All posts by Headly Westerfield

About Headly Westerfield

Calling himself “A liberally progressive, sarcastically cynical, iconoclastic polymath,” Headly Westerfield has been a professional writer all his adult life.

Paving the Information Highway ► Throwback Thursday

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According to the WikiWackyWoo: On this day in “1969 – The first-ever computer-to-computer link is established on ARPANET, the precursor to the Internet.”

And, nothing was ever the same again.

APRANET stands for Advanced Research Projects Agency Network and we’re all monkeys typing on this network trying to recreate the works of Shakespeare, or something.

In the early ’60s, when computers filled entire rooms, it seemed like Science Fiction that one day they might be talking to one another. So much so that back in 1963, when J. C. R. Licklider started to theorize the ideas that eventually led to the innertubes, he referred to it as the Intergalactic Computer Network.

In October 1963, Licklider was appointed head of the Behavioral
Sciences and Command and Control programs at the Defense Department’s Advanced Research Projects Agency (ARPA). He convinced Ivan Sutherland and Bob Taylor
that this network concept was very important and merited development,
although Licklider left ARPA before any contracts were assigned for
development.[10]

Sutherland and Taylor continued their interest in creating the
network, in part, to allow ARPA-sponsored researchers at various
corporate and academic locales to utilize computers provided by ARPA,
and, in part, to quickly distribute new software and other computer science results.[11] Taylor had three computer terminals in his office, each connected to separate computers, which ARPA was funding: one for the System Development Corporation (SDC) Q-32 in Santa Monica, one for Project Genie at the University of California, Berkeley, and another for Multics at the Massachusetts Institute of Technology.
Taylor recalls the circumstance: “For each of these three terminals, I
had three different sets of user commands. So, if I was talking online
with someone at S.D.C., and I wanted to talk to someone I knew at
Berkeley, or M.I.T., about this, I had to get up from the S.D.C.
terminal, go over and log into the other terminal and get in touch with
them. I said, “Oh Man!”, it’s obvious what to do: If you have these
three terminals, there ought to be one terminal that goes anywhere you
want to go. That idea is the ARPANET”.[12]

Meanwhile, since the early 1960s, Paul Baran at the RAND Corporation had been researching systems that could survive nuclear war[13] and presented in the United Kingdom National Physical Laboratory (NPL) the first public demonstration of packet switching on 5 August 1968.[14]

The ARPANET led to the Internet. I’ve been online since 1988, first on the USENET through BBSs [Bulletin Board Systems] and then, later, directly logging into the World Wide Web. When Windows democratized the internet with point and click, nothing was ever the same again.

I am grateful to the U.S. Military for two of my favourite things: The internet and Steel Drum Music.






You’re The Top ► Monday Musical Appreciation

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Eighty-one years ago today one of the greatest songwriters in the English language recorded one of his greatest songs.

Cole Porter was already famous when hired to write the tunes for Anything Goes. As his official biography at the Songwriters’ Hall of Fame tells us:

But while his social life [in Paris] was dazzling, Cole’s career was moving frustratingly slowly.
He studied briefly with the noted French composer Vincent d’Indy. He had a few small
successes, contributing songs to such shows as Hitchy-Koo 1919 and the Greenwich
Village Follies of 1924. And in 1923 he had a success in Paris with a short ballet called
Within the Quota. But Broadway producers had little interest in his work. However, in
1928, Irving Berlin recommended Cole to the producers of a “musicomedy” called Paris,
starring Irene Bordoni. Cole wrote five songs for the show, and one of those songs
“Let’s Do It (Let’s Fall In Love)”, became Cole’s first big success.

Finally, the Broadway career that had so long escaped him began to be a reality. He
followed up on Paris with another “French” show, and a full musical this time, Fifty
Million Frenchmen (1929). The show, with a book by Herbert Fields, ran for 257
performances, and included “You’ve Got That Thing”, and “You Do Something To Me”.
And then, for a London show called Wake Up and Dream (1929), Cole wrote “What Is
This Thing Called Love?”

Now living in New York, Cole entered an extraordinarily productive period in which
show followed show on Broadway, and hit song followed hit song. The New Yorkers
(1930) introduced “Love For Sale”. His 1932 musical Gay Divorce starred Fred Astaire,
in Astaire’s last Broadway role and Astaire’s only Broadway appearance without his
sister and longtime dancing partner Adele. The show ran for 248 performances, and
included “Night And Day” and “After You, Who?”

In 1934, Cole wrote one of his greatest scores for a show with a book by Guy Bolton,
P.G. Wodehouse, Howard Lindsey, and Russel Crouse, Anything Goes. The show
starred Ethel Merman, William Gaxton, Bettina Hall, and Victor Moore and included
“Anything Goes”, “I Get A Kick Out Of You”, “All Through The Night”, “Blow, Gabriel,
Blow”, and “You’re The Top”.

Cole Porter wasn’t known for his singing voice and he recorded so very few of his own songs. However, we’re fortunate to have Porter’s own version of the song, from October 26, 1934, the first time it was ever recorded:

From page 34 of F. Scott Fitzgerald’s Fiction: “An Almost Theatrical Innocence:”

CHAPTER 2

On October 26, 1934, Cole Porter, accompanying himself on the piano, recorded the song “You’re the Top” from his new musical Anything Goes (its book by Guy Bolton and P.G. Wodehouse, revisited by Howard Lindsay and Russel Crouse), a show that would open for its tryout in Boston on November 5, 1934, and on Broadway on November 21, and run for 420 performances. Anything Goes was not only one of the great musical comedies of the 1930s but a high point in the history of the musical theater. Five of the show’s numbers became popular song standards: along with “You’re the Top,” there was “I Get a Kick Out of You,” “All Through the Night,” “Anything Goes,” and “Blow, Gabriel, Blow.”

What makes “You’re the Top” so wonderful is the clever wordplay, the spectacular rhyming scheme, and all those terrific Pop Cultural references, which would have been known by Mr. and Mrs. First Nighter, but some of which are almost unknown today:

At words poetic, I’m so pathetic
That I always have found it best,
Instead of getting ’em off my chest,
To let ’em rest unexpressed,
I hate parading my serenading
As I’ll probably miss a bar,
But if this ditty is not so pretty
At least it’ll tell you
How great you are.

You’re the top!
You’re the Coliseum.
You’re the top!
You’re the Louver Museum.
You’re a melody from a symphony by Strauss
You’re a Bendel bonnet,
A Shakespeare’s sonnet,
You’re Mickey Mouse.
You’re the Nile,
You’re the Tower of Pisa,
You’re the smile on the Mona Lisa
I’m a worthless check, a total wreck, a flop,
But if, baby, I’m the bottom you’re the top!

Your words poetic are not pathetic.
On the other hand, babe, you shine,
And I can feel after every line
A thrill divine
Down my spine.
Now gifted humans like Vincent Youmans
Might think that your song is bad,
But I got a notion
I’ll second the motion
And this is what I’m going to add;

You’re the top!
You’re Mahatma Gandhi.
You’re the top!
You’re Napoleon Brandy.
You’re the purple light
Of a summer night in Spain,
You’re the National Gallery
You’re Garbo’s salary,
You’re cellophane.
You’re sublime,
You’re turkey dinner,
You’re the time, 

of a Derby winner.
I’m a toy balloon that’s fated soon to pop
But if, baby, I’m the bottom,
You’re the top!

You’re the top!
You’re an arrow collar
You’re the top!
You’re a Coolidge dollar,
You’re the nimble tread
Of the feet of Fred Astaire,
You’re an O’Neill drama,
You’re Whistler’s mama!
You’re Camembert.
You’re a rose,
You’re Inferno’s Dante,
You’re the nose
On the great Durante.
I’m just in a way,
As the French would say, “de trop”.
But if, baby, I’m the bottom,
You’re the top!

You’re the top!
You’re a dance in Bali.
You’re the top!
You’re a hot tamale.
You’re an angel, you,
Simply too, too, too diveen,
You’re a Boticcelli,
You’re Keats,
You’re Shelly!
You’re Ovaltine!
You’re a boom,
You’re the dam at Boulder,
You’re the moon,
Over Mae West’s shoulder,
I’m the nominee of the G.O.P.
Or GOP!
But if, baby, I’m the bottom,
You’re the top!

You’re the top!
You’re a Waldorf salad.
You’re the top!
You’re a Berlin ballad.
You’re the boats that glide
On the sleepy Zuider Zee,
You’re an old Dutch master,
You’re Lady Astor,
You’re broccoli!
You’re romance,
You’re the steppes of Russia,
You’re the pants, on a Roxy usher,
I’m a broken doll, a fol-de-rol, a flop,
But if, baby, I’m the bottom,
You’re the top!

Coincidentally, on the same day Cole Porter recorded his version of “You’re the Top,” so did Paul Whiteman. Even though the show wouldn’t open up on Broadway for another month, Whiteman brought his orchestra into the studio to accompany vocalists Peggy Healy and John Hauser for this version:

Happy birthday to one of the greatest tunes ever recorded. Here are a few other versions:











This song is THE TOPS!!!

The Klu Klux Klan Act of 1871 ► Throwback Thursday

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It was supposed to be a normal meeting of the Miami Planning and Zoning Board last night. The first 2 items were deferred from last month and there were a number of citizens who wanted to speak to it. 

Normally when I attend a meeting at Miami City Hall, I know all about the issues that will be discussed. I knew nothing about this issue. All I knew is that one of my sources, who has yet to be wrong, strongly suggested I make time for the 6PM meeting without telling me why. That was the first time they were ever wrong. It turned out to be a 6:30 meeting.

And, the meeting didn’t even start at 6:30. It took a few extra minutes to get a quorum. However, once the meeting was gavelled to order, it moved pretty quickly to the first 2 agenda items, which had been deferred from last month in the hope that the residents and developer could work out an amicable deal. That didn’t appear to have happened.

MAP LEGEND:

A: The 4 parcels on the north side of Day Avenue; B: The 4
parcels on the south side of Day Avenue; C: Brooker St. is
where Coconut Grove ends and Coral Gables begins; D: Douglas
Avenue; E: The Trolly Garage, which was the last time the city
tried to run roughshod over the neighbourhood and won a Pyrrhic
victor that cost the city a lot of money, all because of
[allegedly] corrupt Miami Commissioner Marc Sarnoff’s meddling.

In a nutshell, and not to get too deeply in the weeds: A developer wanted to “upzone” 8 parcels of land along Day Avenue to commercial from residential. Upzoning is the new word for variances, which appear to be routinely approved despite what the neighbours may want.

First to speak was the City of Miami’s lawyer, who seemed to have been asked by the board previously, to give the city’s recommendation on the upzoning request. After a whole lot of yadda, yadda, yadda the city decided to take a Solomonic approach. It recommended approval of upzoning the 4 parcels on the north side of Day Avenue (labeled A on the map to the right) and recommended denying the upzoning on the 4 parcels labeled B on the south side of Day.

Next it was the lawyer’s turn to speak on behalf of the developer. It was a whole lot more yadda, yadda, yadda, but this time couched in lawyer talk. However, as he spoke you could hear the citizens, the stakeholders, the taxpayers grumbling over the wording and assumptions being made.

Then the meeting was opened to public comments. People were asked to line up at the podiums on either side of the dais and given 2 minutes to explain their support or opposition to the application for upzoning. No one spoke on behalf of the upzoning. All were opposed.

First up was J.S. Rashid, CEO of the Coconut Grove Collaborative Development Office, who spoke about how his organization is trying to maintain the fabric of the historic West Grove neighbourhood for decades, which continues to be whittled away by decisions made in Miami. He talked about the neighbourhood development zone which had been created previously and how this was more about equity than it is about the zoning of a few parcels. He brought up how there may be 8 parcels of land, but that represents 14 residential units of affordable housing for disenfranchise people. While he was hoping for a compromise, he said if there’s not a net benefit to the community in affordable housing, he was prepared to oppose the project in toto.

Then the various shareholders, citizens, and taxpayers turn. It was, in essence, the same arguments heard every time the people of West Grove come out to protect their neighbourhood. Paraphrasing many of the comments: 

“You can’t do this.”

“Once again the historic fabric of the originally Bahamian neighbourhood is being destroyed for the sake of commerce.”

“Currently, this is affordable housing. If these are lost, what will replenish the supply of affordable housing in this impoverished neighbourhood?”

“We are 3 generations of Grovites who have lived on this block for over 30 years.” 

It look as if the board was about to recommend they defer the issue all over again, because it truly seemed as if there might still be room for compromise. However, the lawyer for the developer didn’t think more negotiations would have been productive and asked for a decision.

Then it was time for more comments from the public. Step up Professor Anthony Alfieri. You may remember reading about Professor Alfieri in the Not Now Silly Newsroom’s An Introduction to Trolleygate and Trolleygate Violates 1964 Civil Rights Act ► Not Now Silly Vindicated. Alfieri was also instrumental in unearthing Soilgate (pun intended), when his team researching Trolleygate found a memo alluding to contaminated soil in several parks in Miami. Alfieri is from the University of Miami’s School of Law and the Center
for Ethics and Public Service; not to mention Founder of the Historic
Black Church Program.

Professor Alfieri made the comparison to Trollygate, that I had been waiting for, and how an approval of this upzoning would trigger Title VIII of the Civil Rights Act of 1964 and 1968. As part of his presentation Alfieri remarked that they have been receiving anecdotal information — which was still being compiled — that developers across the city have been using coercion, intimidation and interference to deal with those opposed to upzoning plans. If that can be proven it could trigger the Klu Klux Klan act of 1871:

The Enforcement Act of 1871 (17 Stat. 13), also known as the Civil Rights Act of 1871, Force Act of 1871, Ku Klux Klan Act, Third Enforcement Act, or Third Ku Klux Klan Act, is an Act of the United States Congress which empowered the President to suspend the writ of habeas corpus to combat the Ku Klux Klan (KKK) and other white supremacy organizations. The act was passed by the 42nd United States Congress and signed into law by President Ulysses S. Grant on April 20, 1871. The act was the last of three Enforcement Acts passed by the United States Congress from 1870 to 1871 during the Reconstruction Era to combat attacks upon the suffrage rights of African Americans.
The statute has been subject to only minor changes since then, but has
been the subject of voluminous interpretation by courts.

This legislation was asked for by President Grant and passed within
one month of the president’s request for it to Congress. Grant’s request
was a result of the reports he was receiving of widespread racial
threats in the Deep South, particularly in South Carolina.
He felt that he needed to have his authority broadened before he could
effectively intervene. After the act’s passage, the president had the
power for the first time to both suppress state disorders on his own
initiative and to suspend the right of habeas corpus. Grant did not
hesitate to use this authority on numerous occasions during his
presidency, and as a result the first era KKK was completely dismantled
and did not resurface in any meaningful way until the first part of the
20th century.[1] Several of its provisions still exist today as codified statutes, but the most important still-existing provision is 42 U.S.C. § 1983: Civil action for deprivation of rights.

The city’s lawyer couldn’t answer whether approval of upzoning would trigger the Civil Rights lawsuits, but stressed as strenuously that the Planning and Zoning Board is a single issue board. Civil Rights lawsuits was not within its purview to adjudicate.

Whether it had anything to do with the Klu Klux Klan Act of 1871, or whether common sense prevailed, the developers request was DENIED.

Which is it’s this week’s Throwback Thursday.

Peter Tosh ► Monday Musical Appreciation

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Born on this day: Winston Hubert McIntosh, better known to Reggae fans as Peter Tosh, one of the original Wailers. 

At the age of 15 Tosh moved to Trench Town in Kingston, Jamaica, after the death of his aunt in Westmoreland, Jamaica, where he was born. According to the legend, recounted by the WikiWackyWoo:

He first picked up a guitar by watching a man in the country play a song that captivated him. He watched the man play the same song for half a day, memorizing everything his fingers were doing. He then picked up the guitar and played the song back to the man. The man then asked McIntosh who had taught him to play; McIntosh told him that he had.[2] During the early 1960s Tosh met Robert Nesta Marley (Bob Marley) and Neville O’Reilly Livingston (Bunny Wailer) and went to vocal teacher Joe Higgs, who gave out free vocal lessons to young people, in hopes to form a new band. He then changed his name to become Peter Tosh and the trio started singing together in 1962. Higgs taught the trio to harmonize and while developing their music, they would often play on the street corners of Trenchtown.[3]

[…] In 1964 Tosh helped organize the band The Wailing Wailers, with Junior Braithwaite, a falsetto singer, and backup singers Beverley Kelso and Cherry Smith. Initially, Tosh was the only one in the group who could play musical instruments. According to Bunny Wailer,
Tosh was critical to the band because he was a self-taught guitarist
and keyboardist, and thus became an inspiration for the other band
members to learn to play. The Wailing Wailers had a major ska
hit with their first single, “Simmer Down”, and recorded several more
successful singles before Braithwaite, Kelso and Smith left the band in
late 1965. Marley spent much of 1966 in Delaware in the United States of America with his mother, Cedella (Malcolm) Marley-Booker and for a brief time was working at a nearby Chrysler
factory. He then returned to Jamaica in early 1967 with a renewed
interest in music and a new spirituality. Tosh and Bunny were already
Rastafarians when Marley returned from the U.S., and the three became
very involved with the Rastafari faith. Soon afterwards, they renamed
the musical group The Wailers. Tosh would explain later that they chose
the name Wailers because to “wail” means to mourn or to, as he put it,
“…express one’s feelings vocally”. He also claims that he was the
beginning of the group, and that it was he who first taught Bob Marley
the guitar. The latter claim may very well be true, for according to Bunny Wailer, the early wailers learned to play instruments from Tosh.[4]

The Wailing Wailers eschewed the rapid, feel-good Ska beat for a slower, slinkier beat, which became known as Rocksteady, One Drop, and eventually Reggae. They dropped the “Wailing” from their name and became The Wailers. Some of Marley’s biggest hits were originally recorded during this time and written, or co-written, by Peter Tosh. It wasn’t until Chris Blackwell signed them to Island Records did they become Bob Marley and the Wailers.

[FULL DISCLOSURE: I once worked for Island Records Canada.]

Peter Tosh and Bunny Wailer left Island Records when Blackwell, who had groomed Marley to become a star, refused to release their solo records. Soon after, Tosh released the Legalize It LP. The titular song is still an anthem for the Marijuana Movement worldwide.

A few years later Tosh appeared at the One Love Peace Concert and lit a spliff onstage, lecturing the assembled politicians on the unfair marijuana laws. According to the Wiki: Several months later he was apprehended by police as he left Skateland
dance hall in Kingston and was beaten severely while in police custody.

Peter Tosh was posthumously awarded the Order of Merit by the Jamaican government and while he never achieved the fame of Bob Marley, he never lost his street cred and is considered the most controversial member of The Wailers.

To celebrate his birthday, there will be 2 symposiums, today and tomorrow, in Jamaica. According to the Jamaican Observer:

The first is staged by the Kingston and St Andrew Ganja Growers and
Producers Association and the National Alliance for the Legalisation of
Ganja in partnership with the Kingston and St Andrew Corporation at
Curphey Place in St Andrew.

It reflects on the life and legacy of Tosh, an unrepentant advocate for
the legalisation of ganja. Mayor of Kingston Angela Brown-Burke will
address the forum, which has a panel moderated by her husband Paul
Burke, Tosh’s former manager Herbie Miller, social activist Louis
Moyston, and UWI lecturer, Dr Michael Barnett.

Guest speakers include Tosh’s friend, former Jamaica footballer Allan
‘Skill’ Cole; president of the National Ganja Growers Association,
Orville Silvera, and Minister of Transport Dr Omar Davies.

Tomorrow’s event is the annual Peter Tosh Symposium at the University of the West Indies’ Mona campus.

Arguably reggae’s most militant figure, Tosh (born Winston Hubert
McIntosh) was killed by gunmen at his home on September 11 1987. He was
42.

I Love Lucy Premiers ► Throwback Thursday

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On this date in 1951 “I Love Lucy” premiered on the CBS network. Although it went off the air in 1957, it has run virtually non-stop in syndication ever since.

One of the reasons we have all those episodes of “I Love Lucy” is because, unlike other sitcoms of the era, it was shot on 35mm film in front of a live studio audience, and edited into a half hour show for airing. It’s ground-breaking technique was eventually copied by all sitcoms, right down to having a live studio audience, as opposed to a canned laugh track. 

According to the WikiWackyWoo: 

Another component to filming the show came when it was decided to use
three 35 mm film cameras to simultaneously film the show. The idea had
been pioneered by Ralph Edwards on the game show Truth or Consequences, and had subsequently been used on Amos ‘n’ Andy as a way to save money, though Amos n’ Andy
did not use an audience. Edwards’s assistant Al Simon was hired by
Desilu to help perfect the new technique for the series. The process
lent itself to the Lucy production as it eliminated the problem
of requiring an audience to view and react to a scene three or four
times in order for all necessary shots to be filmed. Multiple cameras
would also allow scenes to be performed in sequence, as a play would be,
which was unusual at the time for filmed series. Retakes were rare and
dialogue mistakes were often played off for the sake of continuity.

However, if I Love Lucy didn’t feature the incomparable slapstick comedy of Lucille Ball, no amount of film would have saved it.

The Internet Movie Data Base tells us:

She entered a dramatic school in New York City, but while her classmate Bette Davis received all the raves, she was sent home; “too shy”. She found some work modeling for Hattie Carnegie‘s and, in 1933, she was chosen to be a “Goldwyn Girl” and appear in the film Roman Scandals (1933).

She was put under contract to RKO Radio Pictures and several small roles, including one in Top Hat
(1935), followed. Eventually, she received starring roles in B-pictures
and, occasionally, a good role in an A-picture, like in Stage Door (1937) or The Big Street (1942). While filming Too Many Girls (1940), she met and fell madly in love with a young Cuban actor-musician named Desi Arnaz.
Despite different personalities, lifestyles, religions and ages (he was
six years younger), he fell hard, too, and after a passionate romance,
they eloped and were married in November 1940. Lucy soon switched to
Metro-Goldwyn-Mayer, where she got better roles in films such as Du Barry Was a Lady (1943); Best Foot Forward (1943) and the Katharine Hepburn–Spencer Tracy vehicle Without Love
(1945). In 1948, she took a starring role in the radio comedy “My
Favorite Husband”, in which she played the scatterbrained wife of a
Midwestern banker. In 1950, CBS came knocking with the offer of turning
it into a television series. After convincing the network brass to let
Desi play her husband and to sign over the rights to and creative
control over the series to them, work began on the most popular and
universally beloved sitcom of all time.

Laugh all over again at these famous clips, all involving food:






Join the I Love Lucy facebookery HERE.

Paul Is Dead ► Monday Musical Appreciation

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Forty-six years ago today occurred one of the craziest events in the annals of Rock and Roll Music History, in which I played a minor role. Here’s how it all came about

According to The Music History Calendar:

1969 : Russ Gibb, a DJ at WKNR in Detroit, takes a call from a listener who tells him that if you play The Beatles song “Revolution 9” backwards, a voice says, “Turn me on, dead man.” Gibb plays the record in reverse on the air, and the phone lines light up with astonished listeners offering more clues as to why Paul McCartney might be dead. For about a week, Gibb entertains a stream of rumors on the show, as ratings explode and the story goes national. Other clues include a voice at the end of “Strawberry Fields Forever” that says “I Buried Paul” (actually John Lennon saying “Cranberry Sauce”) and the cover of the Sgt. Pepper album, where Paul is wearing an armband that says “OPD” – “Officially Pronounced Dead.”

This Day In Music erroneously writes about this event:

1969, A DJ on Detroit’s WKNR radio station received a phone call telling him that if you play The Beatles ‘Strawberry Fields Forever’ backwards, you hear John Lennon say the words “I buried Paul.” This started a worldwide rumour that Paul McCartney was dead.

What does this have to do with your humble correspondent? According to Paul is dead?!?, “introduced and explicated by saki” on the old USENET group rec.music.beatles:

Another
source for clues invention was a popular radio show hosted by
disc-jockey Russell Gibb of WKNR-FM in Detroit was a vital element in
the spread of the hoax. A regular r.m.b. reader, Headly Westerfield, who
was not only a friend of Gibb but was present in-studio that afternoon
(12 October 1969), recalls reading an “underground newspaper” (it may
have been one of the the college papers then carrying the “clues”,
similar to the ones Dartanyan Brown remembers seeing) with a list of
“Paul Is Dead” clues.

Gibb and cohorts were sufficiently inspired
to read them on the air and to improvise new ones on the spot.
Listeners to the show even recall someone calling up Gibb to report that
if you played “Revolution No. 9” backward, you’d hear a secret message.
(Note: radio-show collectors used to offer an aircheck of this show or a
followup show for trade! Anyone have a copy?)

Within days, Gibb
& Co. were astonished when newspapers and reporters took their
on-air joke seriously and spread the tale more widely. Some clues which
have become part of established folklore, Westerfield reports, were
invented that obscure day at WKNR-FM, but have since been accepted as
part of the original hoax. Gibb and friends were not the source of the
hoax, he emphasizes, but played a part in its initial wider
dissemination. 

TommyGarcia2’s YouTubery has a 2 part exposé on the Paul Is Dead rumour:


When this rumour broke wide I was shocked and ashamed. From just goofing around in a radio studio, to it becoming a worldwide sensation, freaked me out. I was just 17 years old and unsophisticated in the ways of the world. I was worried that somehow this would all blow back on me in a horrible way. Therefore, I didn’t mention my involvement to anyone for about 20 years. Then I allowed myself to be interview by saki, who got word of my involvement from a mutual friend.

When I saw what was finally printed, I went underground for another 20 years. Recently I told the whole, deeper story to my nephew Adam, one of the subjects of my blog post My Days With John Sinclair. He suggested I just live with it, in essence echoing the advice at the end of the wonderful 1962 John Wayne/James Stewart/Lee Marvin Western The Man Who Shot Liberty Valance:

Ransom Stoddard: You’re not going to use the story, Mr. Scott?
Maxwell Scott: No, sir. This is the West, sir. When the legend becomes fact, print the legend.

I’ll let Sir Paul, with a little help from his friends, have the last word:

A Follow-Up to Treacherous Double-Dealing from June

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I woke up to the sad news this morning that Harry Nilsson was not among the those nominated to be inducted into the 2016 class at the Rock and Roll Hall of Fame.

Back in June I published a post called Treacherous Double-Dealing, which concerned my horrible treatment at the hands of two people who wanted to claim all the credit for the campaign. Now, as far as I am concerned, they should share all the blame for it not happening. Step right up Gabriel Szoke and Todd Lawrence to take your bows.

After I was summarily kicked off the triumvirate committee that was spearheading this drive, those two crazy MoFos came up with what I always thought was a stupid idea. Milo Bender, Willie Aron, and Rob Laufer wrote a cute little jingle called “Let’s Put Harry in the Hall.” Sure it was a catchy little number, but the last thing that was needed was to turn it into a We Are The World-style vanity project. Watch:

I have no idea how much time, energy, and money was wasted on this vanity project, but I can tell you, without fear of contradiction, that it all would have been better spent actually doing some of the things that we had discussed, and agreed upon, before I was dumped.

It was my idea that we needed to start a grassroots campaign for Harry’s last birthday, something that was actually done. However, we knew that the Rock and Roll Hall of Fame committee ignores grassroots campaigns because all bands and artists have those. The bigger idea, which never seems to have been implemented, was to use this grassroots campaign to influence the next level of influencers, who would then influence the next level of influencers, until it became a snowball rushing down the mountain that couldn’t be ignored.

But, a cute little video?

Oh, puh-leeze!!!

And, yes, at this point this is sour grapes. I was never in this for the credit, but merely to get Harry in the Hall. However, those two MoFos were all about getting credit. They made sure to get their credits on the video (and Gabriel made sure he got his name on there twice) and they were delighted whenever their names were mentioned in the scanty press they were able to garner.

Had I still been part of the committee, I guarantee that there would have been far more publicity. Furthermore, I would have been able to attract much bigger names to sign onto the campaign. I can’t say we would have succeeded getting Harry nominated, but it would not have been such an anemic and fruitless attempt.

Back in June I tried to warn people about these two. Sadly no one listened.

Since it’s Thursday, this seems like an appropriate way to end this post.

I’m the Barber of Oakville ► Throwback Thursday

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When I was about 20 years old I bought a barber’s chair, something I treasured for many years.

I found it in an antique store on Lakeshore Road in downtown Oakville, Ontario. It was one of the first big purchases of my life. It was easily the heaviest purchase of my life, until I bought my first car, a Volkswagen Beetle, a few years later. The Volkswagen was infinitely easier to move.

It was a wonderful, comfortable chair, which was fully functional. The handle (on the left) had several actions. Pushing it out would allow the chair to tip all the way back to recline, which is what barbers would do when they needed shave you. Your head would sit on the adjustable, padded headrest.

Pumping the handle forward would adjust the height of the chair, using an oil-filled hydraulic mechanism. From its lowest position to the highest was about a foot-and-a-half. It was a whole lot of fun to raise the chair up to its highest position and then release it.

The chair would also rotate 360 degrees. It was far more fun to put someone in the chair and spin them around, making them dizzier than a GOP candidate trying to explain their policies.

When I bought it it was delivered to my house on Brant Street. I never really considered what it would be like to move it from one residence to another … and boy, did I move a lot over the years.

This thing was easily 500 pounds. The metal parts were made from
chromed, cast steel. The white parts were made out of the same material
as old ceramic bathtubs. The padding on the seat (as well as the back)
had horsehair above a set of metal springs. Everything about it was
solid and heavy.

It took a minimum of 4 people to move it anywhere. Even when using a 2-wheel hand truck, it required a small cadre of folks to get it from one place to another. Stairs were its worst enemy. Yet, it made it up several sets of stairs to several apartments over the years.

The last place I had my barber’s chair was my 2nd floor apartment on Roncesvalles Avenue. When I moved from there to a 4-storey walk up on Lauder Avenue, at St. Clair, I couldn’t find anyone who would help me with the chair. It went into storage in a friend’s garage, but I lost it when he moved without telling me, abandoning the thing to a new owner.

I still miss that chair. It was a beaut.

Mrs. Miller ► Monday Musical Appreciation

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The ’60s are known for great discoveries in music, from Motown to The British Invasion to Psychedelia. However, there was no greater discovery than Mrs. Miller, born on this day in 1907. 

Mrs. Miller was Kitch before Kitch was Kool.

She was discovered in the early ’60s by LA DJ Gary Owens, better known as the announcer on Laugh-In. However, her star didn’t begin to rise until she was signed to Capitol Records in 1965. According to the WikiWackyWoo:

Singing in an untrained, Mermanesque, vibrato-laden style, according to Irving Wallace, David Wallechinsky and Amy Wallace in The Book of Lists 2, Miller’s voice was compared to the sound of “roaches scurrying across a trash can lid.” [1]

While growing up in the ’60s, I was fascinated by Mrs. Miller. I couldn’t wait for her many appearances on the various talk shows of the day. I thought, “If she can make it in Show Biz, then so can I,” which may have been my impetus for starting Cobwebs and Strange, a band I formed with my childhood friends.


According to Searching For Mrs. Miller:

From Claremont [where she lived] to Capitol is two hours in average traffic. There is a piece of story missing here, being that an organist/pianist on these sessions, Fred Bock, by all accounts a smart man with a sharp sense of humor, knew he’d found something unique. Fortunately, he knew somebody of consequence in the music business.

Lois Bock recalls: “Mrs. Miller would come to the L.A. studios and make recordings to send as gifts to orphanages those old, old songs like ` Alice Blue Gown’ in what she called her `operatic style’, and, on one of these sessions, Fred talked her into doing `Downtown’, which he took to Lex, who was an employee of Capitol at the time, and he heard something there.” She was signed to the venerated label, and work began on her debut, Mrs. Miller’s Greatest Hits.

Barry Hansen, a/k/a Dr. Demento raised an interesting point. “It took some imagination on Lex De Azevedo’s part to make an album of her doing all rock ‘n’ roll songs. It certainly was a departure from what she had recorded before.” Conventional legend has it that Mrs. Miller had no idea that she was a novelty act, but Lois Bock is quite clear about what Mrs. Miller was told. “Fred and I were honest with her. We told her it would be funny. And the audience loved it. The more they laughed, the more she would, you know, work it. I don’t know if she knew more than she let on, because she was always quite a character. But she loved audiences.”

Like so many superstars that burned far too bright, Mrs. Miller eventually flamed out:

As Lois Bock said, “She had a good run for eighteen months, which was seventeen-and-a-half more than anyone had a right to expect.” Mrs. Miller continued to perform sporadically, playing more benefits than just about any performer I can name, including one to raise funds to build a hospital in her hometown Jetmore, KS. When the hospital was built, she personally furnished the nurse”s lounge. She also devoted much time to raising her niece, Audrey.

[…] She retired officially in 1973, resigning from the Screen Actors’ Guild in honorable standing, and eventually settled into a condo at 9535 Reseda Blvd in Northridge, CA (the Valley). Unfortunately, in January 1994, the huge Northridge Quake destroyed the complex. Old age took its toll. Elva relocated to the Garden Terrace Retirement Center, in Vista, CA, where she died in 1997, at the age of 90. She is interred at the Pomona Mausoleum, near her beloved Claremont.

However, we still have her music to keep us warm on those cold nights:

Love Makes The World Go Round ► Unpacking The Writer

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Reflections on the last month

Whew!!! It’s been a whirlwind couple of months and it’s long past time for another Unpacking The Writer.

As longtime readers of Not Now Silly know by now the Unpacking The Writer series is a monthly look at what’s going on inside this writers head. This month I’ll include my heart.

Last week, for Throwback Thursday, I wrote about my Nuptial Nostalgia Tour, a 2-week road trip in which I visited Toronto and Hamilton, cites I have lived in. Meanwhile, Pastor Kenny Responds to my latest Pastoral Letter called The Trunk Lost In Transit, which means all my gentle prodding to have a dialogue about God, Atheism, and the LGBT communities has paid off. There will be more to come in that series.

My numbers for the past 30 days. Click to enlarge.

Since the last Unpacking The Writer I’ve also written about Tuli Kupferberg, U-Roy, Yma Súmac, Arthur Godfrey, and Linton Kwesi Johnson for my newest series A Monday Musical Appreciation. Under the rubric of politics I’ve also written More Proof the Palin Family Are Liars and Grifters; taken a well-deserved slap at Bill “The Falafel King” O’Reilly; written about the day Frederick Douglass Escaped; and concocted a little thing called Donald Trump, Demagoguery, and The National Shrine of the Little Flower.

I’ve also written A Message to Facebookers, an effort to vanquish the trolls on my timeline; reported that Don Knotts Is Back in a highly anticipated Morgantown update; written about Murder and Morning Television; and launched Throwback Thursday with The Westerfield Journals.

It’s been a very productive month. 

One of the statistics the Blogger platform returns to me is what search terms people have used to arrive at the Not Now Silly Newsroom. I always find this a weird, but interesting list. In the last month 2 people have arrived here by searching for “harris faulkner tit pictures.” I’m sure they arrived disappointed, since there are none. (Not that I wouldn’t want to see said pictures myself.) Two people have arrived here by searching “headly westerfield” and 2 by searching “where thevsidewalk [sic] ends headly wersterfield [sic],” which links to one of my more popular series on institutional racism in Coconut Grove.

I’m also celebrating an anniversary, of sorts. I’ve been writing Friday Fox Follies, my weekly column for PoliticusUSA, for a full year now. It’s a challenge to write because it’s carefully crafted by using the actual headlines found on the interwebs and put in prose form. It’s a lot of fun (for me, at least) when it all comes together, but there are times it has to be forced more than others. In fact, as soon as I publish this post, I’ll begin the next FFF column.

However, I’ve saved the biggest news for the very end: I fell in head over heels, madly, crazy in love. Incomprehensibly, it’s been reciprocated and I am happier than I’ve been in many years.

TO BE CONTINUED . . .