… I bought a fresh digital copy of “Over-Nite Sensation” to replace the one I had in college.
No, not the bigger-and-better, new-and-improved version. The original, you slime. Do I look like I’m wearing a Sears poncho?
Don’t worry — I got a little something for you, too: Daniel Felsenthal’s look back at Zappa and that album over at The Atlantic.
Felsenthal calls “Over-Nite Sensation” Zappa’s “most inviting listen, forging a muscular, funk-inflected sound that couches the denseness of his more avant-garde music in pop hooks. … The album’s lyrics made a cutting statement about the flimsy values of its time — and the songs themselves were a tightly wound coil of Zappa’s musical ideas.”
You gotta love anyone who posits that Zappa’s long hair and beard resembled a fermata. No, it doesn’t have anything to do with dirty love, you preverts — it’s a symbol of musical notation.
Herself being at the movies with some friends, and Miss Mia Sopaipilla snoozing in her tower, I was nibbling a green chile cheeseburger with fries and checking the TV for something that wouldn’t spoil my appetite when I stumbled upon this John Prine retrospective on “Austin City Limits.”
It’s titled “The Best of John Prine,” but it isn’t, not by a long shot. You’d need a lot more than 54 minutes to cover that vast expanse of musical territory.
But I’ll take it. And don’t I wish we had 54 more years of John Prine. I’ve been listening to his stories for a half-century and I’d be delighted to stick around for an extended encore.
You won’t know the name, unless you worked with him or read him at the Los Angeles Times, the Colorado Springs Sun, the Gazette Telegraph, The Denver Post, or the Jackson Hole News, or studied under him at the University of Wyoming in Laramie.
But George stands tall in my personal history. He was one of the people who showed me by word and deed that there was a place in the newspaper game even for those of us who were a bubble or two off plumb.
When I got hired as a copy boy at the Colorado Springs Sun I was at loose ends following a brief tour of the dead-end gigs available to a dropout from a third-rate college. George was the police reporter, as I recall, and came to the Sun from the L.A. paper.
Back in 1974 the newsroom was stiff with talent, the best possible haven for a wannabe cartoonist shambling out of his teens into nowhere special if he didn’t pull his hairy head out of his hippie arse.
Bill Woestendiek and his wife, Kay, ran the outfit, sister paper to the Las Vegas Sun in Sin City. Carl Miller, who would move on to helm The Denver Post, was city editor. Bill Buzenberg, who would rise to veep of news at National Public Radio, was his assistant and an investigative reporter.
Bill McBean, another reporter, would abandon his typewriter for a paper route, claiming afterward that he made more money from delivering the Sun than he ever did writing for it. That didn’t last; he eventually got back on the scribbler’s horse in Denver, at the Post.
I was an actual scribbler; a cartoonist, or so I thought. But an adviser at Adams State College had told me just how few full-time, paid editorial cartoonists there were in the country and suggested that I cast a wider loop, maybe consider taking a reporter’s job as my entrée, a foot in the door.
Well, there I was, with both feet in and my dumb ass for company. Not a reporter; just a copy boy. And I didn’t even have the chops for that. When Carl handed me a stack of press releases to rewrite I told him I didn’t know how to type.
“Better learn,” he replied. And I did, whenever I wasn’t stripping and sorting copy from the wire-service teletypes, running copy and art to and from composing and engraving, and doing other scutwork so real journalists didn’t have to.
I learned something from all these people, starting with typing, thanks to Carl, who also passed on some firm hints about how to write for newspapers. Bill Buzenberg let me tag along and watch him interview hookers for a piece on the massage parlors infesting Bibleburg. The Woestendieks let me sit in on the copy desk on slow nights, learning how to fit copy, size art, and write heds.
George and Bill McBean took me out for drinks, told me war stories, had me over to their houses for dinner, introduced me to their wives; I soaked up their experience like a bar rag and felt as though I had become part of a family.
When I left the Sun to go back to school, this time at the University of Northern Colorado, George told me he hoped I’d come back as a reporter. And I did. But not to the Sun — to the Gazette, the bigger of the two papers in town. Because George was there, this time on the city desk.
He helped me sneak in the back door as a contractor — a little glimpse of the future there, yeah? I compiled the annual industrial edition, drew a few cartoons, and even wrote a couple of stories before getting hired in early 1978 as a for-reals general-assignment reporter at $155 a week.
And that’s where the rubber met the road. As George’s obit notes, he was “a meticulous editor and dedicated teacher.” He was not above crumpling up your copy and tossing it back to you. (We were still working on typewriters in 1978, and other people in the newsroom could actually see it when an editor threw your copy back at you.)
After a few rounds of journalism badminton George would call me over and explain in detail, citing irrefutable examples, precisely why I was a toothless cog in the Gazette‘s well-oiled machinery. Sometimes he and his opposite number Joe Barber would tag-team me. This could be like getting tossed around the ring by Mad Dog and Butcher Vachon.
It was the school of hard knocks, for sure. But man, if you don’t get kayoed, you learn how to roll with the punches and throw a few of your own. As Carl had told me once at the Sun, “We can teach you more about newspapering in a year than you’ll learn in four at college.”
But Carl also insisted I go back to college. Once again, good advice at the precise moment it was needed. Because without that journalism degree I would not have been able to stay and learn at the Sun, or follow George to the Gazette, where I learned even more, in the company of comrades from other schools, other papers.
Sadly, I suspect Carl’s advice is no longer relevant. Back in the early Seventies, at the minor-metro papers that hired me, editors like Carl and George could spend some time breaking in the noobs. An assistant city editor would call you over to demand an act of contrition for some sin of commission or omission. A copy editor might have some thoughts about condensation and clarification. A typesetter could catch an error that had eluded everyone else and that observation would find its way back to you like a bad check.
If the error slipped past the typesetter, the page proofer, and the press check, and actually made it into print, the managing editor might want a word. This would be truly educational. Envision a very angry principal, swinging a larger “board of education.”
Even George made a few mistakes, and like good students we did too. (Actually, we did not require coaching in making these kinds of mistakes, but we were finally getting paid, and could afford to make bigger and better ones.)
This was why the list of phone numbers taped to a drawer at the city desk listed as many taverns, titty bars, alehouses, grog shops, gin mills, cantinas, and buckets o’ blood as it did home numbers. In extreme cases some expenditure of shoe leather was required, but by then we were seasoned reporters, kinda, sorta, and dogged in the pursuit of The Story, or whoever was supposed to write or edit it.
After a few years we all moved on to other opportunities, because in the newspaper game this is how you get a raise or a better job, or at least a different one. If you’re inclined to keep making some of the old mistakes or maybe acquire a few new ones, it’s also how you get a fresh nest to shit in.
George suggested I start keeping a journal, and Lord, have I ever kept ’em.
George eventually left the newsroom entirely and settled down in academia, where he could continue gently and relentlessly squeezing the dumbass out of young eejits afflicted with delusions of grandeur.
One of his students recalls: “I learned so much from that man that I still find myself quoting him and referring to him as someone who influenced my life in important and meaningful ways.”
Me too. And you as well. You probably never read George Gladney, or worked with him, or studied under him. But if you’re reading this, you are under his influence.
Because it was George who told me back in 1974 that I should start keeping a journal. And that’s just another word for “blog.”
Calm down, ye amadáin, I’ve not a drop taken: That’s a Guinness 0 so.
Birthdays. Some of us get overserved, others get 86’d with the cork barely out of the bottle.
Whoever’s in charge of this party seems a bit random. Can’t tell the top shelf from the well, the class from the dross. Proper ladies and gents given the shove while the most appalling tossers have the run o’ the place.
Take me, if you can bear to. Here I sit, roaring up on an age at which I had fully expected to have been stone dead for at least 39 years. Upended many an office pool I did.
“Who picked 69? 69? Well, doesn’t matter, because the bugger is still alive!”
Turn your radio on.
Meanwhile, there’s many an empty stool in this shabby shebeen. Where’d everybody go? They were all here just a minute ago. …
Herself is back east with family and friends to raise a belated parting glass to a lifelong friend carried off by COVID last fall.
I’m right here, having charge of the cat. But recently I spoke with one of my old pals, the former Live Update Guy Charles Pelkey, who has taken a few sucker punches since a cancer diagnosis a dozen years ago but is still on his feet in Laramie, all bouncers be damned.
It may be my birthday that’s on tap come Monday, but I’d buy Charles a round to celebrate his most recent lap around the sun, may it not be his last. Lucky for me and my 401(k) I don’t drink anymore; I don’t think he does, either. ’Tis unknown the amount of money our younger selves could piss away in a proper pub.
At the publisher’s expense, of course.
But that’s neither here nor there.
And anyway, it’s the thought that counts.
So belly up to the bar — unbeknownst to the landlord, who is manhandling another tray of industrial lager to the hoops-watching gobshites glued to the TV in the back of the pub, we’re uncorking an 18-year-old, double-cask, single-malt episode of — yes, yes, yes — Radio Free Dogpatch. And sláinte to yis.
P L A Y R A D I O F R E E D O G P A T C H
• Technical notes: There was an inordinate amount of racket in and around El Rancho Pendejo this week, but after a series of false starts I was finally able to nail something down using my trusty Shure SM58 mic and the Zoom H5 Handy Recorder. Editing was in Apple’s GarageBand, with a sonic bump from Auphonic. Music and sound effects are courtesy of Zapsplat,Freesound, and Your Humble Narrator.
David Lindley has taken his act on the road for the final time.
Damn, but that dude could play. And play anything with strings, with anyone who was up for it, according to his obit in The New York Times.
His collaborators included Jackson Browne, Bob Dylan, Dolly Parton, Warren Zevon, Ry Cooder, Iggy Pop, Graham Nash, and David Crosby. And that’s just the shortlist.
Writes Alex Williams:
Ever on the hunt for new sounds and textures, Mr. Lindley had “no idea” how many instruments he could play, as he told Acoustic Guitar magazine in 2000. But throughout his career he showed a knack for wringing emotion not only from the violin, mandolin, banjo, dulcimer and autoharp, but also from the Indian tanpura, the Middle Eastern oud and the Turkish saz.
That’s a dude you want on your album. He could probably play Celtic harp, rusty bedsprings or a chain-link fence if you needed it.
My people and me, we mostly knew Lindley from his work with Browne on albums like “For Everyman” and “Running on Empty.”
That first album was a who’s who of the musical world when it came out in 1973. Hear that raging piano in the background of “Red Neck Friend?” That would be Rockaday Johnnie, a.k.a. Elton John. Also in the mix on “For Everyman” — Crosby, Joni Mitchell, Sneaky Pete Kleinow, Jim Keltner, Don Henley, Glenn Frey, and Bonnie Raitt.
Our musical world is running a little closer to empty without Lindley, but that big band in the Next World just keeps on filling up.