A Bit Of Broadway, Scribner’s Magazine, 1905.
[Via Golden Age Comic Book Stories, an ever wondrous site.]
A Bit Of Broadway, Scribner’s Magazine, 1905.
[Via Golden Age Comic Book Stories, an ever wondrous site.]
Shawn Sahm, the late Doug Sahm’s son, fronts the latest version of his dad’s group The Texas Tornados. Freddy Fender, another original member, is gone now, too — but Flaco Jiménez and Augie Meyers, two legends in their own right, are still there kicking ass on the old classics they helped create.
As soon as the band started playing at the New Orleans Jazz Fest this year every little girl in the audience jumped to her feet and started dancing — a sight to cheer any heart.
Excerpt from a stunning set at the New Orleans Jazz Fest — Cotty Chubb, Adrienne Parks and Paul Zahl react with barely concealed awe . . .
On my first night in New Orleans I rendezvous with Paul Zahl (on the left, of the The Zahl File) and Bill Bowman (on the right, of The Saturni) at Bill’s house in The Garden District. I first met these guys 50 (count ’em, 50) years ago — we hadn’t been together in the same location in over 30 years. All those years blew away like mist — our gray hair and middle-age paunches just seemed like parts of some hilarious disguises we had adopted to weird each other out.
We initially bonded in 7th grade over horror films and the magazine Famous Monsters Of Filmland. Within months of meeting each other we were planning our own homemade 8mm monster movies. During rollicking conversations on this visit, it suddenly occurred to us that there might have a been a connection between a) the fact that we all had angry alcoholic fathers and b) this passion for monster movies — for a magic realm into which we could escape, battle demons vicariously and emerge unscathed.
Actually, there was no “might” about it — it’s one of those truths so obvious that it can lie unnoticed for half a century, then suddenly reveal itself and elicit a resounding “duh!” The insight also explains why we have never lost our passion for monster movies, because those childhood demons still haunt us, even though all of our fathers have now passed away.
What can I say except that, like our ancient friendship itself, “It’s alive! It’s alive!” — and that 50 years can, viewed in a certain way, pass as fast as the blink of an eye.
At the Saltgrass Steak House, a favorite stop on any cross-country drive that takes me through Amarillo, Texas. Just across the way is a Country Inn that has smoking rooms and good wifi.
I was served by Kelly, an adorable young lass who was working her first night as a waitress, hoping to land a permanent position at the restaurant. When I told her she was doing a great job she pumped her fist and said, “Yes!”
Texas.
Just Texas . . .
A dream . . .
The painting above lives in the New Orleans home of my friends Adrienne and Bill. It’s by Rebecca Rebouché, a Louisiana artist:
I got to meet her on my recent visit to New Orleans and see more of her work at the Jazz Fest, where she had a booth.
You can see a selection of her work at her web site — Rebecca Rebouché. It uses folk motifs and surreal juxtapositions to create an eerie combination of the whimsical and the mystical. It’s sweet, with dark and unsettling undertows — like flowers found deep among the twists and turns of a haunted bayou.
It’s all quite wonderful, but Spoon Dress is the one that stayed with me most insistently on my journey home, mixing with the memories of my magical time in The Crescent City — the girls in their summer dresses dancing to sinuous swamp music, a spoon breaking the crust of the legendary bread pudding soufflé at Commander’s Palace.
[All images © Rebecca Rebouché]