Down on the farm

Don’t recall exactly how or why, but I ran across this gem the other day, which came with an added kicker ere all was said and done.

The BPs covered this butt-rockin’ classic RaB tune for many years—a strict, straight-up rendition without any embellishment or “improvements,” not even in the guitar solo. It always got a solid response from the crowd, getting people out on the dance floor with a quickness to shake their booties joyously. But that additional kicker I mentioned? It’s in the YewToob comments section.

Crazy, man, crazy! As Fate would have it, Poe and his Poe Kats have a pretty storied history their own selves, which goes well beyond big Al Downing and “Down On The Farm.”

Bobby Nelson Poe, Sr. (April 13, 1933 – January 22, 2011), also known as The Poe Kat, was an American musician who had a long and varied career in the music business.

Bobby Poe was born in Vinita, Oklahoma. In the mid-1950s, he formed Bobby Poe and The Poe Kats, which featured African-American piano player Big Al Downing, lead guitar player Vernon Sandusky and drummer Joe Brawley. Bobby Poe and The Poe Kats were also Rockabilly Queen Wanda Jackson’s first Rock and Roll backing band. They toured with Wanda and can also be found on her early Capitol Records recordings, including the Rockabilly classic “Let’s Have a Party”. Bobby, Wanda, Big Al and Vernon are all members of the Rockabilly Hall of Fame.

Bobby Poe and The Poe Kats came to the attention of Sam Phillips of Sun Records with their first recorded track, “Rock and Roll Record Girl”. Based on the music of the old standard “Chattanooga Shoe Shine Boy”, “Rock and Roll Record Girl” was at first blocked from release by Wesley Rose of Acuff-Rose because of that fact. By the time all of the legal hurdles were cleared, Sam Phillips was no longer interested in releasing the track. Instead, Dallas, Texas radio personality Jim Lowe stepped in and released the single on his White Rock Records label. “Rock and Roll Record Girl” backed with “Rock and Roll Boogie” became a number 1 single in the state of Texas.

After one more single for Jim Lowe’s White Rock Records entitled “Piano Nellie”, under the name of Bobby Brant and The Rhythm Rockers (which was shortly thereafter picked up and re-released by EastWest Records), Bobby Poe gave up his career as an artist to become an artist manager. His first client was Big Al Downing. In the 1960s, Poe moved to the Washington, D.C. area and expanded his operation. He managed and co-produced The Chartbusters, which featured his old bandmate Vernon Sandusky. The Chartbusters scored a Top 40 hit in 1964 with their recording “She’s The One”. Tom Hanks was quoted in People Magazine as saying The Chartbusters were one of the influences for his film “That Thing You Do!”. Vernon Sandusky went on to play guitar in Country Music Hall of Famer Roy Clark’s band for over 20 years. Bobby Poe also co-managed The British Walkers, which featured Bobby (sometimes spelled Bobbie) Howard and legendary blues guitarist Roy Buchanan.

One of the things I’ve always loved about the music biz is the wild, wild stories lurking behind even the most ordinary-seeming artists. More unexpected twists and turns than the most remote mountain blacktop, that’s for sure.

Congrats, kudos, all that jazz

The Warlord of Barsoom marks a very special milestone.

A couple days ago, Postcards From Barsoom hit the twenty-thousand-subscriber milestone. I wanted to do something on the day, but I was wrapped up finishing the Starship Troopers essay, and after that I made the mistake of catching a head cold that pretty much nuked my last couple days for anything productive.

When I started sending these Martian missives I never expected that they’d prove so popular. Twenty thousand isn’t a huge number in the grand scheme of things, but it’s a much larger audience than I’ve ever had before. My essays now routinely break the five-figure view mark, meaning that everything I write is going straight into the heads of tens of thousands of people … and, I like to flatter myself (and you), not tens of thousands of random people, but tens of thousands of highly intelligent, thoughtful, and often successful people … the kinds of people who have a greater-than-average influence on the world.

The responsibility of that weighs on me with increasing heaviness. There are consequences to ideas. Every time you say something, it has some influence on the people who hear it. On a densely connected medium such as the Internet, every thought is a sort of wave that pulses out into the collective consciousness; the more connected one is, and the more that wave resonates with connected receivers, the greater its amplitude. This doesn’t only have an effect on the people who directly read something, either. There are second-order effects: someone reads something, and this influences their thoughts, which in turn influences their own words and actions, which has an effect on the people connected to them. And then by extension there are third-order effects beyond that, cascading throughout the noosphere.

Nice to know the Substack thing is working out well for somebody, at least. My own experience over there has been a good bit less salutary, alas: just under 300 suhbscribers, nearly all of the non-paid variety, thereby rendering the financial remuneration far less than what I was assured it would be when the nice Substack lady e-mailed me to inveigle me to start posting on the account I’d set up right after Substack came online and then let lie fallow afterwards, having no clue what I was gonna do with the damned thing. Then again, I’m what you might call an “acquired taste,” I freely admit it.

In this regard, at any rate, John Carter and I have a lot in common:

I didn’t start Postcards From Barsoom with any kind of plan in mind; to be honest, I still don’t have anything that could recognizably be called a ‘plan’. There’s no niche I’m trying to carve out, no one over-riding message I’m trying to communicate. I write about whatever I find interesting enough to capture my attention, I try to be honest without pretending I’m always right, and I try to find creative angles on the subject matter, to say things that haven’t been said before, or at least to say them in a somewhat novel fashion. It’s a constant dance between poetry and science, perched on the razor edge between rigour and ridiculousness. Striking that balance while also being aware of the responsibility that a large audience entails is trickier still. Nothing crushes playfulness faster than the gravity of seriousness.

Preach it, brother-man.

Good reads

Apropos of not much, really, I just wanted to mention Tactical Hermit’s brief summation of the fire-bombings of Dresden and Tokyo towards the end of WW2, both events the impetus of a great deal of Allied angst and self-recrimination even today. Doubtless historians, scholars, and pundits will be arguing the same unanswerable questions from now until Doomsday: Were the bombings ineffectual, perhaps even pointless and unnecessary? Can we ever truly know if they hastened the final collapse of Nazi Germany and Imperial Japan by so much as a single minute? Should they be thought of as simply part and parcel of modern warfare, albeit profoundly regrettable? Or were they in fact atrocities, crimes against humanity perpetrated by unfeeling monsters against blameless civilians?

The reason I bring all this up tonight is nothing so weighty as all that, thank merciful Heaven. See, it just so happens that, thanks to Amazon’s Kindle Unlimited, I have on my sail foam a seriously gripping historical-fiction novel in ePub format titled The Air Raid Killer (Max Heller, Dresden Detective Book 1). It’s one hell of a page-turner, as author Frank Goldammer’s Detective Heller doggedly pursues a mad, quasi-human serial killer through the dead, burned-out streets of once-beautiful Dresden just before, during, and after the city’s immolation and utter destruction by several thousand RAF/USAAF HE and incendiary bombs.

Steve Anderson’s translation is absolutely flawless—not often the case with ePubs, alas. In the usual run of things, the editing and/or conversion from dead tree to ePub is so godawful it can be an active nuisance, yanking you right up out of the story by your ears to leave you staring blankly at the nearest wall. You can but shake your head in sorrow, anger, and confusion, hoping against hope that whoever committed this heinous crime against lit’ratchure wasn’t getting paid for the job. Oughta be in jail, more like.

Didn’t realize it until just now, but there’s a sequel to ARK. Yclept A Thousand Devils, Book 2 features Max Heller plying his trade in the same locality two (2) years after his hometown’s nightmarish destruction. Gonna have to add that ‘un to the ol’ KU library toot sweet and give it a look-see, soonest.

How deathless is DONE

The making of a masterpiece.

“Absence of Malice” and Why Some Movies Are Timeless
When a great satire is made, one that touches on themes that are endemic and universal to the worlds of which they make fun, what happens is that reality keeps coming back around and making those movies relevant all over again. Our tragicomic withdrawal from Afghanistan echoed the futility of the daily lives of the drafted surgeons of the 4077th Mobile Army Surgical Hospital (M*A*S*H). Our seemingly aimless and ineffective attempts to counter Putin in the Ukraine can sometimes make us believe that nothing much has changed in the halls of the Pentagon since Buck Turgidson, President Muffley and General Ripper hammed it up in Dr. Strangelove’s “War Room.” And “The Player” and “Network” so perfectly skewer Hollywood and the News Media that all these years later, they remind us that almost nothing about those industries has changed over the ensuing decades.

But it’s not only comedies and satires that can achieve this kind of cultural resonance… history rhymes, if it does not repeat, as they say, and so dramatic thrillers like “Serpico”, “All The President’s Men”, “Three Days of the Condor”, “Taxi Driver” and “Death Wish” also seem more relevant than ever, these days.

In the same vein, Sydney Pollack’s 1981 masterpiece “Absence of Malice” is one of those movies that perfectly skewers its subject, an unholy alliance between the press and the very government the press is meant to hold in check. It is so well done, that the drama is timeless. A movie that seems more prescient now, than it did when it was made.

The opening credits of “Malice” show us a full edition of a local Miami newspaper being written, typeset and printed. As the paper evolves into its final form, the headlines tell us that a powerful union boss has been missing for six months and is presumed dead, and that the Justice Department, the Miami PD and the DA are under trememdous pressure to solve the case.

Post credits we meet the Federal Prosecutor in charge of that case, Elliot Rosen (Bob Balaban), who has decided that a successful liquor wholesaler named Michael Gallagher, played by Paul Newman who was still one of the best looking men in the world even at age 56, must himself be involved in the disappearance in some way. Rosen doesn’t believe this because of any evidence he’s collected, he has none at all, but because Gallagher’s deceased father was affiliated with the local anti-union mob and so, therefore, his son must also be “connected”… quod erat demonstrandum.

Later, when the Miami Dade DA asks him which crime Gallagher is suspected of committing, Rosen answers “what’s the difference?”

“So you’re squeezing him?” asks the DA.

“You got somebody better?” is Rosen’s chilling response.

Unfortunately for Rosen, the US Consitution exists, and he cannot arrest Gallagher, put him in a deep dark hole, and sweat it out of him. So, he decides to put public pressure on the businessman in hopes he will break. To do this, he targets a young cub reporter named Megan Carter, played by Sally Field, as his weapon of choice. He leaks the existence of his “investigation” to Carter who writes an article that comes up just short of accusing Gallagher of the crime, an inferred accusation which Rosen knows will embarrass the man and destroy both his social standing in Miami as well as his business… eggs, meet omelette.

By now this should all be starting to sound very familiar.

Certainly it should be to attentive CF Lifers, mainly because of this clip featuring the incomparable Wilford Brimley.

I’ve run it here again and again, and watched it even more times, and it ain’t never getting old.

Enduring classic(s)

Lakeside Joe posts the renowned Dave Brubeck chestnut, “Take Five,” the one and only hit record I know of written in 5/4 time. Joe calls it an “enduring classic,” and that it most certainly is. Reminded me of another good ‘un I’ve been hearing of late on the local jazz station I resort to when the Wokesterism and PC horseshit ceaselessly pissed out by my usual classical station starts to work my last nerve.

Great melody, bangin’ arrangement, and the brass and wind sections are dialed in tighter’n Dick’s hat band: enduring classic? I’d say so, yeah.

We’re back, baybeeee!

As Stephen says: it’s official, America is great again.


The absolute best fast-food burgers in the business, Hi-C orange, plus TITTIES! I ask you, what’s not to like here?

Free verse

In the course of a phone confab with my friend Don just now, for some strange reason the hoary old English limerick that begins “In days of old/when knights were bold…” came up. The version I’ve always known best runs thusly:

In days of old, when knights were bold
And condoms not invented
We wrapped a sock around our cock
And babies were prevented.

Now tell me that ain’t just hi-larious, I triple dog dare ya.

Anyhoo, this memory inspired me to do a Luxxle search for the opening line after I’d hung up, seeing as how I knew there was any number of different iterations of this bit of bawdy doggerel. And sure enough.

In days of old when knights were bold
And women weren’t invented,
They all drilled holes in telegraph poles,
and came away contented.

And:

In days of old when knights were bold
and toilets weren’t invented,
they laid their load upon the road
and walked away contented!

And:

In days of old
When men were bold
And paper not invented
They wiped their ass
With blades of grass
And walked away contented.

Last but by no means least:

In days of old, when knights were bold,
And girls were not particular
You’d line them all against the wall
And screw them perpendicular

What can one say but: heh. I do love me some lit’ratchure, I truly, truly do.

I’m sure there are many other versions of this classic floating around out there; if you know any, please feel free to share ‘em with us in the comments section. Lord knows that, in these parlous times, we could all use a good laugh any time we can get one.

Update! Upon further reflection it occurred to me that, as fodder for public-restroom graffiti goes, the fine old poesy above ranks right up there with a couple of stellar examples I ran across in a Chapel Hill dive bar the band was playing at long ago, scrawled at eyeball-height above the lone urinal. To wit:

Flush twice—it’s a long way to Taco Bell

And then another, older but still legible graffito:

Why change Dicks in the middle of a screw? Vote for Nixon in ’72!

Good stuff, no? Then there was a pre-Innarnuts listicle enlivening the green room of CLT’s Park Elevator before it went the way of all nightclub flesh, which started off thusly:

REASONS WHY THE INDIGO GIRLS SUCK

  1. They aren’t really indigo
  2. They aren’t really girls
  3. Off limits pussy pie

The above listicle items were added to by various Sharpie-wielding band members over time until finally, two (2) entire walls were covered by ‘em, transforming the ever-expanding list from the ordinary misspelled, punctuation-bereft, and ungrammatical semi-bon mots into a bona fide epic of rowdy witticism. Sadly, the first three are all I can remember now, but I do know the BPs laughed ourselves dizzy the first time we saw it, and raced in to check for new additions each and every time we played the joint ever after; it quickly became our first order of business before we loaded in, set up, and sound-checked, even.

I know the Indigo Girls gigged there at least once before the decrepit Park Elevator building was torn down and replaced by a yuppie-puppie pancake house or million-dollar condos or some such shite, so presumably they must’ve seen the backhanded tribute at some point. Who knows, they may have even added to it themselves—provided that the Girls (not! NOT!!) could’ve scraped up even a facsimile of a sense of humor between them, that is. Never met ‘em myself, so I won’t speculate on how likely that might be.

Park Elevator also happens to be the place where I rode my stripped down, straight-piped, apehanger-bedecked 1971 FLH through the low freight-loading entrance and right onto the stage at the beginning of our set, parking up next to my guitar amp. My friend Joe followed me in on his hot-rod Sportster, parking over on Stage Left opposite my Shovelhead; both bikes were custom-painted white and had been thoroughly shined up beforehand so that they gleamed and glittered beautifully under the multi-colored stage lighting.

Who was it we were opening for that night—the Cramps, maybe? Somebody else? Or were the BPs headlining the show? Ahh, the hell with it; doesn’t matter now, it’s over and done with. The one thing I’m confident of is that nobody who was there to witness our spectacular stunt-entrance has forgotten it, nor will they.

Backstory of how the deal went down: upon arriving at Park Elevator I approached the owner, Tim, to inform him of my nefarious plans and also to confirm that the jerry-built PE stage could handle a total of approximately 1500 pounds of extra weight without collapsing and killing us all. Tim grinned sheepishly, shrugged, and replied, “I dunno; it’s up to you, man, I’m cool with it!” Which noncommittal response put before me a question I’d asked myself time and again before doing another reckless, risky, and altogether foolish thing: What would Jerry Lee Lewis do?

There was but one answer to that, which was clear as a mountain spring. So I fired that bitch up (kick only, natch), muscled the 20-inch apes (on five-inch straight risers) down and back enough to JUST clear the freight-ramp door at Stage Left, and rode on in—so far so good, no problem. Shut the low-slung Shovel down, gently leaned it onto the kickstand, dismounted, strapped on the git-fiddle, slashed that almighty first-position A chord, let that mutha ring until the tormented Marshall amp screamed in razor-edged agonies of feedback, and may the revels commence, baby!

And the rest, as they say, is rock and roll history. A pic of the ol’ gal as she was in days of yore:

As with guitars, amps, cars, and women, I never could seem to keep a bike around for more than four-five years max before losing interest and offloading it. The 71 FL, though, was special: I held onto that one for ten (10) years before dumping her and moving on. A whole lotta years, a whole lotta miles, a whole lotta smiles, two (2) girlfriends, and I don’t even know how many cars, guitars, and amplifiers over that unusually lengthy (for me) period.

Those ten glorious years saw:

Three (3) custom paintjobs

Five (5) sets of exhausts, the uncontested champeen of which was an HD two-into-one system featuring no-shit tuned headers—the stock factory system for one (1) year on certain late-70s FX models, a rara avis greatly prized among Those Who Know. Ugly as sin, excessively heavy, too quiet for comfort, that rig nonetheless made my Milwaukee Marauder run like a raped ape after me and Goose punched holes in the big, clunky baffle it came with, a mod which increases exhaust-gas flow while still retaining the back pressure highway and byway cruiser machines require to operate at peak efficiency all day. There’s a reason, after all, why HD straight-pipe exhausts are pretty much universally known as “drag pipes,” even amongst non-biker types who have never swung a leg over a Hog in their lives and know precious little and care even less about ’em: it’s because drag pipes only work well on actual dragsters that run at full-throttle all the time, for short but exhilarating bursts down a stick-straight quarter- or eighth-mile strip

Five (5) sets of handlebars/risers: buckhorns on pullbacks, drag bars, 16″ apes, 20” apes, these wide-ass dresser longhorns I could only put up with for a cpl-three months

A full-custom suicide shift designed, built, and installed by me and Goose; unavailable at any price back then, now offered by several aftermarket manufacturers

Two (2) primary drives, enclosed chain and open belt

Six (6) seats, with and without sissy-bar, from a horrible solo seat on springs to the near-perfect Mustang pillow-seat shown above

Four (4) detachable saddlebag sets, one a rare factory Sportster arrangement; two throwover leather bag sets, one all fringed and fancy, one plain-Jane; lastly, the fiberglass bags shown above, a set of aftermarket el-cheapos

As the above partial list shows, I expended a great amount of time and effort on re-imagining, customizing, and re-working that faithful, rock-solid murdersickle into various guises. All part of the fun of Harley-Davidson ownership—actually, one of the primary reasons crusty old gearheads like me get addicted to the blasted things.

Updated update! After extensive digging, I eventually managed to unearth a pic showing the OEM 2-into-1 exhaust I waxed rhapsodic about earlier.

1978 FXS Lowrider, that would be, a very well preserved example of a long-dead breed. Look close and you’ll see the points (!) cover proudly sports the Number One-American flag insignia from the AMF (Annoying Manufacturing Flaw) era.

Simple, rugged, uncompromising: to me, this is simply what a Harley Davidson motorcycle looks like. Not anymore, unfortunately. Check out the official H-D website and you’ll find page after tiresome page of bland, cookie-cutter mundanities that bear no resemblance whatsoever to the straightforward, classic machines  of yesteryear, which I think is a crying shame.

Yes, they leaked oil. Yes, they vibrated so bad they could make your hands go numb and shake your teeth loose on a long trip. Yes, they were so slow they could barely get out of their own way. Yes, they were heavy pigs. Yes, the inferior clutch, four-speed tranny, long-throw shifter, and loosey-goosey shift linkage could make changing gears a hit or miss proposition sometimes. Yes, the suspension, handling, and brakes were a good bit shy of adequate. What of it? All those shortcomings could be addressed with a little backyard wrenching and some high-performance components, which even back then were readily available.

No self-respecting biker I’ve known would think having to work on his own bike so as to get everything dialed in to his personal satisfaction to be a bridge too far. Hell, invite your bros and their ol’ ladies over and have ‘em bring a case or three of cold beer along, crank up some slammin’ tunes on the jambox, and have yourselves a blast. Far from being any kind of deal-breaker, it’s an integral part of the biker lifestyle.

See what I mean about that exhaust, though? Pretty it ain’t, but it performed superbly, at least on my FLH. Looks as if Harley-D went for Function and said straight to hell with Form on those babies. Note how the rear pipe curls around the nose-cone cover like a snake, which is what it took to make tuned headers out of the system. Tuned headers, for anyone who doesn’t know, are basically just header pipes of equal length and diameter, see. After the first foot, foot and a half from the manifold clamp, the rest doesn’t matter. Rare as hen’s teeth back in the 70s and 80s, 2-into-1 exhausts with tuned headers for Harleys are common as dirt nowadays—you can’t take two steps without tripping over the aftermarket ones, for Big Twins and Sporties alike.

3
1

Hood ornaments? I gotcha hood ornaments!

Schwingin’, mufuggiz.

Why don’t cars have hood ornaments anymore?
Safety, aerodynamics, and style all played a factor

LACK of style, more like. Truth to tell, the reason cars don’t have hood ornaments anymore is because, in the final analysis, nondescript modern-day plastic eggmobiles don’t deserve ‘em. Anyways. Onwards.

Hood ornaments started as a disguise for homely radiator caps more than a century ago. Once upon a time, radiator caps were featured on the outside of the car so drivers could keep an eye on the coolant water vapor temperature. Those caps weren’t particularly fetching as a design feature, so automakers started getting creative by adding “car mascots.”

Early cars were not equipped with coolant temperature gauges. One enterprising company created the Moto-Meter, a temperature gauge mounted on the radiator. As manufacturers began to incorporate coolant temperature gauges, the Moto-Meter disappeared, but the hood ornament remained for some brands. 

Today, only a few high-end manufacturers still offer these gorgeous hood jewelry, like Rolls-Royce and Bentley. What happened to these mobile works of art?

The Safety Nazis got ‘em, like most everything else in American life that had class, style, and a certain je ne sais quoi about ‘em. But like I said, ya want a hood ornament, here’s ya a gottdamn hood ornament, bub.

That there chrome spear is from Christiana’s old 56 Fairlane Town Sedan*, which she lovingly called “Lainie,” for reasons which should be obvious.

* NOMENCLATURE NOTE: For the non-Ford-geeks out there, if any: Town Sedan=4-door, Club Sedan=2-door—or, as my old 54-55-56-Ford guru and mentor Don Stickler liked to say of the Town Sedans, you can always tell ‘em when you see ‘em because they had, and I quote, “too many doors.” Pic of mine and C’s beloved rides parked up side by side and nose to tail at the Diamond:

Photo snapped not long after I’d sold my 56 (at left) to a CFD-firefighter pal of mine, Chuckie Inman’s older brother, who yanked the grill (beat all to hell and gone, rusty AF to boot) and hood (which was the wrong damned one, from an earlier model of unknown provenance, so never really fit right anyhow) off altogether and mounted dual-quad Holly carbs atop an Edelbrock manifold because hey, why not? He’s incorrigible like that.

My beautymous Fairlane Club ran the grand old 292 Y Block mill, whereas Christiana’s had a nice little 289 tucked in betwixt the fender walls—a very common, easy-peasy mod with these cars (you don’t even need to change the motor mounts; just find yourself a Pony-car engine somewhere, drop ‘er into the bay, and bolt ‘er right up). Somebody had caught wise to that little swaperoo long before the black Townie had become the apple of my late wife’s eye. How we got her old Ford down from NYC is a heck of a story in its own right, gotta remember to tell youse guys all about it here someday.

Bought my 56 off a guy just across the Alabama line from Jawja—the very first exit, IIRC—who had been Pro-Street drag racing it; when I went to check the sled out, ol’ boy had to remove the fuel cell from the trunk and re-install the boring old stock gas tank while I sat on a tree stump outside his backyard garage/shop and waited, the agreed-upon purchase price of all of 2 grand cash money burning a hole in my pocket the whole time.

Once the fuel-storage issue was resolved I jumped behind the wheel, fired her up, and cruised that classy old girl all the way back to CLT (what, five hours? Six, maybe?) with nary a single hiccup the entire trip. She ran like a sewing machine ever afterwards, nary a smidgeon of trouble did she ever give me.

Well, excepting the time one of the control-arms tore loose from the rusted-out front crossmember and drove itself several inches into the soft, muddy ground at the Harley shop, et-up crossmembers being another well known and all too common fact of 56 Fairlane life. This was due to a piss-poor factory design that had the radiator-overflow outlet pissing directly down onto said crossmember and then just sitting there in a puddle, gnawing away at the metal.

Me and my friend Calvin dealt with that minor nuisance using some square stock culled from the H-D shop scrap-metal pile. We cut said scrap-steel down and welded it into a reasonable facsimile thereof; painted our handiwork in multiple coats of rattlecan Krylon black; and finally welded the whole sordid mess to the frame using Mark 1-Mod 0 eyeball measurements.

Which improvisational scrounging/fabrication/installation project, I freely admit, was not just one hundred percent straight and/or perfectly aligned when we were done. The car kinda crabbed down the road, like a small plane trying to land in a strong crosswind does. Not that it bothered my jerry-riggin’ ass none; I assure you I was NOT dissuaded in the slightest, and happily drove the auty-mobile for many more years having to rassle that huge steering wheel to and fro all the while so as to keep it between the ditches. Of course, I bolted up a custom Bettie Page suicide-knob of my own devising to help out, which I wound up getting a lot of use out of.

You know what Mike’s Iron Law #187 says, folks: whatever the headache, issue, or obstacle may be, there’s ALWAYS a workaround, and any real, true-blue American is ALWAYS gonna find it. Far as I’m concerned, that can-do, never say die spirit is a huuuuge part of what made America great to begin with.

(Original article via Insty)

Update! Seeing as how I’m sitting around doing a whole lot of nothing much tonight, might as well tell the gripping tale of how Christiana’s Lainie made her way down to her new NC home after we got hitched and set up housekeeping together.

Lainie’s prior residence was out in Old Tappan, NJ, in the attached one-space garage of my mother-in-law Xenia’s palatial abode there. Before Christiana acquired her, some previous owner had reupholstered the interior, re-carpeted her, did the engine-swap or had it done, replaced the suspect crossmember and re-routed the radiator overflow outlet, and had the car painted. All in all, though the paint had lost its luster and faded down to almost a matte black, she ran and drove just fine. Every other week C would go out and visit her mom, take the Fairlane out and tool around a bit, wash it, etc. There was a trustworthy auto-repair shop a few blocks away where she’d take the car for regular oil changes and such-like maintenance.

When we got married, the question arose of how we were gonna bring Lainie down to live with us. Although I offered, driving a 1956 Ford twelve (12) hours to Charlotte from NJ was simply out of the question. Christiana did some checking around and found a local auto-transport outfit who would ship the car to their Pineville facility at a not-quite-ghastly rate, whereupon we could come pick it up at our leisure and drive her to her/our new home.

Which is what we did. Somehow, though, once we’d gotten Lainie into the roomy two-car garage at our house, she seemed to fall into something of a snit, stubbornly refusing to start even though she’d made it home just fine from Pineville only a cpl-three weeks before. It was a mystery; after taking several stabs at trying to see what was up, I finally threw my hands up in disgust and walked away.

To this day I still feel guilty about that; Christiana never stopped imploring me to please, please, pretty please get her Fairlane back up and running again, but what with one thing and another—working at the Harley shop, touring with the band, mowing the damned lawn, etc etc etc I never made time to walk downstairs to the garage and just do it.

And then she was gone from me, her beloved Ford still stone-dead out in the damned garage while I sat upstairs doing my utmost to drink myself to death so I might rejoin the love of my life wherever her spirit may have fled before it was too late.

It still haunts me. I would sit at the bar in Snug Harbor and weep loudly and inconsolably, slamming drink after drink, my friends Ned and Jason on either side of me, their arms wrapped tight around me trying to protect me from myself as best they could. They were de facto bodyguards; on the not-infrequent occasions that some unknowing bar patron would ask just what the hell was wrong with me anyway, Ned and Jase would run them off immediately with a no-nonsense snarl, leaving no room for error in anybody’s mind.

The pain of losing Christiana, stupendous as it already was, was compounded by the anguish of knowing that the one thing my beautiful wife had ever asked me to do for her I had foolishly not done. I had let this wonderful woman down for no good reason; I knew I had, and it was too late now to make it up to her. To this very day I still have nightmares about it.

I couldn’t bring myself to ride my prized 06 Sportster anymore; I no longer gave a tinker’s damn about any of the things that had always made life worth living. I could hardly even go into the garage at all; Her Car was in there, and I hadn’t the intestinal fortitude to so much as look at poor Lainie now.

Until one balmy, mid-summer Friday afternoon, my dear friend Joe Lemyre piloted his own Harley Big Twin down from Boone, got all up in my grill, and snapped me the fuck out of it.

First off, Joe informed me in no uncertain terms that tonight I WOULD swing a leg over the Sporty and go riding with him, if only a short putt through the neighborhood. After we’d done that, got back to my place, and un-assed our respective scoots, he laid holt of my wrist with a grizzly-bear grip, dragged me over to dusty, slack-tired, cobwebbed-over Lainie and told me that tomorrow, come Hell or high water, we WOULD turn to, get cracking, and put her back on the road again. No matter what it took, how long it took, or how much it cost, it by God WOULD get done.

And damned if we didn’t do it. Took several months of wrenching, replacing worn-out or broken parts, draining the tank and replacing the smelly near-varnish with fresh gas. We installed new plugs, plug wires, and a Mallory electronic distributor. We borrowed a brand-spanking-new, high-buck Quicksilver 4-barrel from a friend and took the battered, clogged Motorcraft one-lunger off, wrapped it in red shop rags, and shoved it to the back of my workbench to await further developments. We Windexed the filmed-over glass; we wiped down the vinyl seats; we re-inflated the sagging tires to spec.

When we finally did coax Lainie into coughing, farting, sputtering life again at last, the cheers, shouts, and raucous laughter which erupted from the five or six of us in the garage that night rang in my ears no less gloriously than the sound of choirs of angels singing. As she gradually settled down to a smooth, loping idle there wasn’t a dry eye to be seen, nothing but happy smiles on every grease-smudged face.

And that’s another thing I will never, ever forget.

Yeah, any yay-hoo wants to tell me that internal combustion engines don’t have souls is gonna have to go peddle that horseshit someplace else, sorry. Ain’t no market for it here.

Publick Announcement

Sorry ‘bout giving Memezapoppin’ a miss this week, gang, but after receiving a whole slew of truly toothsome T-day-related memes this past week via a private arch-con email list I’m a proud member of—which boasts a solid line-up of some of the most trusted names in ReichWingNaziDeathBeast© blogdom—I thought I’d use some of ‘em for my regularly-scheduled Friday Substack thang,  which will be up in a trice.

Don’t hate me ‘cause I’m beautiful, y’all.

Update! As diligent CF watchers have no doubt gathered already from the Donnybrook update above, she’s up and running as promised.

End Times alert!

Well whaddya know, maybe Woke really IS dead after all.


When the Superdooperdoublesecretultraüberlibs at Apple release an ad as White family-positive as this—not a jot or tittle of mockery, sarcasm, or sneering; no thinly-veiled insinuations of LiterallyHitlerGenocideNaziSupremacissism in sight—something’s going on out there.

Steve Jobs must be spinning in his grave. Which, just this once, is by no means a bad thing.

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Star Trek: 765874 – Unification

If you’re any kind of Star Trek fan at all, you’re gonna find this one…AWESOME.

A bit under eight minutes of unalloyed beauty, wonder, and joy, that’s what. Involving as it does the Genesis planet of fame and legend, I have to wonder what this might set the stage for, Trek-wise.

(Via Ed Driscoll)

Skin art

Well whaddyaknow about that. I like Hegspeth even more now than I did; clearly, he’s my kind of guy.

BCE sez:

Seems that Hagspeth was a Rakkasan (the tat in the lower right corner in the regimental crest)

Never met him (to my memory) but it seems we were in a LOT of the same areas around the same time, to include Gitmo

Again: whaddya know about that. Where the post title came from: Skin Art, now sadly defunct. When I lapse into another of my maudlin reminiscences of the bygone days when I was “working for the magazines,” Skin Art was one of said mags.

EXTRANEOUS INSIDE-BASEBALL ADDENDUM: SA, which my boss-lady Chris proudly deemed our best and most praiseworthy publication, was put out by the likewise defunct Art & Ink Publications. Our other titles were my treasured Outlaw Biker ragazine, a labor of love for me and Chris on which I was tasked not just with ad design and layout duties but also cover design/layout now and again, as well as occasional feature articles covering full-custom Harley chops, bobjobs, and sundry uncategorizable oddities; your better class of independent shops and/or wrenches; biker events, runs, and other gatherings; and last but not least, the regular “Leatherballs” column (see the nav-bar link up top for my L-balls archive*). Additionally, we did Tattoos For MenTattoos For Women; and the outrageous, calculatedly offensive, disturbingly popular, and habitually pornographic Tabu Tattoo.

Tucked in a closet or under the bed someplace, I still have a big box jam-full of photos that people had sent in hoping to be run in one or the other of our mags, a great many of those pics featuring nekkid or practically nekkid women, in settings and poses that ran the gamut from “quite alluring” to “ unintentionally comical” to “what the fuuuu…?!?” A woefully high percentage of said hopefuls were uglier’n a mud fence, displaying all the sex appeal of a steaming, fresh-dropped hog turd. From the pics, you could see that these unfortunates were hard-bitten, slovenly, hatchet-faced slatterns with reek of cheap booze, BO, and broken dreams practically wafting up off the pic in an eye-tearing, all-hands olfactory assault. In Raymond Chandler’s concise, unforgettable sum-up: too much makeup on too many miles.

On the other hand, though, many of those half-clad aspiring biker-zine models were legitimately smokin’ hot, against every expectation of us office-drones slaving thanklessly away under the A&I lash.

Ahh, but the unsolicited submissions with Tabue Tetoooz Crayola’d illegibly in large, wobbly block print across the front of a ragged, worn-soft Manila envelope—no return address, because what mentally semi-sound person possessed of the smallest smidgeon of taste, discernment, self-respect, and functional eyesight would want the horrible things back, fer gawd’s sake?—were really something else again, I gotta say.

See, our production schedule required each individual staffer to upload one (1) set of the InDesign/Distiller PDF page layouts he’d been assigned to create to the printing company, with all the hi-res photos for said pages in their own separate IMGS folder (all covers were created in Illustrator, don’t know why). The uploading deadline  was each and every Thursday afternoon by 2PM; on weeks the four-issues-yearly (the others were six) OB was due we doubled up, basically, kiting two (2) completed magazines off to the printers—which, surprisingly enough, there were only three of nationwide, by the by. IIRC, the one we used was way out in the untracked wilderness of Ohio or Nebraska or Indiana or some other such Godforsaken backwater.

Biker, as the boss always called it, was pretty much mine and Chris’s baby, with Jeff standing by to lend a hand as needed. Job assignments for the four mainstream, non-emetic tattoo mags were divided between the staff, said assignments written up by Chris in a four-cell table sketched up for that specific purpose, printed via the office inkjet, then distributed to the worker bees on Monday morning. When Tabu week rolled around the impending ordeal (permanently assigned to moi shortly after I started at A&I) of wading through the most recent soul-blighting submissions imbued me with a queasy combination of dread, disgust, and morbid fascination.

The five (5) members of Team A&I being the stout, indomitable sorts we were, the crew never flinched nor faltered underTabu’s unholy menace no matter what. We laughed; we cried; we jokingly mimed puking into the steel wastebaskets beside our desks; the most revolting pics were passed around amongst ourselves for the requisite snickering, mockery, and marveling at—yet somehow, some way, we persevered; we got through our shared travail more or less unscathed. We stood manfully up (okay, okay, two (2) of our number—my comely, smart-alecky, unpretentiously sexy, and staggeringly intelligent platonic GF Joy and of course our bold, fun-loving, über-competent and -professional boss-lady Chris—were of the vaginal/fallopian/uterine persuasion) to the most putrid profanations, perfidies, and provocations the Tabu freaky-deaks could hurl our way, and still we prevailed. Vidi, retchi, vici.

Thinking back on those splendid days, “the magazines” was just about the best job I ever had: tons of fun; engaging; unfailingly interesting; personable, supportive, cheerful co-workers and boss. Sure, it could be trying at times; making deadline every Thursday could be stressful, and A&I’s owner was an avaricious, conniving thief, a lecherous old sleazebag, and a consummate prick on his infrequent trips from his Miami abode to visit the office. Nonetheless, the bottom-line fact is that there was never a dull moment at A&I. I miss it terribly.

* As I like to tell folks, my one and only stab at real-deal, no-shit journalism was/is the “Myrtle Beach Goodbye” article linked under the Leatherballs heading; for that one, I made phone calls and interviewed several players both major and minor behind the tragic cancellation of the H-D Dealers Association’s annual spring rally—all of whom either agreed to be quoted on a strictly anonymous basis or flatly declined to be quoted at all, for reasons I felt were entirely understandable once I’d interviewed them, especially Myrtle Beach’s mayor, city councilmen, and several restaurant/bar/retail shop owners; gathered all the facts, details, and undisclosed motives I could; formed my own original conclusions via a careful, impartial analysis of the information gleaned from two (2) weeks of diligent sleuthing; wrote, re-wrote, and edited my reportage; published the fruits of my labor in OB, and hey presto: JOURNALISM!

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Webb’s ride

Low-mileage creampuff, only ever driven by Webb Pierce’s sainted mother from Pasadena to church on Sundays, never driven above 30 mph, engine oil change every 500 miles whether it needed one or not.

WebbPontiac 1.

WebbPontiac 2.

WebbPontiac 3.

According to commenter greg over at Phil and CedrQ’s hang, this righteous lead sled was designed and built by the justly famous Nudie Cohn, he of Nudie suit fame. If you click on over to the ‘Nuckles joint, you’ll also see a cpl-three memes which will be showing up in tonight’s Eyrie meme post, if my internet connection will ever stabilize long enough for me to upload and post the damned thing. It’s gotten so dicey around here Intarwebs-wise that in the last two days, I’ve burned through almost all of my high-speed data allotment using the phone for a hotspot.

Re my opening used-car salesman schpiel above, here’s the video backstory for Webb’s baby.

LOVE that song, it’s one of my all-time favorites. Go Granny go Granny go Granny GO!

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