The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night- “You Are On The Bus Or Off The Bus”- The Transformation Of “Foul-Mouth” Phil Into “Far-Out” Phil- With Writer Ken Kesey In Mind  

The Chiffons performing their classic Sweet Talkin’ Guy

From The Archives Of Allan Jackson

[Perhaps you missed it in a previous take, dated February 23, 2017, on the mighty Ken Kesey and his Merry Pranksters who set a certain bar for drug, sex, and rock and roll in the early days of what would be the great Generation of “68 jailbreak in the earlier part of the decade by the by-line listed, as here, “From The Archives Of Allan Jackson.” A causal reader or somebody who has not been paying attention to the not too distant past fierce internal struggle that roiled this site between the younger writers, dubbed, self-dubbed “the Young Turks” and the old guard around previous site manager (and a founder member of this publication when it started in hard copy times along with me and a few others) that very same Allan Jackson around the direction of the site that it was understood that he had been either retired or purged depending on your point of view. In any case to end the controversy and move forward it was agreed in negotiations between me and the new site manager Greg Green after Allan had lost a vote of no confidence that his name was not to be mentioned again.

Somehow Allan, who had been rumored to be doing anything in exile from feeding the Mormons out in Utah whatever they wanted to hear as long as they let him write copy in their kept newspaper (even commenting positively on the white underwear issue he was so desperate for work) to tending bar at Joe-Joe’s in La Jolla and living with a twenty something surfer girl to running a high end whorehouse in Argentina with Madame La Rue, found out Greg had been nipping at the archives looking for some fresh insights into the baby-boomer generation, that Generation of “68 mentioned earlier. Yes, Greg had finally figured out what some of us, friendly to him or not, already knew was that the generation or two after the 1960s doesn’t read book reviews, films reviews, music reviews or left-wing political comment. Doesn’t read period for all practical site purposes and so he has tried to “lure” the old base back with some retro music-laced archival material.

Problem. Greg problem. Since Allan Jackson has been purged and is a non-person around here the series he was running The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night has been done under the byline of Frank Jackman. Allan went crazy when he heard what had been done since he had never copyrighted the stuff, didn’t feel a need to. Some of Allan’s old friends, including Frank who went back to high school with him as I had, met with Greg and convinced him it would be best to give Allan a credit for a series that he sweated for something like two years over. All Greg would do was what you see in the by-line that maybe these were lost papers from the desk or something without stating outright that Allan had written or edited the whole thing. Enough for now. Jack Callahan]                     

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A while back, a couple years ago now I guess, Sam Lowell the recently semi-retired Boston lawyer from our high school class looking for some things to fill up his spare time and to respond to the nostalgic feelings that he had been having once he reconnected with a couple of his old corner boys from our North Adamsville High days in the early 1960s, Frankie Riley and Josh Breslin started writing little sketches about “what was what” back in the day. That “what was what” could have been anything from the local meaning of “submarine races” (that is simple, this was just an expression to denote what those who, boyfriends and girlfriends, were doing who went by midnight automobile down to Adamsville Beach and eventually came up for air and you can figure out what they were doing that required such a motion without any further comment); the grooming habits of working-class guys like Sam before the big school dance (plenty of Listerine, plenty of Old Spice, plenty of Right Guard, plenty of Wild Root hair oil, and new shirt and pants from the “Bargie,” a local pre-Wal-Mart institution for the chronically poor to look good for one night); the midnight “chicken run” down the back roads of Adamsville (self-explanatory for any brethren who craved a fast “boss” car, the ’57 Chevy being the prize of prizes), or the nefarious way to get six to eight males and females into the local drive-in for the price of two (easy, a snap, just load up that big old trunk and have said occupants stop breathing at the admissions booth).

Sam made a few people laugh beside Frankie and Josh when they placed his stuff on their Facebook pages and got a response from several of our old high school classmates asking for some more sketches (and other “friends” who came of age in the early 1960s and had similar stories to tell and get a chuckle over as well). Sam felt “compelled” to reply.           

A lot of what helped Sam remember various events from those days was going to the local library, the main Cambridge Public Library, and check out materials from their extensive holding of classic (ouch!) rock and roll compilations. One commercial series which covered the time period from about 1955 to 1968 in many volumes also had time-appropriate artwork designs on the cover of each CD. Those covers brought to Sam’s mind the phenomenon that he wanted to write about. In this case, this 1966 case, the cover art detailed the then almost ubiquitous merry prankster-edged converted yellow brick road school bus, complete with assorted vagabond minstrel/ road warrior/ah, hippies, that “ruled” the mid-1960s highway and by-ways in search of the great American freedom night. The “merry prankster” expression taken from the king hell king “hippie” philosopher-king of the time author Ken Kesey and his comrades who Tom Wolfe immortalized in his “new journalism” book The Electric Kool-Aid Acid Test. That cover triggered memories of his own merry prankster moments with another corner boy from high school that he went west with in that year, Phil Larkin, and what happened to Phil when he “got on the bus” looking, well, “looking for the garden,” the Garden of Eden is what they called the adventure between themselves then. Sam said wistfully after he had finished the sketch that “We never found it in the end, but the search was worth it then, and still worth it now.” That is about right brother, just about right. But let Sam explain why he said that.

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A rickety, ticky-tack, bounce over every bump in the road to high heaven, gear-shrieking school bus. But not just any yellow brick road school bus that you rode to various educationally “good for you” locations like movie houses, half yawn, science museums, yawn, art museums, yawn, yawn, or wind-swept picnic areas for some fool weenie roast, two yawns there too, when you were a school kid. Two yawns because the teachers were trying to piece you off with some cheapjack sawdust hot dog with a Wonder Bread air-holes bun, some grizzled hamburger, ditto on the bun, maybe a little potato salad from Kennedy’s Deli for filler, and tonic (a New England localism meaning soda) not your own individual bottle but served from gallons jugs into dinky Dixie cups. [Sam not knowing until much later that the teachers had pitched in to buy the provisions from their own pockets, belated thanks.] And certainly not your hour to get home daily grind school bus, complete with surly driver (male or female, although truth to tell the females were worst since they acted just like your mother, and maybe were acting on orders from her) that got you through K-12 in one piece, and you even got to not notice the bounces to high heaven over every bump of burp in the road. No, my friends, my comrades, my brethren this is god’s own bus commandeered to navigate the highways and by-ways of the 1960s come flame or flash-out.

Yes, it is rickety, and all those other descriptive words mentioned above in regard to school day buses. That is the nature of such ill-meant mechanical contraptions after all. But this one is custom-ordered, no, maybe that is the wrong way to put it, this is “karma” ordered to take a motley crew of free-spirits on the roads to seek a “newer world,” to seek the meaning of what one persistent blogger on the subject has described as "the search for the great blue-pink American Western night." [Sam an inveterate blogger since the first days he found out about that medium.]

Naturally to keep its first purpose intact this heaven-bound vehicle is left with its mustard yellow body surface underneath but over that “primer” the surface has been transformed by generations (generations here signifying not twenty-year cycles but numbers of trips west, and east) of, well, folk art, said folk art being heavily weighted toward graffiti, toward psychedelic day-glo hotpinkorangelemonlime splashes and zodiacally meaningful symbols. Mushroomy exploding flowers, medieval crosses, sphinxlike animals, ancient Pharaoh’s pyramids, never-ending geometric figures, new religion splashes whatever came into a “connected” head.  

And the interior. Most of those hardback seats that captured every bounce of childhood have been ripped out and discarded to who knows where and replaced by mattresses, many layers of mattresses for this bus is not merely for travel but for home. To complete the “homey” effect there are stored, helter-skelter, in the back coolers, assorted pots and pans, mismatched dishware, nobody’s idea of the family heirloom china, boxes of dried foods and condiments, duffle bags full of clothes, clean and unclean, blankets, sheets, and pillows, again clean and unclean.

Let’s put it this way, if someone wants to make a family hell-broth stew there is nothing in the way to stop them. But also know this, and know it now, as we start to focus on this journey that food, the preparation of food, and the desire, except in the wee hours when the body craves something inside, is a very distant concern for these “campers.” If food is what you desired in the foreboding 1960s be-bop night take a cruise ship to nowhere or a train (if you can find one), some southern pacific, great northern, union pacific, and work out your dilemma in the dining car. Of course, no heaven-send, merry prankster-ish yellow brick road school bus would be complete without a high-grade stereo system to blast the now obligatory “acid rock” coming through the radiator practically, although just now, as a goof, it has to be a goof, right, one can hear Nancy Sinatra, christ, Frank’s daughter, how square is that, churning out These Boots Are Made For Walkin.’

And the driver. No, not mother-sent, mother-agent, old Mrs. Henderson, who prattled on about keep in your seats and be quiet while she is driving (maybe that, subconsciously, is why the seats were ripped out long ago on the very first “voyage” west). No way, but a very, very close imitation of the god-like prince-driver of the road, the "on the road” pioneer, Neal Cassady, shifting those gears very gently but also very sure-handedly so no one notices those bumps (or else is so stoned, drug or music stoned, that those things pass like so much wind). His name: Cruising Casey (real name, Charles Kendall, Harverford College Class of ’64, but just this minute, Cruising Casey, mad man searching for the great American be-bop night under the extreme influence of one Ken Kesey, the max-daddy mad man of the great search just then). And just now over that jerry-rigged big boom sound system, again as if to mock the newer world abrewin’ The Vogues’ Five O’ Clock World.

And the passengers. Well, no one is exactly sure, as the bus approaches the outskirts of Denver, because this is strictly a revolving cast of characters depending on who was hitchhiking on that desolate back road State Route 5 in Iowa, or County Road 16 in Nebraska, and desperately needed to be picked up, or face time, and not nice time with a buzz on, in some small town pokey. Or it might depend on who decided to pull up stakes at some outback campsite and get on the bus for a spell, and decide if they were, or were not, on the bus. After all even all-day highs, all-night sex, and 24/7 just hanging around listening to the music, especially when you are ready to scratch a blackboard over the selections like the one on now, James and Bobby Purify’s I’m Your Puppet, is not for everyone.

We do know for sure that Casey is driving, and still driving effortlessly so the harsh realities of his massive drug intake have not hit yet, or maybe he really is superman. And, well, that the “leader” here is Captain Crunch since it is “his” bus paid for out of some murky deal, probably a youthful drug deal, (real name, Samuel Jackman, Columbia, Class of 1958, who long ago gave up searching, searching for anything, and just hooked into the idea of "taking the ride"), Mustang Sally (Susan Stein, Michigan, Class of 1959, ditto on the searching thing), his girlfriend, (although not exclusively, not exclusively by her choice , not his, and he is not happy about it for lots of reasons which need not detain us here). Most of the rest of the “passengers” have monikers like Silver City Slim, Luscious Lois (and she really is), Penny Pot (guess why), Moon Man, Flash Gordon (from out in space somewhere, literally, as he tells it), Denver Dennis (from New York City, go figure), and the like. They also have real names that indicate that they are from somewhere that has nothing to do with public housing projects, ghettos or barrios. And they are also, or almost all are, twenty-somethings that have some highly-rated college years after their names, graduated or not). And they are all either searching or, like the Captain, at a stage where they are just hooked into taking the ride.

One young man, however, sticks out, well, not sticks out, since he is dressed in de rigeur bell-bottomed blue jeans, olive green World War II surplus army jacket (against the mountain colds, smart boy), Chuck Taylor sneakers, long, flowing hair and beard (well, wisp of a beard) and on his head a rakish tam just to be a little different, “Far Out” Phil (real name Phillip Larkin, North Adamsville High School Class of 1964). And why Far Out sticks out is not only that he has no college year after his name, for one thing, but more importantly, that he is nothing but a old-time working-class neighborhood corner boy from in front of Salducci’s Pizza Parlor back in North Adamsville, a close-by suburb of Boston.

Of course back then in town Far Out Phil was known, and rightly so as any girl, self-respecting or not, could tell you as “Foul-Mouth” Phil, the world champion swearer of the 1960s North Adamsville (and Adamsville Beach) be-bop night. And right now Far Out, having just ingested a capsule of some illegal substance (not LSD, probably mescaline) is talking to Luscious Lois, talking up a storm without one swear word in use, and she is listening, gleam in her eye listening, as ironically, perhaps, The Chiffons Sweet Talkin’ Guy is beaming forth out of his little battery-powered transistor radio (look it up on Wikipedia if you don’t know about primitive musical technology) that he has carried with him since junior high school. The winds of change do shift, do shift indeed.

[Sam and Phil were on that hell-broth road about a year, maybe a little more, until Phil faced an ugly draft notice from his “friends and neighbors” in Adamsville and figuring no other course, no jail, no Canada, no conscientious objector application came on the horizon to move this son of the working class from his fateful decision to accept his draft induction. Sam, another son of the working-class with a congenial heart problem (which his then drug intake could not have helped but we were young then and expected to live forever) and therefore 4-F decided to apply for law school and spent the next three years tied down to law books, court decisions, memoranda, and how to survive the bar exam.]