learn to shout?” And then – BAM!!! Full-on punk-flavored power trio rock spitting social commentary on our fractured and divisive society and the actors who orchestrate the hate. “We’re all locked out /of the rooms of the castles/ of your masters. / In a world /built on deception/ you did not question/you are the weapon.” The song moves through a few subtle yet distinct styles, at one point causing me to flash to Deep Purple’s “Highway Star.”

Then comes “Parasite,” the first single released from the album. Brighter, bouncier, a bit cleaner sounding, giving the impression that it was a happy piece. Until I read the lyrics. This song’s moral and political core targets those who choose to attack rather than build. “You got your merry men/they keep their torches raised/so we can identify them/ You are a parasite/an American Parasite.”

“Well’s Run Dry” beats me up with the fury of the lyric, the ragged emotion of hurt, and the undeniable glimpse of acceptance and guarded reconciliation in the chorus, “we don’t want to talk about it.” And then comes the breakdown courtesy of a volcanic performance by hardcore legend Lou Koller of Sick of It All. “You cannot fake this/you cannot break this/we turned our rage to hope and changed the whole perspective.” The beligerent heys are a reminder that “we don’t want to talk about it.” “We” may not want to, but there it is.

Aha – “Currents.” A minute-long respite to collect myself. Guitar and vocal. Snatches of piano, a bit of keyboard, and one minute of philosophy-driven questions and observations about the world we find ourselves grinding through. The vocal is outstanding, almost beautiful—a strange word to use, given the delivery’s ragged edges and gritted teeth. There is courage in letting the lyric and vocal stand in the clear. And then it is over. I need to rethink the use of the word respite.

My absolute favorite in this collection of favorites is “The Avenues.” The song is a big basket of little hooks and moves like a ride on a gently rolling road of lyrics and melody. It is part rage, part despair, and part guilt. The story is inspired by what he sees in his adopted city of Los Angeles; the homeless, the underserved, the everyman and woman being driven farther and farther into hopeless situations while the ones with the means remake the city into walls of privilege. Johnny reflects on his journey in parallel to the changing communities he knew and shared. “We all found shelter here/and then it disappeared/between the lights and the glamour we made our way and survived. /Did we lose ourselves/in those dim-lit rooms/did the city slip away while we broke all the rules?” Then the relentlessly melodic chorus of “We’re just waiting for the fallout, baby. We’re just waiting for the walls to come tumbling down. Did they build it up/just to push us out? Recycle everything and turn this town upside down….” The band marches resolutely through the deceptively simple, repetitive chord progressions, allowing the lyrics to tell the story. A signature guitar phrase runs through the song, including the beginning of the solo, which adds a short eight bars of melody that breaks my heart every time I hear it. The final chant at the end says it all – “They’re gonna fuck it up. They’re gonna fuck it up” over a swirl of layered vocals repeating “down, down.”

“The Turnaround” is a reimagined take on an earlier recording, moving away from the more pop sound of the original into a gritty, almost punk-funk reading. Like “Currents,” the intro is low-key and a bit tense, then the band tears into an aggressive rock-funk slam that is invigorating and soulfully nasty. Power move here.

This image has an empty alt attribute; its file name is fireaway.jpg

“Fire Away” is a therapy session in two and a half minutes. “I might be broken beyond repair ’cause the pieces are too jagged to fix.” The background vocals on the ending are almost dirge-like ooh – oohs. The message is mixed, but the almost rockabilly feel shakes things all around, so the listener has the urge to sway and shout FIRE AWAY!

“Flesh and Bone” and “Shelter” are raw and rollicking. On these tracks, the rhythm section rules. Drummer Robinson kicks off Flesh and Bone with a Mick Fleetwood-like drum intro, switches to a pounding, unclenched hi-hat, then hits the gas with a punishing beat that calls the rest of the players to the table. Bassist Chester lets loose with some dynamic solo lines that make this old bass player grin like a schoolboy. He also pops out in Shelter, shoving every inch of air out of the low end and into the atmosphere. Another tear of minor-ish guitar runs crashes into a pounded piano, ending in a glorious wash of tones, tunes, and atmosphere. I hear things in my headphones that I’m not sure are there – yes, it is that ear-opener.

The last song, “Hymn For The Underground,” is a punk-rock pep talk for everyman, capturing the essence of accountability and self-destiny. “You’re not replaceable/ they can’t walk on water/we are the ones who make the gears turn…you are glorious.” Be good to yourself, find and celebrate your value, and “stand up for what you love.”

To my ear, The Turnaround,  Avenues, and Hymn For The Underground call out for social awareness and activism from the masses.

Well’s Run Dry, Flesh and Bone, and Shelter share the more intimate and painful truths of trying to find some peace in a life filled with great highs and lows. Alienation and anger singe the edges, but a bit of jaded optimism is threaded throughout the pain. The one word that comes to mind is “accountability.”

I love this record for a whole lot of reasons. One of the best ones? It makes me want to sing, dance, pound the table and yell words not suited to a man of my age. And I will, and you just might too.

Album Credits

Words and Music by John Calderwood Arrangements by Original Son

Guitar & Vocals – Johnny Calderwood

Bass & Vocals – Justin Chester

Drums – Jeff Robinson

Additional Vocals on Well’s Run Dry – Lou Koller

B3 Hammond – Howard Laravae Piano – Tim Hutton Percussion – Chris Reynolds

Recorded at Canyon Hut Studios

Produced by Tim Hutton Engineered and Mixed by Chris Reynolds Mastered by Hans DeKline

Available on Sell The Heart Records

https://selltheheartrecords.bandcamp.com/album/currents

And on all the Streaming Services

This image has an empty alt attribute; its file name is ostshirt.jpg



A Father, A Son, and a Record Review

04 Monday Apr 2022

Posted by in Home, Living Our Values, music, Social Responsibility, Treasured Finds, Words matter

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I write about music a lot and often look at it through the lens of how it impacts me emotionally. So, I will write about the album “Currents” through the same lens. It will be interesting to see where this exercise takes me. It may be a jumble of parents, friends, musicians, creative souls, and flawed humans. I guess we will see.

 My son John is a musician, a songwriter, and a rock and roll poet-philosopher.

He is part troublemaker, part peacemaker. He is a bundle of love, hope, despair, optimism, and pragmatic fatalism, at times impossible and always completely loved. The perfect combination to make a great rock and roll record, which, in my opinion, he has done with his band Original Son.

The album “Currents” shows Original Son’s roots in punk and builds out from there. In my mind, the band and the record are just good old-fashioned kickass rock and roll with a heart and a conscience.

The ten songs are full of emotion, from deep anger to natural optimism. Rhythmic shifts and musical intensity slam against subversively upbeat choruses, creating a fast-moving thrill ride. The connectivity between music, lyrics, and performance has the flow of good storytelling. The arrangements drop surprising little hooks, with background vocals, percussion, snatches of piano, and some tasty Hammond organ adding to the sonic picture. Producer Tim Hutton keeps it all flowing, never stealing focus from the guitar-bass-drums vibe that is the core of Original Son.

Johnny Calderwood – Guitars, Vocals, Songwriter
Justin Chester – Bass, Vocals
Jeff Robinson – Drums

The musicians – singer/guitarist Johnny Calderwood, bassist Justin Chester, and drummer Jeff Robinson, sound like a band– an honest compliment to them. Each player has a knack for dropping lines and phrases that make me go, “Woah, I didn’t see that coming, or just DAMN!!!” Younger, hipper reviewers have compared their playing to more contemporary musicians. I hear flashes of the players I have listened to over the years. In Justin, I hear John Entwistle as much as modern players like Flea and Mike Dirnt. Drummer Robinson reminds me of Mighty Max Weinberg, not so much in tone but in intense, rock-solid time and taste. (I asked John, “how hard does he hit?” to which he replied, “As hard as he needs to.” A compliment I know musicians who play in bands will understand and appreciate.)

 As a guitarist, Johnny is an intense, dynamic rhythm player with a thick tone that fills out the mid-range with solid time and controlled aggression that lays down a bed for his crazy-good vocals. His solos, mostly short and to the point, dispense with gimmicks and make statements appropriate to the song. He shows a surprising range of stylistic influences, and nods to everyone from Mike Ness to Neil Young. I’ve had a love-hate relationship with his lead tones, but I have realized over time that his sound is his sound. His note choices and poignant phrasing in his short solo during “The Avenues” stopped me cold and had me hitting rewind. Moments may go unnoticed during casual listening, but these little glimpses beneath the bold and brash add dimension to my understanding of the artists.

The opening track, “Castles,” made me sit up and think, what do we have here? A dark, almost menacing eighth-note bassline joins with gritty power chords dragging a tail of feedback and crashing cymbals. A forceful voice asks, “Is this is the end/ Are we running out/of solid ground/did you learn to shout?” And then – BAM!!! Full-on punk-flavored power trio rock spitting social commentary on our fractured and divisive society and the actors who orchestrate the hate. “We’re all locked out /of the rooms of the castles/ of your masters. / In a world /built on deception/ you did not question/you are the weapon.” The song moves through a few subtle yet distinct styles, at one point causing me to flash to Deep Purple’s “Highway Star.”

Then comes “Parasite,” the first single released from the album. Brighter, bouncier, a bit cleaner sounding, giving the impression that it was a happy piece. Until I read the lyrics. This song’s moral and political core targets those who choose to attack rather than build. “You got your merry men/they keep their torches raised/so we can identify them/ You are a parasite/an American Parasite.”

“Well’s Run Dry” beats me up with the fury of the lyric, the ragged emotion of hurt, and the undeniable glimpse of acceptance and guarded reconciliation in the chorus, “we don’t want to talk about it.”. And then comes the breakdown courtesy of a volcanic performance by hardcore legend Lou Koller of Sick of It All. “You cannot fake this/you cannot break this/we turned our rage to hope and changed the whole perspective.” Then comes the heys and reminder that “we don’t want to talk about it.” “We” may not want to, but there it is.

Aha – “Currents.” A minute-long respite to collect myself. Guitar and vocal. Snatches of piano, a bit of keyboard, and one minute of philosophy-driven questions and observations about the world we find ourselves grinding through. The vocal is outstanding, almost beautiful—a strange word to use, given the delivery’s ragged edges and gritted teeth. There is courage in letting the lyric and vocal stand in the clear. And then it is over. I need to rethink the use of the word respite.

My absolute favorite in this collection of favorites is “The Avenues.” The song is a big basket of little hooks and moves like a ride on a gently rolling road of lyrics and melody. It is part rage, part despair, and part guilt. The story is inspired by what he sees in his adopted city of Los Angeles; the homeless, the underserved, the everyman and woman being driven farther and farther into hopeless situations while the ones with the means remake the city into walls of privilege. Johnny reflects on his journey in parallel to the changing communities he knew and shared. “We all found shelter here/and then it disappeared/between the lights and the glamour we made our way and survived. /Did we lose ourselves/in those dim-lit rooms/did the city slip away while we broke all the rules?” Then the relentlessly melodic chorus of “We’re just waiting for the fallout, baby. We’re just waiting for the walls to come tumbling down. Did they build it up/just to push us out? Recycle everything and turn this town upside down….” The band marches resolutely through the deceptively simple, repetitive chord progressions, allowing the lyrics to tell the story. A signature guitar phrase runs through the song, including the beginning of the solo, which adds a short eight bars of melody that breaks my heart every time I hear it. The final chant at the end says it all – “They’re gonna fuck it up. They’re gonna fuck it up” over a swirl of layered vocals repeating “down, down.”

“The Turnaround” is a reimagined take on an earlier recording, moving away from the more pop sound of the original into a gritty, almost punk-funk reading. Like “Currents,” the intro is low-key and a bit tense, then the band tears into an aggressive rock-funk slam that is invigorating and soulfully nasty. Power move here.

“Fire Away” is a therapy session in two and a half minutes. “I might be broken beyond repair ’cause the pieces are too jagged to fix.” The background vocals on the ending are almost dirge-like ooh – oohs. The message is mixed, but the almost rockabilly feel shakes things all around, so the listener has the urge to sway and shout FIRE AWAY!

“Flesh and Bone” and “Shelter” are raw and rollicking. On these tracks, the rhythm section rules. Drummer Robinson kicks off Flesh and Bone with a Mick Fleetwood-like drum intro, switches to a pounding, unclenched hi-hat, then hits the gas with a punishing beat that calls the rest of the players to the table. Bassist Chester lets loose with some dynamic solo lines that make this old bass player grin like a schoolboy. He also pops out in Shelter, shoving every inch of air out of the low end and into the atmosphere. Another tear of minor-ish guitar runs crashes into a pounded piano, ending in a glorious wash of tones, tunes, and atmosphere. I hear things in my headphones that I’m not sure are there – yes, it is that ear-opener.

The last song, “Hymn For The Underground,” is a punk-rock pep talk for everyman, capturing the essence of accountability and self-destiny. “You’re not replaceable/ they can’t walk on water/we are the ones who make the gears turn…you are glorious.” Be good to yourself, find and celebrate your value, and “stand up for what you love.”

To my ear, The Turnaround,  Avenues, and Hymn For The Underground call out for social awareness and activism from the masses.

Well’s Run Dry, Flesh and Bone, and Shelter share the more intimate and painful truths of trying to find some peace in a life filled with great highs and lows. Alienation and anger singe the edges, but a bit of jaded optimism is threaded throughout the pain. The one word that comes to mind is “accountability.”

I love this record for a whole lot of reasons. One of the best ones? It makes me want to sing, dance, pound the table and yell words not suited to a man of my age. And I will, and you just might too.

Album Credits

Words and Music by John Calderwood Arrangements by Original Son

Guitar & Vocals – Johnny Calderwood

Bass & Vocals – Justin Chester

Drums – Jeff Robinson

Additional Vocals on Well’s Run Dry – Lou Koller

B3 Hammond – Howard Laravae Piano – Tim Hutton Percussion – Chris Reynolds

Recorded at Canyon Hut Studios

Produced by Tim Hutton Engineered and Mixed by Chris Reynolds Mastered by Hans DeKline

Available on Sell The Heart Records

https://selltheheartrecords.bandcamp.com/album/currents

And on all the Streaming Services

The Couple

20 Sunday Mar 2022

Posted by in Beautiful Cambria, Dreams and Reality, Friendship, Home, Words matter

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The couple walks along the bluff trail, warmed by the sun, cooled by the barely-there marine layer. Tides are changing, from low on the northbound leg to rising on the way back.

The paths are busy, with a mix of couples and small groups accompanied by dogs of all nationalities. Today’s strollers are older, closer to the end than the beginning of the trip through the universe. Still, none lack vigor. How could anyone surrounded by such beauty be anything but optimistic?

A rugged inlet carved by the relentless Pacific falls away from the bluff. A local artist captures it in brushstrokes and tints, a painting she wants on her wall. He sees the vision but fears the meaning.

The couple has enjoyed many chapters in their life together. Now, living in paradise, they see the world one beat at a time. Even paradise has some rough spots, but these bumps are just bumps.

Their transition from flesh and bone to ash and air will happen someday; no sense wondering when or where. She, a practical and organized person, has a plan for that time. She will scatter to the wind, the sea, and the earth from this bluff, floating uncaptured by the artist’s brush. The soundtrack of her goodbye sits cataloged amidst the list of to-dos for whoever remains to send her off. Should he be left with the task, he will falter and crumble.

For him, his resting place won’t matter. In the past, he would choose a lookout deep in the mountains of a favorite retreat, where they walked and wondered how much beauty could fit into shared memory. But now, the bother is too much, and the memory is full enough. The music has played, the words spoken, and nothing more needs to be done. His attachment is not to a place but a spirit. If left to send him on, she, a practical and organized person, will think of the others sharing the moment.

But these are not for today. The raging searing beauty of the ocean kissing the graceful peace of the green grass under blue sky calls for reflection of what is before them right now. Everything else, well, is everything else, set aside for another day.

A MAD DESCENT INTO SLOWNESS

07 Tuesday Dec 2021

Posted by in Beautiful Cambria, Dreams and Reality, Home, Humor, Perserverence, Satire, Words matter

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Time flies, maturity takes the bus.

There are a lot of older people around here. According to my driver’s license, I am one of them. The arrival of forty-six hundred pieces of mail informing me of my Medicare eligibility confirms what I have denied to myself. Sixty-five. That magic number is here, and there ain’t nothing I can do about it.

I do old guy stuff now. My current obsession is making sure to set the coffee pot for the morning. This routine task is familiar to those with automatic coffee makers and is essential for a few reasons.

First, there is nothing better than getting out of bed and having a fresh pot of coffee ready to kick off the day.

Second, there is little more annoying than the sound of beans being ground early in the morning. It may have been Einstein who discovered the theory that the earlier the hour, the louder the grinder. Please don’t quote me on that. It could have been my wife who said that. See – more old guy stuff – making up facts and blaming the spouse.

Anyway, where was I? Oh yes, setting the coffee pot. A perfectly normal routine. Except now I find myself doing it in the late afternoon. Like, twelve hours ahead of time. Who does that? Old guys, or more specifically, this old guy. Who sometimes forgets to hit the timer button. Which is fine. It gives me more time to try and remember if I took my fiber and vitamins. I am not ready to add Ginko Biloba to my routine, but I’m thinking about it.

I have an old guy approach to my wardrobe now. There are “around the house” pants,  “around town” pants, and “going someplace nice” pants. And shirts? Tattered collars and cuffs are fine with me, and nobody sees them, so what’s the big deal? When I am out and about town, I zip my sweatshirt up. Blue shirts aren’t cheap, so I wear them until the League of Decency intervenes. Uh oh, another old guy reference.

Those commercials about people turning into their parents? I side with the turners. I am the guy who seeks out the manager at Albertsons to tell him what a great job Angela in produce does. I have said, out loud, “I am not paying that much for a box of instant oatmeal!” Yes, I eat oatmeal, and yes, I use instant because who knows how much time I have left? I am an old guy!

I watch Blue Bloods on Friday nights at 10 PM and try to figure out what they are having for Sunday dinner. I understand all of Anthony Abademarco’s double negatives because I grew up in New York. I looked at the cops with a bit of distrust back in the old days, and now I root for Jamie and Eddie to get through a shift safely.

And who knew The Big Bang Theory was so funny? I love the cleverness of the humor, though I find Howard to be annoying. And I admire how much Penny has grown over the years. Ok, I occasionally admire her other attributes; I am old, not dead.

I watch Saturday Night Live, and, as an old guy bonus, it comes on at 8:30 PM here in California. I understand that not every sketch or musical guest will be great. When I get nostalgic, I’ll find old episodes from my younger days and wait for the magic I remembered from those years. And realize that Saturday Night Live has always been hit – or – miss, even with the legends that came before today’s cast and writers. I still get a bit of a thrill when a musical guest that I don’t know blows me away. Thanks, Halsey!

I fight back against time, mostly with music. My ears are frequently ringing after a few hours of serious headphone time. The right ear goes first, an artifact of standing next to drummers back when I could play a whole gig without Aleve and Icy Hot. The thought of strapping on a bass guitar for four hours makes me want to lie on the couch and find episodes of Blue Bloods. But I can sit and listen to rock, punk, R&B until the headphones need recharging. I don’t get upset when I hear an f-bomb in my son’s songs. I think, “great use of the word to make a point.”  I expect to do this until the end, which could be anytime. Until then I’ll try not to exclaim, “What the hell happened to Joe Namath!!!” when he appears on TV to sell me something old-guy-related.

4 PM. Time to set the coffee pot.

The Gathering Place

03 Friday Dec 2021

Posted by in Dreams and Reality, Friendship, Home, Living Our Values, music, Words matter

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The transfiguration of wine and wafer into the body and blood of the savior is a mystery accepted by all good Catholics. In my Bronx neighborhood of the 1970s, less ethereal transformations took place. They were as dear and vital to many as the soul-saving sacrament that occurred mid-mass every day and a hundred times on Sunday. Dim the lights and drop the needle. Dull turns exciting, empty turns edgy, and everyone is beautiful for a while.

Night and Day

Gin mill. Pub. Tavern. Bar and Grill. Call it what you will.

These places, often the center of social lives within neighborhoods, shared many characteristics, even though they catered to different clienteles. One particular place occupied a part of my life that seems, in glazed memory, to have lasted forever. In reality, it was a brief segment that set the direction for many lost years.

The Place

The shotgun-style establishment somehow fit a very long bar, a center room divider, and a row of booths into an area no wider than a few supermarket aisles. A wall separated the front from the rear section. The square-shaped back room held a pool table, an occasional makeshift stage, and on particularly wild nights, a motorcycle or two.

This place, not unlike other spots in other memories, morphed from one reality to another as the sun rose and set. Patrons rarely crossed time zones, or if they did, soon moved on to an equally familiar spot at the family dinner table.

A hearty few were able to blend with the crowd, whether day or night. They staked out a strategic spot at the scarred wooden bar, body hunched forward, arms protectively surrounding the dual chalices of a short shot and a tall beer. Fading eyes stole looks around the room and peered into the mirrors that ran the length of the wall behind the stick.

Night

The room growled with acoustic excitement. Inside lighting dimmed as the outside skies gradually darkened. Thirteen souls turned into thirty, and thirty into heat-building, oxygen stealing full capacity. Conversations grew in energy and volume—animating gestures and bursts of laughter or angry exclamations. A blaring jukebox pumped artificial stimulation across even the last refuge of quiet corners and secluded nooks. The jukebox signaled who was in the room at any given time. We Just Disagree, Dancing Queen, Disco Inferno, Good Hearted Woman, Go Your Own Way, and the occasional Danny Boy floated above the haze of tomorrow’s lung disease. A hundred different perfumes melded with an occasional cologne. Hormones, pheromones, and testosterone, unseen as the Holy Ghost, intoxicated as much as the grains and hops in every hand.

“The Drink” lowered inhibitions and raised emotions. Caution left as “what the hell” entered. As hours blurred, hands began to fly. Lust and hate felt very similar in that crush of sweaty chemistry. Out of this simmer grew friendships, marriages, and lifetime feuds built on nothing more than “I just don’t like that guy.”

It was a world where any square yard held a dozen stories that could fill a hundred novels and a thousand songs.

Day

In the daylight, the space was sadly worn and dismaying. The smell of perfume gave way to stale beer, whiskey-soaked wood, and nicotine-covered fixtures. The worn linoleum floors had the color washed away by a million footsteps and a thousand scrubbings that never quite resulted in clean. Wood-themed paneling covered the walls and showed every warp, gap, scratch, and gash earned over countless days and nights of hard use.

Daytime patrons, some closer to corpses, replaced the mass of nighttime bodies. But still, there was something comfortable there, in the unflinching light of day and the noisome smell of bleach and unfiltered cigarettes.  

These patrons were not the characters assigned them by the arrogant young, the cruel bully, or the disdainfully righteous. They were friends, foes, and everyday people who enjoyed the comfort of a familiar gathering spot.

The lives they lived colored every inch of them. Some suffered disease and addiction. They were not losers, just lost. They were young once and danced, sang, argued, and fought. Perhaps, in the patchy and slightly distorted mirror, they still were.

Cheers

Were they us? What might we be under our facades? After facing the same triumphs and failures, experiencing the pain and loss of love, health, mind, and hope, who might we become?

We are old, and we are young. It depends on which mirror we choose.

Here’s to all of us.

Been away, haven’t seen you in a while.

How’ve you been? Have you changed your style?

And do you think that we’ve grown up differently?

Don’t seem the same. Seems you’ve lost your feel for me.

“We Just Disagree” Written by Jim Krueger, performed by Dave Mason

Boy Meets Girl

21 Saturday Aug 2021

Posted by in Beautiful Cambria, Cambria Fire Department, Dreams and Reality, Friendship, Home, Humor, Satire, Searching for Cambria's Reality, Words matter

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Romance in the Time of Covid

The late afternoon sun pokes through the front-facing windows of 927 Brewery, casting elongated shadows as it bounces off tabletops and shines through the amber hues of partially emptied glasses.

A thirty-something man enjoys a flight of craft beer and gazes at the concert posters and photos that cover the walls of the well-worn taproom. Behind the short bar, a bearded man wipes his eyeglasses with a towel, turns, and glides through a set of curtains. He soon returns, accompanied by the clinking of clean beer mugs. He places them within reach of the taps and nods his graying head in satisfaction. He notices that the man has caught the eye of a fellow patron, a pleasant woman dressed casually in a sundress, sandals, and a cute little short-sleeved sweater. The awkwardness of the eye contact soon fades as both patrons recognize the mutual interest.

So begins another page in the never-ending story – Boy Meets Girl in the Time of Covid.

They remain seated apart for a while, sharing rueful smiles as they dance the sadly familiar “moving of the mask.” On, off, sip, savor, repeat. Their eyes connect between each taste, checking to see if they were doing it correctly. It seems both silly and serious, as flirting sometimes does. After a while, she decides some real conversation might be pleasant. She casually asks, “Would you like to go outside? We can chat and enjoy the fading sunlight and the sweet-salty taste of the ocean air.” He smiles agreeably, grabs his mask and cap, and politely waits as she makes her way to the door.

They continue a cautious conversation on the outside patio.

“This is a cool little place,” she offers. “Is this your first time here?”

He shakes his head slightly. “No, actually, I stopped in here one afternoon, before all the craziness of Covid. It was quite busy. The guy behind the bar was hustling to keep glasses full and conversations going. He wore comfortable shorts and sandals, as I recall. I wonder where he is these days.”  

“Across the street,” a fellow patron answered, pointing to a winetasting room filling the curving intersection on the opposite side of the narrow block. “Still wears the shorts!”

“Good for him!” she declares. “All the bartenders where I live wear camo and cowboy boots: a different world, a different everything. I love the variety of people in Cambria. You can talk to ten strangers, and odds are they will be from ten different places.”

He nods in agreement and asks, “So, where is home for you?”

“A small place called Wilseyville, up near Sandy Gulch. Beautiful country, lots of trees, horses, and cows. I grew up there, and even though I travel a lot, I still call it home. It was a safe place to ride out this terrible pandemic, but frustrating to be stuck where nothing much has changed over the years. Overall, though, it is home.” After a thoughtful pause, she continues her story.

“I heard about Cambria from a neighbor. She mentioned that a local girl had landed a great job and moved down this way with her husband. I only knew the girl to wave to, so we probably wouldn’t recognize each other if we passed at the Farmer’s Market. I do remember her love of camo-themed clothes, which she can wear ‘cause she is such a pretty girl. Anyway, I looked up Cambria on the internet, and it seemed like a great destination for one of my freelance writer road trips. So this visit is a bit of a working vacation.”

 She watches him take a sip, then asks him about his journey to the Pines by the Sea.

He gazes up at the surrounding hills, and answers. “I used to come up here with my parents during summer vacation. We would use Cambria as our home base and take great overnight trips to the campgrounds up through Big Sur. It seemed like a place from another time, and I guess it is. I’ve come back on my own a few times to recharge and connect with the environment. Right now I’m in town on business.”

“Ha, something in common!” She smiles. “Working and enjoying this great little town. What kind of work do you do here?”

He starts to reply, then quickly stops as he sees a Q-tipped colored head peering over the steering wheel of a slowly passing car. The driver’s eyes narrow when she spies the couple. She grabs a notebook and pen and furiously scribbles something with her left hand as her right simultaneously raises a small camera and clicks off a few shots. She takes a hard turn onto Main street and disappears behind the frozen yogurt store.

“Well, that was weird,” whispers the woman.

“Not for Cambria,” he replies.

He perks up a bit and smiles. “To answer your question, I am a (stage whispers) consultant, doing some analysis for the local Services District. I’ve learned saying you’re a consultant here is like saying NIAGARA FALLS to the Three Stooges. SLOWLY I TURN, STEP BY STEP, INCH BY INCH AND I….” He notices her puzzled look and adds, “The Susquehanna Hat Company to Abbott and Costello, maybe?”

She looks at him and says, “Three Stooges? Abbott and Costello? I’m sorry, I don’t follow politics.” She waits for a beat, then whoops out a “NyukNyukNuk,” followed by a loud “Hey ABBOTTTTTTT!!!!!!!!”

“Oh my god, she’s perfect for me!”

“Oh my god, I’m perfect for him!”

Any reservations about continuing the evening fade away. A different type of energy takes over.

“So, where are you staying?” he asks, mentally calculating the distance to any of the local hotels.

“The Bluebird Inn, on Main Street,” she answers, checking her guest key to be sure. “It’s in a good location and more affordable than the places on Moonstone Beach.”

“Wow, what a happy coincidence! I’ve been staying there for a week now. I’m finally getting used to the sound of the streets rolling up around 9:30.”

“Speaking of things shutting down early, I could go for some food. You’re practically a local; where do you suggest?” She then corrects herself with, “Oh, I’m sorry, I should have asked if you would like to join me for a bite.”

“That sounds fantastic,” he quickly responds. “Let’s start walking. We’ll decide along the way.” She reaches out and lightly places her hand on his arm, and says, “Sounds like a plan!”

The man behind the bar is fussing with a playlist, skipping through songs until he stops on a rollicking, aggro-country Americana folk tune. Neither one of them could identify the music, so the barman explained. “It’s called “Buddies and Barbs” by a local singer-songwriter team. It tells the tale of the ongoing dialog that passes between Cambria’s tribes. It is sung and played in two different keys at the same time.

“Sounds kind of painful,” she says in a puzzled voice.

“You have no idea,” the barman replies, glancing at a faded green flyer that bore his image, and the washed-out words “vote for …” then a smudged something.

Armed with this bit of local lore, they say goodbye and head out to continue their adventure. He suddenly stops, asks her to wait by the door for a quick minute, and dashes across the street. He returns carrying a bottle of Pinot Noir. He gallantly proffers the wine. “To a great evening, and yes, he still wears shorts.”

They walk towards the East Village. The two now-cozy visitors decide to get something from Indigo Moon to enjoy back at the Inn. While they wait for their order they savor a relaxing evening cocktail. By the time they reach the Bluebird, they are familiar as old friends.

With food and wine in hand, they silently question, “Your place or mine?” She points to her room, unlocks the door, and waves him in with an exaggerated bow. He places the food and wine on the dresser. She brushes against him and reaches into the bag, forgetful of what they had ordered but not caring.

The assorted cheese plate calls out for an accomplice. Two tumblers of Pinot oblige. They each take a slow sip of the wine and begin to nibble on the cheese. A candle burns, a curtain closes, and a duvet finds itself tossed carelessly to the floor. Soon, the cheese is finished, but not the nibbling. Each looks to the other for a signal. The room heats up. Clothes start to fall away.

“Wait,” she says suddenly. “I am totally into what we are doing and definitely want to continue. But I have to be certain that we take all the right precautions. Do you have…”

He smiles confidently and reaches for his wallet, enjoying the building excitement. He opens it slowly, reaches in, and gently extracts the very thing needed at this moment. He notes the slight outline it has left on the soft leather. He places it on the nightstand, gently smooths the creases, and shows just how prepared he is with a slightly trembling hand.

She takes it from him, studies it for a moment, and quietly sighs, “Moderna. Two doses. Oh, yes!”

Things begin to accelerate when another thought creeps in. Not wanting to break the mood again, she slips her hand into her nightstand and says seductively, “I brought something special with me, just in case a night like this might happen. I… I’ve never used one of these before with another person, so I’m a bit nervous. Maybe you could help me with it?”

Now delirious with fantasy, he agrees faster than Meatloaf by the dashboard light. She brings her hand up and slowly reveals what she has in mind. She looks him deeply in the eyes, places it in his eager hand, and says, “This is for you. Swab me. Swab me good.”

“Are you sure about this?” he asks.

“What an odd question,” she answers. “This is a time when you absolutely do not want me to be positive. Now enjoy the best fifteen-minute wait you will ever have.”

“Hey Abbott indeed,” he thinks as he unwraps the rapid test kit.

In the blur of passion, neither notices the growing tendrils of smoke beginning to fill the room. The insistent beeping of a close-by alarm breaks through the fog, causing them to jump up in confusion. Confusion quickly turns to alarm. Small fingers of flame dance atop the dresser, consuming the carelessly discarded swab packaging.

She grabs a half-empty tumbler of Pinot and pours it over the spreading flame and watches, fascinated, as the remnants of the assorted cheese platter melt into a weird little fondue.

He grabs a towel from the bathroom and wets it in the sink; a painful, slow process. Water dribbles through the regulator installed on the faucet. With little time to waste, he gives up and drops the slightly damp cloth atop the smoldering mess, creating a Picasso-like bas relief of a picnic gone horribly wrong.

Under heavy pounding the door yields, and the room fills with first responders, led by a small but forceful Fire Captain. Her ice-blue eyes take in the scene, and she quickly gives an order to her crew. “FOAM IT ALL DOWN!” They do so with great enthusiasm.

Mission accomplished, the Captain offers a smart salute to the cooled-down couple and orders her team out. As they leave, a newly-minted reserve firefighter, shaken by her first encounter with live danger, receives some brotherly advice from a red-headed engineer who ends his pep talk with “…and this is why we always keep a supply of rice cakes handy.”

Wrapped in  rumpled sheets and wearing flimsy paper slippers, the couple watch the firefighters depart. They are grateful, albeit a bit embarrassed by the whole messy event. As the truck rumbles past, the captain gives him a slight smile and a wink. He remembers that he is scheduled to meet with the Fire Chief and his team the next day.

“Well, this is a story that won’t be featured in my next travelogue,” she says with a chuckle.

“Amen to that” he mutters. “I guess we should get some rest. My room is undamaged. We can sleep there.”

She nods and adds, “Plus, we are already swabbed, so…”

They join hands and disappear into the Bluebird, as a car slowly rolls by. A nearby streetlamp briefly illuminates a Q-tip colored head. With the seething sound of an outraged “consultant indeed!!!” and the click of one final picture, all becomes silent in Beautiful Cambria.

Falling

18 Sunday Jul 2021

Posted by in Dreams and Reality, Fordham University, Friendship, Home, Living Our Values, Social Responsibility, Tolentine, Words matter

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In her dream, she was falling.

Crazy tumbling images spun by. Her logical scientific mind frantically grabbed but failed to hold onto the connective tissue that floated just out of consciousness. Her intuitive, primal spirit found a thread and pulled, gently braking the whirling carousel. The random images, sounds, and emotions connected; not in any logical order or sequence, but started to make sense.

In this dreamy vignette, young girls filled the small gym at Saint Nicholas of Tolentine grammar school. A whirl of motion, navy jumpers over absurd blue bloomers, six to a side, as the rules of the day dictated. Basketball, boys or girls, ruled the neighborhood. From grade one through high school, the thud thud thud of ball against the ground was as much a part of the atmosphere as car horns, cooing pigeons, and soft Irish accents of mothers and grandfathers.

The tone of the rhythmic thump changed from leather on wood to the metallic ping of ball meeting concrete. Gone was the swish of the net, replaced by the clang and rattle of the garbage can used for target practice outside the oval that centered Devoe Park. The oval was the neighborhood coliseum for serious players, usually male. Plenty of local girls could compete against the best boys, and handily beat the average ones. But in her dream, she was not one of those girls.

She was still falling. Her vision melted into a kaleidoscope of maroon and white. Words and letters appeared above and beside her, then turned upside down as she descended. Familiar words. She carried them for four years and earned an F, the prized varsity letter that represented Fordham. Fordham University, the place where she found her niche among the best cheerleaders. The place where she achieved academic excellence. The place where once again the arrogance of men tried to keep her from playing on their court. Forgive me, Father, but I will not be known as Young Miss, but as Doctor.

The picture changed again. A boisterous crowd filled row after ascending row in the most famous of all arenas: Madison Square Garden, home of countless basketball confrontations, rock concerts, and the occasional mass wedding. A young college man, playing his heart out for his school, grew older with each dribble, his face and figure becoming the comforting man she woke up to that very morning. Alongside him ran two boys, who, like the man they resembled, grew into young teens, then mature young men. They were as clear and familiar as her own heart, the heart that pounded as she presented them to the world.

There was no rat-infested apartment building in this dream, no terrifying first lab class with dissected rodents under her shaking hand, no arrogant Jesuit blocking her access to a life in medicine.

There were only twenty-five thousand cheering fans, falling with her, helping feather the landing, and sharing the fear and joy of a tumultuous ride.

She slowly woke, the places of the past replaced by the contours of her office. Her eyes briefly rested on the wall of framed accomplishments. The sounds of distant cheering remained faintly in her ears, as grateful neighbors saluted the arriving colleagues that fight to keep other people’s dreams alive.

Her hand rose to her white coat, feeling for the Blue and Gold SNT, or the Maroon and White Letters she gained at Fordham. Instead, her fingers found the symbol of her calling. She gave a reverent squeeze to the simple tag that bore her name and the most honorable letters, M.D.

Fast Hands, Quiet Feet

14 Wednesday Jul 2021

Posted by in Beautiful Cambria, Communicating, Community Involvement, Educating a Community, Home, Living Our Values, Local politics, Social Responsibility, Words matter

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The intersection of citizen advocacy and elected community leadership is more fluid than a hard, clean line. There are rules and processes designed to facilitate that dynamic, but it isn’t easy to maintain consistent compliance in practice.

Whether elected or volunteer, public service comes with the responsibility to sometimes loosen one’s grip on an absolute position and accept a reasonable compromise. It also requires occasional conformity to uncomfortable or alien practices to how one operates as an individual, a family, or a boss.

Many of the people who step forward to serve the Cambria community are eager to “crush the ball” and drive positive change. Some are natural leaders, with the right combination of skills and experience needed for a particular role. Others are situational leaders, either by subject matter expertise, intense personal connection to an issue, or passion for a cause. Many, if not most, are good collaborators who find a place to contribute to the overall success of the team, and therefore the community. There are a few who struggle to recognize when they are holding on too tightly to a single style, not putting the greater good above personal philosophy.

Little League Baseball

When my son was much younger, I helped support his Little League team. I was not an official coach, just a father who knew a fair amount about the game of baseball, had a flexible schedule, and enjoyed watching the kids learn all the essential things that come along with organized sports. The official coach, Steve Galluccio, kept a group of rambunctious young boys on a good path while allowing enough freedom to keep it fun. He also had the remarkable ability to handle the difficult kids who would sulk or act out when they weren’t chosen to start or play the position they wanted.

My skill was in observing the players as hitters.

You can observe a lot by just watching. Yogi Berra

Two of the kids had great raw tools but made repetitive mistakes that limited their success. One boy was an obvious athlete – tall for his age, great disposition, and a joy for playing that made it look easy. His approach reminded me of the great Atlanta Braves outfielder Dale Murphy. The Little League version held his arms high, with shoulders level with his chin. His eagerness to hit the ball as hard as possible led him to violate the prime rule of hitting – keep your eye on the ball. When he started his swing, he would raise his front shoulder, which blocked his view of the incoming pitch. On those occasions where he connected, the baseball rocketed over the head of the outfielder. More often, though, he would miss the pitch badly. We worked on this problem throughout the season, and his success rate improved with each game.

‘The second player had a different batting style, though his desire to crush the ball also led to some bad habits. To generate more power, he would pull his arms way back as the pitcher released the ball, knocking him off balance and elongating the time it took to get the bat into the hitting zone. We worked on his starting point, moving his arms away from his body and keeping his hands farther back, in a ready position. We also worked on getting his feet spaced and balanced. The time he gained gave him split seconds to adjust to the location of the pitch. The phrase we used as a reminder was “fast hands, quiet feet.”

Put Me In, Coach

Like people everywhere, we sometimes refuse to listen and adjust our stance, relying on self-confidence that might be a bit misplaced. Not everyone can be right all the time. We all need coaching, and we all need to constantly evaluate our approach and make adjustments to meet the day’s challenge.

One of the many reasons I see baseball as an analogy for life is the century-plus history of those who enjoyed long and successful careers by making adjustments. Many pitchers, gifted with a blistering fastball that made them unhittable, found themselves getting touched up as they lost a bit of zip. Twenty-year major league pitcher Frank Tanana adapted by adding new pitches, changing speeds, studying hitters more closely, and knowing when to turn the ball over to a teammate. Derek Jeter could hit home runs but took a situational approach to hitting, amassing statistics that underscore his intelligence, team focus, and the judgment to adjust to the game situation. Will he apply the same philosophy to his new career as an MLB team owner? We will see!

Self-realization is powerful. So is listening to coaches who see things from a different perspective. As my good friend and mentor Rick Jablonski says, “give me the athlete, and I’ll teach him the game.” Great advice, especially with those who have the willingness for continuous learning and growth.

Like baseball, there is always a crowd watching every move, every choice, and every decision in public service. The beauty of it all is there are way more fans rooting for success than detractors hoping for failure. So, grab a glove or a gavel, suit up and enjoy the game.

The Fourth of July

04 Sunday Jul 2021

Posted by in Home, Living Our Values, Social Responsibility, Words matter

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I had been thinking about what I might write on this Fourth of July – the most unsettled and concerning one I can recall. America. It is beautiful, and it is ugly. It is heartbreaking and uplifting. It is loud, it is soft, but what it can never be is silent.

My approach changed as I Zoom’d into the UUCC service, hosted by my wife Jan and populated with personal recollections and perspectives from several fellow congregants. I listened as different speakers shared their American experiences through profoundly personal memories.

I am going to take a bit of personal privilege and share some of Jan’s words. I will also take this opportunity to share the unseen hours of writing, researching, and practicing as she put together her contribution to the music of the service. She thoughtfully combined Lou Stein’s complex and compelling jazz arrangement of “America” with Paul Simon’s poignant musical story of the same name. Two very different styles and visions, brought together to underscore the theme of the gathering perfectly.

In her talk, Jan shared a bit about her family history in America.

“When I was growing up, someone in my family started the rumor that we were directly related to Thomas Paine. I have since learned Tom Paine had no children that survived past infancy, so if we were related, it had to be remotely. I do, however, really have a Grandpaw Paine.

I want to believe my roots hail back to the great man, Tom Paine, the writer of Common Sense, the rabble-rouser who inspired people to embrace the Rights of Man. I want to believe that my heritage is that of a people who demanded a more perfect union. I derive that heritage, or at least the imagining of it, from my mother’s side.

My father’s was a completely different story. He came to the United States at six months old from Sicily, grew up in Cleveland, Ohio, joined the army in the prequel to WWII, fought at Normandy, Ardennes, and the Rhineland.

That’s why I consider myself the quintessential American citizen. First-generation on one side and probably seventh or eighth or more on the other. What could be more American?”

Indeed.

It was her poem, read towards the end of the service, that expressed her American heart.

The Last Rocket’s Red Glare                by Jan Callner  July 4, 2021

There was something

rare – possibly unattainable,

perhaps unsustainable.

Hamilton, Franklin, Adams,

Jefferson, Washington, Paine.

They knew it.

At Fort Sumpter we knew it.

At Gettysburg we knew it.

At Meuse-Argonne and

at Normandy we knew it.

Our vision blurred

with Viet Nam,

the Gulf War,

on 9/11,

and with Iran, Iraq, Afghanistan.

Where are they now,

the Jeffersons, the Adamses,

and, yes, the Lincolns?

Cooler, calmer minds

exist… listen now for

their voices.

For these are the times that try men’s souls.

Trying times,

Don’t be fooled

by the survival, not of the fittest,

but of the brashest.

Of those who follow the bray,

absorb the molecular barrage of insidiousness.

And what of the people who 

arrive from everywhere,

to seek refuge,

a better life?

What will they find

in this land of the free?

The rocket’s last glare?

Lincoln called us America,

The last best hope of earth.

Those ignorant of our struggles and successes,

see what they want to see.

Only hear the loudest voice

as it blares

from myriad digital sources.

Quiet the noise.

Listen to the universe.

It speaks

in a soundless voice

to be divined

if we are to hear the silence

of bombs

not

bursting

in

air.

You Blockhead!

18 Monday Jan 2021

Posted by in Beautiful Cambria, Home, Humor, Satire, Words matter

≈ 5 Comments

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” I have a weak back,” I said.
“Since when?” she asked.
“About a week back.” I answered gleefully, delivering the punchline.

As an ungracefully aging man, I have come to accept the realities that dumb things happen while doing non-dumb stuff. Give us an example, you say?

While drying off after a shower, I reached just the wrong way, causing every nerve along my lower back to burst into a chorus of something in the key of F*#@!

A simple twist led to over a week of decreased mobility, a glaring reminder of how quickly normalcy can be replaced by dependency. I don’t do a good job of maintaining a civil tongue when in pain or otherwise compromised. My behavior, I am told, often falls squarely between Hickory and Dock. My sometimes colorful exclamations garner some shocked looks and, “Oh, you’re from New York” comments from my California neighbors. Sorry, New York, it can’t be helped.

Baby Steps

After a couple of immobile days, I decided it would be all right to accompany my bride on a quick trip into town, where we did the traditional circling of the post office followed by the always exciting Cookie Crock dash. Fifteen or so minutes of sitting in the car did my back no favors. As I struggled to wiggle /squirm /heave myself upright while keeping the car door from slamming into my shins, I felt the old familiar kettle start to boil. My already-confessed short fuse, combined with the re-aggravated back, caused me another round of jerkery.

“It hurts when I go like that.”
“So, don’t go like that.”

We had pre-determined that we would refill a handful of the plastic water bottles that had piled up in the trunk. This chore, which I usually handle alone, became a bit of a team sport. My wife was being super-efficient, scrubbing every surface within the refill zone with a disinfecting wipe. I just wanted to get the job done in my usual way, which generally involves an elbow, two hands, a couple of pockets to hold the bottle caps, and a boatload of coins to feed the beast. I suppose, in hindsight, I could have explained my method before we started, but I have it on good authority that my style of explanation often elevates me to a second level of obnoxious. Plus, you know, my back hurt.

ANYWAY – things quickly became undone, with bottles in the wrong places, caps falling to the ground, and me not having a boatload of coins. The saint had a few, plus a couple of singles that could be fed into the machine. Rather than being pleased that she was so well prepared, I kicked it up a notch, from jerkery to total hole-ness, snapping “give me the money.”

Witnesses

As I turned away, I noticed two young ladies nearing the store entrance. They stopped and stared, slightly alarmed at the sight of a masked, cranky old guy snarling “give me the money” at a genteel, grey-haired woman holding a change purse and an empty plastic bag. We continued filling the bottles, and I didn’t give a second thought to the poor girls who possibly thought they were witnessing some type of street crime. It was only later, having moved from cranky to mortified, did I reflect on what went down at water world. 

Mea Culprit

So, to the two young ladies, and anyone else who may have witnessed my whiny, irrational, presidential-level hissy fit – I apologize. But you know, my back hurt…

sawstars

I saw stars.