Category Archives: Live Entertainment

Gonzovision ’82

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It’s entirely possible that this is the only place this photograph is posted anywhere. Considering the imponderable size of all the servers everywhere, that would be something. But also completely trivial, since there’s no end of physical images tucked away collecting dust.Gonzo Theater - Gonzovision Nashville 1982

I’ve had this physical print in my possession for more than 40 years. How exactly I got it in the first place, I don’t remember. It looks like a publicity shot, with the white border trimmed out for scanning, though nothing was printed there to indicate who they are, which seems like a serious lapse. Maybe that cost extra, or they couldn’t agree on a name yet.

But I know them (mostly). The five people were the members of a short-lived comedy troupe in Nashville, Gonzo Theatre.

One reference to the troupe online I’ve found is at a page on Newspapers.com depicting the July 18, 1982 Daily News-Journal of Murfreesboro, Tennessee.

The entirety of the text: NASHVILLE July 23, 31 “Gonzovision” will be presented by the writers of Gonzo Theatre every weekend at The Cannery, 811 Palmer Place.

The troupe name was Gonzo Theatre and the show was called Gonzovision. On the back of the photo, someone else wrote Gonzovision, and I added 1982.

On July 23 that year – very likely, since on the 31st I was caving in rural Tennessee – I went with some of my friends to The Cannery to see Gonzovision (the venue is still around as Cannery Hall). I remember being entertained, but otherwise not much else about the show. At one point, one of the troupe pretended to be Bob Dylan, another pretended to be Ethel Merman, and they did a duet. That was funny.

Also, there was a well-known local politico in the audience, who was red-nose drunk at the time, and the troupe spent some time making fun of him. I wish I could remember who that was, and what they said, but my notes are silent on the matter. Even 20 years ago, I couldn’t remember much more about the skits.

All this brings to mind Jim Varney. Not because he was a member of the troupe at that moment – he had better, and far more remunerative things to do at that time. Rather, some of the members of Gonzo Theatre would soon be in the very first Ernest movie, Dr. Otto and the Riddle of the Gloom Beam, a flick that took a bit of my money and about an hour and a half of my time for little in return.

Lee Johnson is at top left of the photo. He’s no doubt the reason we knew about the show at all, since we were tight with his younger brother Mike. Mac Bennett, whose career in movies was very brief, is top right. Sometime later, I heard him recite from memory, at a party and with great verve, a translation of Baudelaire’s “Get Drunk.”

Jackie Welch is bottom left. These days she’s “a professional life coach and president of Visions Manifest Coaching Services,” according to imdb, but whose web site doesn’t exist anymore. She has had a minor career in the movies – including a couple of other Ernest movies, Ernest Goes to Jail and Ernest Scared Stupid, and the short-lived TV show, Hey, Vern, It’s Ernest. Too bad Varney died when he did (2000) or she might have been in such epics as Ernest Goes to War, Ernest Rockets to Mars and Ernest and the Zombie Apocalypse, which surely would have been made in the 2010s.

I can’t remember the name of fellow in the lower center, who looks to be the head of the troupe, but I do know that to the right of him was Daniel Butler, who was also in Ernest movies, but is better known (relatively speaking) for a thing called America’s Dumbest Criminals. Again, too bad Varney’s career was cut short: Butler could have been his counterpart in My Dinner With Ernest.

A Lisbon Ramble

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Rain and wind sometimes but sun and warmth other times this week here in northern Illinois. Had breakfast on the deck most of the days since we returned. Lisbon wasn’t quite as warm as expected, with cool evenings – a little below 20° C. – evolving into warmish days, maybe 25° C. or so, followed again by cool evenings. We were rained on only once, more about which later.

Back to posting on Tuesday, in honor of Decoration Day, even though that’s next Thursday. I’m all for three-day weekends, or four or five, but we ought to acknowledge the heart of the occasion.

We arrived tired in the early afternoon of May 14 at the smallish but popular Praça Luís de Camões, emerging from the artificial lighting of the Metro into broad sunlight on the warmest day during our near-week in southern Portugal, just shy of about 30° C as they reckon things.

At once the dulcet sounds of these three gentlemen captured our attention, and we joined the loose ring of those listening. A good thing to do while sitting around getting ready to catch your second wind.Musicians of Praça Luís de Camões. Musicians of Praça Luís de Camões.

They played their versions of jazz standards and more recent songs. Sweet versions, each of the musicians taking the tunes aloft in distinctive ways. I didn’t see their names posted, even when I got close enough to drop in one euro each, so they’ll just have to be the Musicians of Praça Luís de Camões.

They had an enthusiastic audience member. He danced around on his feet for a while, the lay on the plaza tiles and “danced” around in that position.Musicians of Praça Luís de Camões. Musicians of Praça Luís de Camões.

We’d have listened longer, but we needed to obey our thirst, to use the ad phase that’s too good just to be that. Facing the square: McDonald’s. We each had a cold drink.

That’s my idea of a good souvenir, and I took it as such.

We headed down a busy retail street, R. Garrett, a thoroughfare with the likes of Ale-Hop Rua Garrett, Stradivarius women’s clothing, Gardenia shoe store, bbnails, Happy Socks, Livraria & Cafe, a book store, and the Percassipt quilt shop. A handsome street at spots. And under development.Lisbon 2024 Lisbon 2024

Basílica de Nossa Senhora dos Mártires, the Basilica of Our Lady of the Martyrs, also rises on the street.Basílica de Nossa Senhora dos Mártires

Before 1755 there was a different church on this site. As a Christian site, its roots stem back before Moorish domination of the Iberian peninsula.Basílica de Nossa Senhora dos Mártires Basílica de Nossa Senhora dos Mártires

Reinaldo Manuel dos Santos designed the current church, and of him Portuguese Wiki says: “Reinaldo Manuel dos Santos (1731-1791). Arquiteto e engenheiro militar português, foi um dos maiores expoentes da arquitetura e do urbanismo pombalinos,” which I believe is clear enough except for that business about pombalinos, a building and design style distinctive to Lisbon after the earthquake.

Now that’s a ceiling for the ages.Basílica de Nossa Senhora dos Mártires Basílica de Nossa Senhora dos Mártires

At R. do Carmo, a pedestrian street, Yuriko and Ann went to examine a particular clothing and other item store, while I took a wander.

People seemed to be paying attention to something.Santa Justa Lift Santa Justa Lift

They were right to take pictures. Stand just off the street was Elevador de Santa Justa, a Machine Age lift connecting two parts of the city, each at a different elevation.Santa Justa Lift Santa Justa Lift Santa Justa Lift Santa Justa Lift Santa Justa Lift

I’d read about it, but didn’t make a particular plan to see it. But there it was. The work of one Raoul Mesnier du Ponsard, who is known for this structure and others like it. We didn’t get around to taking a ride, since time is short and Lisbon’s destination list is long, whoever compiles it.

Spring Break Bits

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It might not feel like spring out there, but no matter. Time for spring break. Back to posting around April 18.

Not long ago, an entire movie on YouTube called First Spaceship on Venus came to my attention, and I decided to watch a few minutes to see how bad it might be. Soon I realized, this isn’t that bad. For what was clearly a pre-manned spaceflight depiction of spaceflight, not bad at all. I didn’t have time to finish it, but I will at some point.

I’d never heard of it. But I have heard of Stanisław Lem. I read His Master’s Voice years ago – nearly 40 years, so I don’t remember much – and saw the 1972 movie version of Solaris, ditto, though I’ve read it’s rather different from his novel. Turns out First Spaceship on Venus is the American title of Silent Star (Der Schweigende Stern), an East German-Polish production from 1960. Lem wrote the source book, The Astronauts, a few years earlier. The American version is dubbed into English and, I understand, cut in length.

Also, if you want, you can listen to the original soundtrack of Der Schweigende Stern. YouTube’s quite the place.

More idle curiosity for the day: checking ticket prices for Billy Joel and Stevie Nicks, who are appearing the same night at Soldier Field in June. The closest ticket for sale is pretty close indeed: front section, third row. For resale, actually. There are a scattering of resale tickets available in that section, with those on the third row listed for $3,791 + fees. Oddly enough, fourth row seats list for $2,794 + fees. At least for now. So one row ahead, where you can catch a slightly better glimpse of Mr. Joel’s shiny pate, is worth about a grand more?

I expect that represents dynamic pricing of some kind, facilitated by soulless algorithms in the service of maximized shareholder value, and varies from moment to moment. But I was never one for front row seats anyway, or even third or fourth. Checking further, I found that you can bring your opera glasses and sit way back for $179. As it happens, I’ve seen both of those entertainers; separately, in 1979 and 1980. I don’t remember what I paid. A handy inflation calculator tells me that $179 now is the equivalent of $47 back then. I’m positive I didn’t pay that much, total, for both tickets.

Visiting Queen of All Saints Basilica in Chicago last month, I took an image of carved text that puzzled me a bit, but then I forgot to look it up.

“Ecumenical Year?” I remembered to look into that more recently, and realized that it must refer to the first year of Vatican II, which was indeed 1962. Formally in English, the meeting was the Second Ecumenical Council of the Vatican.

Naturally, when one hears of Vatican II, it’s time to listen to “The Vatican Rag.”

The council might have been 60 years ago, but that song never gets old.

Gilligan!

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The video that captured the ramming and collapse of the Francis Scott Key Bridge has a morbid fascination, and you don’t even have to rubberneck to see it. I watched it a few times this morning, marveling at how what looked like a tap – but of course was tons of mass colliding with the structure – could bring the whole thing down so fast.

Then again, we’ve all had similar experiences on a (fortunately) smaller scale. One time I brushed ever so lightly against a stack of dishes drying in the rack, and much of the stack lost its cohesion in a moment, with the dishes suddenly rearranging themselves in a clatter, a handful tumbling to the sink and the floor, though I don’t remember that any broke.

I was also reminded of something I’ve written about before, some comedy about a previous (1989) shipwreck.

“About a week after the [Exxon Valdez] spill, I went to the Second City comedy revue… and they did a 15-second skit about it, a to-the-point gag.

“Silhouetted on the stage was a fellow standing behind a large ship’s wheel. From offstage, an announcer said something like, ‘And now, what really happened on the Exxon Valdez…’ Pause. Then the stage lights went up, reveling a familiar red shirt and white sailor’s cap on the fellow at the wheel, who was fumbling with it. At the same instant, a familiar voice boomed from offstage, startling the fellow: ‘GILLIGAN!’ the Skipper bellowed.”

If Second City had a mind to, they could do exactly the same sketch this weekend, only changing the line to “what really happened to the Key Bridge in Baltimore.” It would be in bad taste, since it looks like six men lost their lives in the collapse, but death doesn’t always nix comedy. In fact, often not. For example in ’86, NASA = Need Another Seven Astronauts.

Would many in their audience miss the Gilligan reference due to their relatively tender age? Maybe, but Gilligan is better remembered than a lot of ’60s TV characters. As an enduring stock character, the bumbling moron, he participates in something bigger than mere TV entertainment. Something that probably goes back a lot further even than Plautus, to the most rudimentary forms of pratfall entertainment among our remote ancestors.

Wendy at Cary’s

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Heavy rain and thunder last night, big puddles today and cool air, though no freeze. The first crocus is out. It actually bloomed just ahead of the rain.

My goal on Sunday was to make it to Cary’s, a bar on Devon Avenue on the northwest side of Chicago. I made it. As bar neon goes, this one’s the top, put it in the Cole Porter song.

Mask décor inside. Pixar: there’s a movie in bar masks that talk while the bar is empty. Cary's

Mostly, though, it’s a Chicago bar.Cary's Cary's

The bar stands out in the area, because much of the surrounding neighborhood is South Asian in character and it isn’t. Nearby establishments include Lahore Food & Grill, Hyderabad House, Pak Sweets, New Bombay Hair & Beauty Salon, Devon Gurdwara Sahib of Chicago, Musk & Oud (gift shop), Amar Carpet, Chandni Exclusive (bridal shop), Mehrab Supermarket, and many more.

Back when we lived in Chicago, in both the late ’80s and mid-90s, we’d seek out Indian food in the area, but I hadn’t been there recently. Not much seems different these days, despite the sizable expansion of the South Asian population here in the suburbs: on an unusually warm March evening, Devon and the nearby streets were alive, a constant churn in and out of the shops, along the sidewalks and out into the streets, where cars had a tight fit. I’d have wandered around Devon on foot more on Sunday, but I arrived only in time for the beginning of the show at Cary’s, because of the aforementioned detour en route, and the fact that parking is near impossible on Devon, and almost so on the streets around it, whose spaces are restricted mostly to residents.

I went not because I go to bars that much, but to see my old friend Wendy (even when this picture was taken in ’87, I’d already known her about five years), who was slated to play guitar and sing. On stage, she’s Jenn. I also got to see the opening act. He and his band — a bass player and a drummer — were also quite good, though Dylanesque isn’t quite how I’d describe him musically, though he’s got that the Dylan in Greenwich Village look on the poster, at least.

Wendy only plays in public occasionally, and I’d never heard her more than noodle on the guitar. I’m glad to report she plays guitar very well, and has a fine singing voice, though her lyrics were sometimes hard to hear over bar noise. Still, she was especially lilting in holding long notes seasoned by her Nashville background: that cut through the noise.

I told her these things afterward. I was glad I didn’t feel compelled to politely lie to her about her talent because, fortunately, she had some.

Years ago, in the summer of ’82 in fact, other friends and I went to a Nashville bar, I forget which one, to see a fellow one of us knew slightly, an aspiring musician, who had invited us for an open mike night. He was, I think, a waiter or bartender, but of course, every other waiter or bartender in Nashville aspires to musical success.

He must have aspired more specifically to be like Glenn Fry or Don Henley, but was a failure. Just didn’t have enough in the way of musical chops; even we could hear that. We were polite about it, though. I wonder whether that was doing him a disservice, but I expect in the fullness of time, he found out.

Boop!

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Boop! = much fun. I know that because I remember enjoying myself during the new musical of that name, despite my uncomfortable seat there in the dress circle at the theater formerly known as the Sam Shubert, now named for a bank, in downtown Chicago. We popped in for the show on Friday evening.

Even now, only four days after the performance, whatever detail I took in about the jazzy score or entertaining lyrics or the vivacious dance moves or the intensely colorful costumes – which were sometimes monochromatic yet colorful somehow – or the peppy dialogue or the remarkable sets, is all a kinetic blur.

That’s the way it should be with a musical, I figure. A little razzle, a little dazzle, something to enjoy in the moment. Still, Boop! wasn’t just a musical, it was a staged musical cartoon with a star character nearly 100 years old, singing and dancing her way through an appropriately gossamer plot.

A young woman named Jasmine Amy Rogers brought Betty to life with astonishing vitality and, often enough, a hot red dress, once Betty leaves monochrome behind. The supporting cast, up to and including a marionette dog, likewise filled the stage with song, dance and antics. The cast was first rate in every way.

Pudgy, Betty’s dog, a more-or-less life-sized marionette, did some astonishing moves himself, as guided by Phillip Huber, who once upon a time did some puppet work in the extreme oddity that was Being John Malkovich.

I am, I confess, mostly indifferent about Betty Boop. Or was, until I married a fan. Capt. Gus on KENS-TV Channel 5 didn’t show her cartoons on weekday afternoons after school; his thing was Popeye, though maybe he screened the Betty Boop short in which Popeye made his cinematic debut. In those pre-Internet, pre-You Tube days, the cartoons simply weren’t available. Betty, for me, was stuck in the amber of the 1930s, and while pop culture of the time has considerable interest, somehow she didn’t resonate.

So I grew to adulthood without giving her much thought, though I did see her brief appearance in Who Framed Roger Rabbit.

“Work’s been kinda slow since cartoons went to color, but I’ve still got it, Eddie!”

– Betty Boop, voiced by Mae Questel (d. 1998), who managed to live long enough to do so.

In Boop!, a monochromic-ish Betty, tired of being a cartoon celebrity, manages to transport herself to the “real world” via a machine concocted by Grampy, the inventor character from the shorts who is explicitly her grandfather in this show. She figures no one will know her in the real world, but she lands at New York Comic-Con in our time, in living color, and of course everyone knows her, especially the spunky little sister of her soon-to-be love interest, a modern jazzman. He provided the story’s shout-out to Cab Calloway, and I was glad to hear it.

Luckily, the story didn’t make too much out of Betty being a fish out of water, though that provided a little amusement. To her eventual dismay, she realizes she’s famous here, too.

Grampy, realizing that Betty needs to return to the cartoon world, comes to the real world to look for her, but also manages to spend the night with a real-world woman he had a dalliance with decades earlier. (The Hays Code doesn’t apply to this show, though it’s mostly wholesome.) There’s also a sleazeball running for mayor of real-world New York and it is he, in the fullness of time, who chases Betty around a desk, only to get clocked by her with a blunt object.

The sprinkling of serious elements – most musicals have a few – mostly involve female empowerment, though there was a dig at modern-day plutocrats. Betty is known for resisting sexual harassment and, after returning to the cartoon world, tells her director that she won’t be chased around desks by lecherous men any more in her cartoons.

I believe we saw the only the fourth performance of Boop! Not the fourth of this particular run, but the fourth ever in the history of the theater. I don’t think I’ve ever seen any big production that soon after its premiere. It was a fluke of marketing, and my experience with the character, that made that happen: a few weeks ago, a theater ticket website that sends me email once a week suggested Boop! I figured Yuriko, who has a longstanding fondness for Betty, would like it, so I got some tickets for something to do on the day after Thanksgiving. She did like it. Ann did too. We all did. Boop! is a crowd pleaser, and we were happy to be in the crowd.

Apparently the show has been in the works a long time and eventually was brought to fruition by director and choreographer Jerry Mitchell, who is very much a known quantity in the American theater. Its run at the Shubert serves essentially the same shakedown-cruise function as pre-Broadway runs in New England towns used to do – may still do, for all I know, but I expect Chicago offers a much larger pool of potential theatergoers.

Eventually, probably soon, Boop! will be on Broadway. As a crowd pleaser, I’ll bet it will do well there.

Chautauqua Park, Pontiac

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A total of four hours behind the wheel there and back from the northwest suburbs of Chicago to Normal, Illinois, could be considered a chore, but not if you have time to stop a handful of places along the way. That isn’t always possible – weather or scheduling might prevent it – but when it is, you might happen across things to see. Maybe even things you won’t see anywhere else.

Such as in Pontiac, Illinois, pop. 11,150. It’s been a surprisingly good source of stopover sights since I started driving to Normal on a regular basis, and so it was on Sunday, when I headed down to Normal to load up the car with some of Ann’s possessions. She’ll be done with school for the semester later this week, so the goal was to not be overloaded when she finally returns.

Plunge into the small streets of Pontiac – that might not be the right verb, since its grid is pretty small – and soon you’ll be at Chautauqua Park.Chautauqua Park, Pontiac

Spring green and on Sunday at least, warm enough to inspire a little sweat.Chautauqua Park, Pontiac

A good place to walk around, but also to read, with a good many signs like this.Chautauqua Park, Pontiac

I read at least a half-dozen. Most of them told me about the history of the park as the setting for the Pontiac Chautauqua, as the park name suggests.

A few quotes from the various signs:

A.C. Folsom

“Under the leadership of A.C. Folsom, a group of civic-minded citizens organized to bring a Chautauqua to Pontiac. Between the years 1898 and 1929, the Pontiac Chautauqua Assembles developed into one of the Midwest’s most popular and successful summer festivals.”

“As the Pontiac Chautauqua grew, dramatic presentations became particular favorites of the crowd. Shakespeare, melodramas, domestic comedies, mysteries, and tragedies graced the stage of the pavilion. Troupes of actors from New York, Chicago and elsewhere traveled the Chautauqua circuit, playing a repertory of four or five plays.”

The Chautauqua pavilion as it appears now.Chautauqua Park, Pontiac

Theatrical presentations still occur there. According to a non-historic sign, the next one will be the Broadway musical version of Beauty and the Beast, June 14-18, 2023, by the Vermillion Players.

More Chautauqua Park history-sign verbiage:

“Specialty acts from all over the world brought exotic sounds which floated over the park on warm summer evenings. Here are just a few of the individuals and groups which graced the Pontiac Chautauqua: Mme. Schumann-Heink, opera star; The Weber Male Quartette; Colangelos Band; The Honolulu Students; Mr. & Mrs. Tony Godetz, Alpine Singers & Yodelers.”

“Each year of the Pontiac Chautauqua Assembly, noted lecturers, politicians and educators came to edify the event’s patrons… some of the most notable speakers include: Booker T. Washington; William Jennings Bryan; Samuel Gompers; Rev. Dr. Thomas DeWitt Talmage; Carrie Nation.”

Yep, there’s Carrie Nation at the Pontiac Chautauqua.

No visible hatchet. It’s clear she didn’t wear a corset. She considered them harmful.

As fascinating as the park’s Chautauqua history is – and there’s the basis of another limited costume series on prestige streaming, namely the story of a plucky, slightly anachronistic woman entertainer on the Chautauqua circuit, ca. 1900 – that isn’t all the park has to offer.

Namely, it sports two of the town’s three swinging bridges. Dating roughly from the time of the Chautauqua. Original iron work, with wooden planks that have been replaced many times.

Naturally, I had to cross them. One of them:Chautauqua Park, Pontiac Chautauqua Park, Pontiac

And the other.Chautauqua Park, Pontiac Chautauqua Park, Pontiac Chautauqua Park, Pontiac

They don’t swing, exactly, at least when you walk normally, but they do wobble, and it takes a moment to get used to the motion. Nice views of the Vermilion River along with way.Chautauqua Park, Pontiac Chautauqua Park, Pontiac

Bigger than I would have thought. At this point, the waters are on their way to the Illinois River, then of course Old Man River.

One more item in the park: a plaque-on-rock memorial.Chautauqua Park, Pontiac

Not just any memorial, but a fairly unusual one.Chautauqua Park, Pontiac

But not unknown. Naturally, I had to look up Fred Bennitt. I’m cursed that way.

Noises Off ’99 & ’20

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It’s been two years since I’ve been to the theater. In February 2020, just before I went to California late that month, I took Ann to see Noises Off at the Metropolis Performing Arts Centre in Arlington Heights, where we go periodically. Logistically, it’s more convenient than theaters in Chicago, though of course that didn’t stop us from going into the city in ’19 a number of times.

Noises Off is a British farce first staged in London in 1982. It was at the Savoy until 1987, but I wasn’t fortunate enough to see it during my ’83 visit. Rather, my friends and I went to see The Real Thing at the Strand, a Tom Stoppard play also from 1982, which I remember being amusing.

Noises Off is really amusing. I didn’t see it until ca. 1999 in Chicago, and it was the funniest thing I’d ever seen on stage. Actually, it still is. Laugh out loud funny, along with the rest of the audience.

The 2020 staging was also funny, but not quite as much as the first time around. Maybe because I was older; or the cast wasn’t quite as good (though they were good); or that I knew what to expect. Still, Ann seemed to enjoy it, and I certainly did, even if it didn’t quite have the same punch as my memory of it.

It occurs to me now that I need to start going to the theater again. Health concerns haven’t been stopping me for a while now. It’s just that I got out of the habit. So I’ll soon do my bit to support regional theater, as part of that pent-up demand.

Hickory Street Parade, Denton, Texas, 1967 (Probably)

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I have a photo book holding a scattering of images made when my family lived in Denton, Texas, which was from 1965 to ’68. There are perhaps two dozen pictures. Photos were only made on special occasions, such as my birthday or when family visited from out of town.

Three of the pictures are of the Denton High School band, of which my brother Jay was a member, marching down Hickory St., which is the street our house was on, in 1967.  The edge of the photos says Aug 69, but that only means we didn’t get around to developing the film for almost two years.
Denton Texas Hickory Street Sept 13, 1967 That is not me sitting on a car in the first image. My mother must have taken the shots with our Instamatic 104, since I don’t think she would have been interested in fiddling with the more complicated cameras that my father left behind. Provided we had our Instamatic by then, which seems likely.

She stood on the sidewalk on Hickory St., probably near its intersection with Denton St.
At least, the angle of the third picture makes me think that’s where she stood. One the houses not far west of that point is still there, though deeper blue.

I must have watched the parade, but I have no memory of it. At the time I was six, and had just started first grade at Sam Houston Elementary School in Denton. I walked to school, so it wasn’t far away. There’s a school of that name still in the Denton ISD, but it’s far from where we lived and has a late 20th century look to it.

Thinking about it now, I suspect the school I went to was already old when I went there — maybe built in the ’20s to update whatever rudimentary facilities the town had before that. I expect the building I knew is long gone.

Also: here’s the house where we lived. The house is a different color now, but the enormous tree is still in the front yard! It seemed so vast to my boyhood self. Then again, it is pretty big. An old maple that produced huge leaves. Or was it an oak that produced huge acorns? Both kinds of trees were in the neighborhood and I would collect their scatterings.

I digress. Why was there a parade on that day in Denton, Texas? One possibility is that it was part of the September 13 publicity celebration for the regional premiere of Bonnie and Clyde, which was at a movie theater near the courthouse, only a few blocks to the east of where we lived. Parts of the movie were filmed in North Texas, near Denton, in places that could easily pass for 30 years earlier. The University of North Texas published an article a few years ago about the filming and the regional premiere.

Some of the stars of the movie rode in a small motorcade down Hickory to the courthouse square, and naturally the high school band had to be part of it. If my mother took any pictures of the movie stars, they’ve been lost. But I seriously doubt she did. Taking pictures of her son’s band is one thing, but actors in a movie (I suspect) she had no interest in seeing? Naah.

Keith Jarrett, Piazza del Campidoglio

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July 16, 1983, was quite a day for me. In the morning my friend Steve and I visited the Castel Sant’Angelo (the Mausoleum of Hadrian), followed by an afternoon at the Vatican. As in, the Vatican Museums, the Sistine Chapel and finally St. Peter’s itself, including a climb to the dome.

That should have been enough for any day, but at some point, Steve spotted a poster advertising an outdoor concert by Keith Jarrett that very evening at the Piazza del Campidoglio. I would have blown it off, having only a faint notion of who he was, but Steve knew more and insisted we go. It was standing room only.

Remarkably, I found a recording of that concert on YouTube.

The recording is about 25 minutes long. Not because whoever recorded it didn’t capture it all, but because right in the middle of things, the known-to-be-prickly Jarrett — maybe bothered by the persistent ambient noise of the setting — stormed off, never to return.