03.28.23
by

Emerson Ebert

Sheet music. Photo by Marius Masalar on Unsplash.

He was an ordinary-looking man, of average height, with a hairline which had already receded to the top of his head. The hair on the sides and back was just long enough, and wavy enough, to make you think of some old poet with ruffles at his collar.

Mister Emerson Ebert was not a poet. He did not wear ruffles at his collar, or down his shirt front or at his cuffs for that matter. He wore a plain two-piece suit and tie—a standard uniform in those days.

Because he was about my parents’ age, I thought him old. Actually, he and they were only in their thirties.

Music

He was a musician. I don’t mean he played in the New York Philharmonic, or in Guy Lombardo’s Royal Canadians. He did not, as far as I know, write symphonies or even commercial jingles. But he was a musician nonetheless.

Here are some of the music things he did.

Middle school band marching. Photo by Jessie Pearl, cropped. Licensed under CC BY 2.0.

He directed the intermediate and concert bands that combined the instrumentalists of half a dozen public grade schools, and two junior highs, in Streator, Illinois (pop. 17,500). Although the junior high band was called “The Concert Band,” both organizations were in fact marching units. So in addition to conducting us musically, he taught us how to march; and not only how to march, but how to play instruments while marching. 

If you have not done that yourself, Dear Reader, I suggest you give it a try some time. It’s not as easy as it looks from the Goodyear Blimp.

Teaching


The Music Lesson (1668)  Gerard ter Borch (Dutch, 1617-1681). Public Domain.

To have instrumentalists filling the intermediate and concert bands, Mister Ebert first had to teach scores of young savages how to play instruments. One does not teach beginners to play instruments in general, but rather to play specific instruments—all the various woodwind, brass, and percussion instruments. 

For example, Mister Ebert taught me, and several of my classmates, how to play the clarinet. But he taught Johnny Stevens and Jack Spencer and several others how to play the slide trombone. Still other classmates he taught to play the flute, the saxophone, the trumpet, the cornet, the tuba, and all the different kinds of drums. Yes, French horns, too. And oboes.

You may inquire, “How does one man teach all those different instruments?” That’s a very good question. I don’t know the answer, but Emerson Ebert did. 

I’m not sure you must totally master a particular instrument to teach it to beginning students. At least you need to know which end of the horn to blow into.

Professor Harold Hill’s Think System won’t do the trick.

You must teach the fingerings that go with each particular instrument. You must know a good tone from a bad tone, and how to achieve the former and avoid the latter. In other words, you have to know what you’re doing.

Single-Handed

Did I mention that half dozen or so grade schools contributed musicians to the intermediate and concert bands? 

But there was only the one Mister Ebert. 

Streator was a smallish town. The high school may have had more than one band teacher, but all the grade schools had to share Mister Ebert.

Each week he went to each grade school and gave small group lessons to beginning students. A group lesson for the clarinets; another for the saxophones; another for the flutes, and so forth. A guy could use up quite a bit of time that way. But how else are you going to raise up instrumentalists to play in the band?

Endurance

Apart from the question of technical expertise, there is the question of endurance. An aspiring musician must play a few hundred thousand bad notes before he or she consistently makes good notes. Our parents had to hear those bad notes when we practiced at home, which most of us did not do as much as we were supposed to. 

Mister Emerson Ebert heard the rest of those bad notes at school.

I can testify that when you first pick up the clarinet, you must learn to produce a sound through a wooden reed affixed to a mouthpiece. It is a little like blowing on a duck call, but not nearly so mellifluous. 

Mister Ebert got to hear all that. And imagine! He even got paid for it. What a lucky guy.

Composure

For all that, he was a surprisingly even-tempered man. I do remember one afternoon, however, when we clarinets were tootling away under his instruction in the practice room at Garfield School. 

A rumor had gone round that Mister Ebert’s wife was due to deliver a baby at any moment. 

He sat in a chair near us, using a wooden drumstick as a baton to beat a little rhythm for whatever song it was we were practicing. It was a hot, sticky day in early fall or late spring—and in those days schools were not air-conditioned.

One of us—it could have been me, I really don’t remember—hit a really sour note. 

Mister Ebert’s hand flashed like Bob Feller’s pitching arm as he flung the drumstick across the room, where it crashed against the chalk rail at the bottom of the blackboard 

That focused our attention. 

He got up, walked across the room, and picked up the drumstick from the floor. Astoundingly, neither it nor the chalk rail nor the blackboard had suffered any damage. He walked back to his chair, sat down, and lifted the drumstick again into conducting position. He cleared his throat.

“Continue,” he said, and waved the baton.

The baby was born later that day.

The Grand Parade

Eventually, we entered junior high and became members of the Concert Band. We were given dashing blue uniforms with gold braid at the shoulders and gold stripes down the pants. The first time we wore these was for the annual Pumpkin Festival Parade in Eureka, Illinois, the Pumpkin Capital of the Free World. 

“Now,” Mister Ebert said, “there are several units of horses marching ahead of us. So watch where you step. If you have to break formation to march around something, keep on playing and just get right back in line.” 

#

I regale you with all this, Dear Reader, not in order to toot my own horn. 

This post is not about me, but about Emerson Ebert. 

But I must confess that, when we moved away from Streator when I was in eighth grade, I ditched the clarinet. I never became Benny Goodman. I never became any kind of a musician. 

Oh, I sing in our church choir these days. That much I do. And I listen to music now and then. I like most kinds of music. But I seldom go to concerts. 

Well, I do attend several school concerts each year, because our grandchildren perform. Elsie sings in the school choir and plays trombone in the band. Tristan is taking up viola.

Tristan’s concert. Photo by author. Students in green shirts, teachers in pink.

At Tristan’s strings concert the other day, I couldn’t help noticing a few harried-looking adults in the ranks of youthful musicians, helping them tune up, waving hands and batons to lead them through their numbers—all the while enduring every note which come forth: the just right, the almost, and the nowhere near. With smiles on their faces. 

That’s what brought Emerson Ebert to mind. 

You see, without ever becoming a musician, I did learn a bit of music. I learned to like different kinds of music. I learned how to keep a beat. When I joined the Air Force and went to basic training, I already knew how to march. 

I knew that you should watch where you step—always an important thing.

I can say I have experienced the exaltation that comes when sitting in the middle of a large ensemble of horn blowers and drum bangers all playing the same Sousa march at more or less the same time. 

Thousands, hundreds of thousands, even millions of young people have received that experience because Emerson Ebert, or his counterparts across the land, have given it to them. 

Occasionally we hear news of some school system making a budgetary decision to eliminate music programs—in other words, to fire music teachers.

Wrong move. Cut out almost anything else if you must, but let the Emerson Eberts of the world do what they do. We can’t be human without music.

By a happy coincidence, March is Music in Our Schools Month.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Author of Price of Passage—A Tale of Immigration and Liberation.

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

FREE FOUR-CHAPTER PREVIEW!

(History is not what you thought.)

03.21.23
by

Irrepressible Meets Inevitable: Big Doings at the Wigwam

A literary agent asked what book I had most recently read. It was a kind of litmus test. 

Between you and me, Dear Reader, my short-term memory is on its last groove. Had I not just polished off a book that very morning, I might have been struck speechless.

But it happens I had. So I spoke right up—“The Lincoln Miracle: Inside the Republican Convention That Changed History, by Edward Achorn.”

Do you suppose I passed the agent’s litmus test? 

At least I knew the name of a book. There’s that to be said in my favor.

But I digress. 

My purpose today, Fair Reader, is actually to acquaint you with that particular book.

The Crisis

In the mid-nineteenth century every American knew trouble lay ahead. The words “civil war” increasingly rolled off people’s tongues.

Southern politicians wanted to expand the geographic limits of the institution of slavery, while many in the Northern states wanted to limit slavery to the places where it already existed. These two agendas were incompatible—and people on both sides cared deeply about the question. 

Abraham Lincoln summarized the situation in a famous speech, saying:

Abraham Lincoln February 27, 1860. Matthew Brady photo. Public Domain.

“A house divided against itself, cannot stand.”

I believe this government cannot endure permanently half slave and half free.

I do not expect the Union to be dissolved—I do not expect the house to fall—but I do expect it will cease to be divided.

It will become all one thing or all the other.

Either the opponents of slavery will arrest the further spread of it, and place it where the public mind shall rest in the belief that it is in the course of ultimate extinction; or its advocates will push it forward, till it shall become lawful in all the States, old as well as new—North as well as South.

But Lincoln was only a provincial politician, a self-educated man whose highest public office had been a single term as United States Representative from Illinois’ 7th District. Even after he skewered the great Stephen A. Douglas in Senatorial candidate debates in 1858, that did not make him a national figure. He won the debates but lost the election. So much for the upstart prairie lawyer.

William H. Seward, 1859 or before. Public Domain.

William H. Seward was a two-term U.S. Senator from New York, a former governor of the state. He was the dear friend and the special project of a top kingmaker, Thurlow Weed of Albany. A long-time Whig, Seward was the most prominent figure to join the new Republican party when it formed. He could have been nominated for president in 1856, but his political manager Weed forced Seward to withdraw his name, throwing the nomination to grandiose political novice John C. Frémont. “We do not want him nominated for fun,” Weed explained to a friend. He was convinced the new party was too weak to win in 1856; better to sacrifice Frémont than Seward.

The Nomination

Four years later, in 1860, Seward’s time had come. He and Weed were ready. Seward, a top architect of the Republican party, believed he was owed the presidential nomination. 

Seward, like Lincoln, had spoken of the North-South divide in stark terms. 

“It is an irrepressible conflict between opposing and enduring forces, and it means that the United States must and will, sooner or later, become either entirely a slave-holding nation, or entirely a free-labor nation.” 

Seward’s Irrepressible Conflict Speech “set off a firestorm,” according to author Achorn, whereas Lincoln’s House Divided Speech “had been all but ignored outside of Illinois.” Seward was a big-name politician; Lincoln was not.

Thurlow Weed, ca. 1860. Matthew Brady photo. Public Domain.

The Republican Party chose Chicago as the site for its 1860 nominating convention. Seward and Weed approved the decision, perhaps considering Illinois a neutral ground, the home of no major rival candidate. When Thurlow Weed and a united New York delegation steamed into Chicago on a special train Saturday, May 12, it was to ensure Seward’s coronation. 

Achorn’s book, The Lincoln Miracle—which I highly recommend—is a detailed examination of how a small team of Lincoln’s Illinois supporters, working feverishly around the clock over the course of the next week, spoiled Seward’s party.

The Convention

The stakes were enormous.  Not only was the entire nation gripped in the fear of civil war; the Democratic Party had split in a major debacle at its convention in Charleston, South Carolina. It looked like there would be not one, but two or even three Democratic candidates. Thus, it seemed the Republican nominee would win the White House.

Neither Lincoln nor Seward, nor any other potential candidate—Bates, Cameron, Chase, or any other—was present in Chicago. It would have been unseemly. Candidates were expected to stay home, serenely attending to personal or professional matters. They communicated with their floor teams daily by telegraph. 

Judge David Davis, ca. 1860. Public Domain.

Lincoln’s campaign was run by his old friend, Judge David Davis. Just as Lincoln seemed a minor figure compared to Seward, so Davis—a purely local commodity—was eclipsed by the fame of Thurlow Weed, the great newspaperman and political boss. 

But Davis was a long-time politician and knew just what to do.

Lincoln started with a home field advantage the New Yorkers were slow to grasp. The convention was held in a fresh-built wooden auditorium called The Wigwam. It was large enough to hold ten thousand people. And Lincoln supporter Norman B. Judd had charge of the seating arrangements. The Illinois delegation was seated close to those of wavering or undecided states, the better to lobby their delegates during the balloting, whereas the New York delegation sat isolated, separated by a broad aisle from those same delegates. 

A drawing of the Wigwam’s interior during the convention. Public Domain.

All week long the Lincoln men had been buttonholing delegates from other states. Their orders from Lincoln were never to speak ill of other candidates. They only sought to make Lincoln, so far as possible, every delegate’s second choice. 

Seward was a great American, they granted, and a leading foe of slavery. Only—just in case his support was not quite as strong as everybody imagined—then Lincoln, not Bates or Chase or anybody else, was the logical second choice. 

After all, his House Divided Speech said the same thing Seward’s Irrepressible Conflict Speech did. It was just maybe a bit more carefully worded, with its language looking to slavery being placed “in the course of ultimate extinction.” The pro-slavery firebrands already agitating for secession would not be happy with either Seward or Lincoln, but conservative Union men in the Border States might be able to stomach the more cautious and politic Abe.

When the balloting started on Friday, it came as a great surprise to Weed and his cohorts that Lincoln, not Bates or Cameron or Chase or McLean, stood in second place with a strong showing of 102 votes to Seward’s 173½. 

Since 233 votes were needed for a majority, a second ballot was taken and showed Seward at 184½ and Lincoln at 181. A hushed crowd suddenly realized that Seward did not have it sewed up. 

Enough delegates swtiched to Lincoln to give him the nomination on the third ballot.

The Illinois delegation, other Lincoln supporters, and local residents of Chicago generally went wild. Fireworks erupted. There was pandemonium. There were joy and tears in distant cities as telegrams went out to announce the stunning news. 

A committee of party poo-bahs took a train to Springfield the next day to formally tender the nomination to Lincoln in person. Most of them had never met the Railsplitter and wondered whether the party had made a great mistake by nominating the ignorant country bumpkin of hostile press accounts. 

Imagine their delight when the candidate and his wife, Mary Todd Lincoln, received the little group of big men in their modest and tasteful home with grace, dignity, and irresistible warmth. 

They decided Lincoln would do.

The Book

Reader, intending to tell you about Achorn’s book. Instead I have told you some little bit of what the book says. 

Why do I like the book? Because, in addition to explaining in perfect detail the political machinations behind Lincoln’s nomination at The Wigwam in May 1860, it gives memorable and insightful portraits of the main characters.

William Seward is no villain. He is a man of towering stature, better qualified than Lincoln in many ways. He is kind-hearted, generous of spirit, unwilling to overstep the bounds of propriety. He is also a man of no small ego, and he genuinely believes he has a date with destiny as president of the United States. But the smart and hard-working campaign engineered by David Davis deprived him of it. It was a bitter pill to swallow. He did find a way to swallow it, accepted the post of Secretary of State, and became a key Lincoln ally throughout the war and the far-sighted purchaser of Alaska afterwards. 

Thurlow Weed comes in for sympathetic treatment. Too often dismissed as a crude machine politician, he emerges in Achorn’s telling as a man of great intelligence, sensitivity, and magnetism, a man of high Christian principles. He, too, was bitterly disappointed by the 1860 result. He, too, made the best of it and forged a strong working relationship with the new president.

Horace Greeley, ca. 1860. Public domain.

The Hon. Horace Greeley, founder and editor of the New York Tribune, is the joker in the deck at the 1860 Republican convention. Formerly a great friend of Seward and Weed, he turned on both of them in the years just before the convention, apparently because they would not help him achieve public office. Neither Seward nor Weed seemed to realize the depth of Greeley’s animus, but the old curmudgeon spent a lot of time and effort lobbying delegates with the notion that Seward could not be elected. Though he was ostensibly working for Edward Bates of Missouri, the seeds of doubt Greeley sowed about the front-runner worked in Lincoln’s favor. With his demanding, querulous nature, he went from bedeviling Seward at the convention to bedeviling Lincoln once the new president was in office.

Finally, there is Lincoln himself. Honesty was a big part of his brand at Chicago in 1860. Whether or not people felt he was the right candidate, they knew they could trust him not to be corrupt. That is because he genuinely was honest and not corrupt. 

He was a shrewd politician, for sure. But one reason he stood head and shoulders above other politicians in his mastery of the whole political scene was his ability to see the long picture. Throughout his political career, whenever anyone did him ill, he bore no grudge. He turned the other cheek. He suffered a lot of insufferable people. So when the time came to make his move, there were not a lot of people holding specific grudges against him.

He gave Davis and his team a clear written instruction: “Make no contracts that will bind me.” Yet Lincoln was in Springfield; his flying squad was in Chicago on the convention floor. It appears that, when push came to shove and they needed to shift a few more votes to accomplish the miracle, they promised cabinet posts to Pennsylvania strongman Simon Cameron and Indiana politico Caleb Smith. 

Lincoln may not have felt “bound” by these undertakings but he did appoint Cameron Secretary of War and Smith Secretary of the Interior. Neither man was well-qualified, and Cameron was soon replaced by the zealous and effective Edwin M. Stanton.

By the standards of the time, only two cabinet posts was a remarkably light obligation for a successful candidate to have incurred. That his campaigners did not obligate him for more than this is probably because they knew the candidate would object. Mister Lincoln’s command not to “bind” him had its effect. But as a practical politician, he did what he had to do to cover his operatives afterward.

All in all, The Lincoln Miracle sheds welcome light on the 1860 convention and is a very enjoyable and entertaining read. It uncovers new meaning in our common past.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Author of Price of Passage—A Tale of Immigration and Liberation.

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

FREE FOUR-CHAPTER PREVIEW!

(History is not what you thought.)

03.14.23
by

Jack’s Big Show

Jack Benny, 1964 publicity shot. Public Domain.

The new thing called television was run by the same networks that ran the old thing called radio. 

Popular radio programs, from The Lone Ranger to Art Linkletter’s House Party, were carried over to TV and brought their loyal audiences with them. 

A great radio show was The Jack Benny Program, a weekly half-hour of hilarity and running gags that ruled the air from from 1932 to 1955. Benny, like many others, made the jump from radio to TV, appearing on CBS television from 1950 to 1964 and on NBC for one year after that. For five years, he and his ensemble pulled off the frenetic trick of appearing regularly in both media.

An Overnight Success

Benny Kubelsky with violin, early 1900s. Public Domain.

He was Benjamin Kubelsky, a violin player from Waukegan, Illinois. After achieving great mediocrity in school and business, the dreamy 18-year-old took his fiddle to the vaudeville stage in 1912. 

Audiences yawned. 

Famed violinist Jan Kubelik hinted at legal action because of the similarity of names. Kubelsky, adding jokes to his routine, changed his billing to “Ben K. Benny: Fiddle Funology.” 

Ben Bernie, a well-known “patter-and-fiddle” star, was not amused. The new kid’s name was too similar.

Kubelsky—having meanwhile served in the U.S. Navy for World War I—adopted the name Jack, common parlance for a sailor (“Jack Tar”). 

After two decades of scratching out a living, first as a vaudevillian, then as a movie novice at MGM, Jack Benny auditioned for NBC Radio and became an overnight success.

Show Within a Show

Jack Benny, newly-minted radio star, in a 1933 NBC publicity shot. Public Domain.

For NBC, Benny—billed as “the star of stage, screen, and radio”—exercised his dramatic skills by portraying a radio comic named Jack Benny. 

This fellow Benny lived a sedate bachelor life in Beverly Hills. He employed the gravel-voiced Rochester, a butler-valet-chauffeur played by black actor Eddie Anderson. Benny’s girlfriend Mary Livingstone (in real life his wife, Sadie Marks) dropped by often, as did people from the cast of his radio show: bandleader Phil Harris, boyish tenor Dennis Day, the closely harmonious Sportsmen Quartet, and rotund announcer Don Wilson.

Mary Livingstone, 1940 publicity photo. Public Domain.

Add a rotating cast of quirky character actors including multi-voiced Mel Blanc, supercilious Frank Nelson (with his famous baritone “Ye-e-e-s-s-s?”), and race track tout Sheldon Leonard (“Psst! Hey, Bud!”), and you had the basic ingredients. 

Dennis Day. ABC publicity photo, 1960. Public Domain.

A show’s plot would focus on some minor incident in the life of stage-screen-radio star Jack Benny. One week he, Mary, and Dennis would go to the race track to play the ponies. Another week Rochester would drive him to the train station for a trip to Palm Springs. Another week, Benny went Christmas shopping or stewed about an impending meeting with his show’s sponsors. Odd things happened to Benny in these commonplace situations, with disparaging commentary by the screwball characters in his cast. 

A comedian playing a comedian in a show about nothing. Are you listening, Jerry Seinfeld?

Pay No Attention to That Man at Center Stage

With kooks on every hand, Jack Benny himself seemed like the normal person in the show. But not exactly . . .

Each episode revolved around Benny. He was center stage. The shady characters, uppity store clerks, band members in a constant state of carousal, wry Mexican villagers, and most of all Benny’s long-suffering household intimates—Mary, Don, Dennis and especially Rochester—all served to call attention to Benny’s eccentricities.

He was vain and vainglorious. Blue-eyed and never ageing beyond 39, he admitted freely to being a violin virtuoso and a comic genius, with leading-man looks thrown in. 

He was indecisive, sometimes making a store clerk wrap, unwrap, and rewrap a purchased gift half a dozen times so that he could change the sentiments expressed on the card inside.

Most of all, he was cheap as only the rich can be. He had fabulous wealth, which he kept in an impregnable basement vault, while pathologically resisting any effort to part him with a dime. This miser image was displayed in every show and developed in almost every joke, until no American could have been unaware that Benny was a skinflint. 

His stinginess was the tacit explanation for his car, a 1908 Maxwell roadster, always on the verge of death. When Rochester, as chauffeur, would suggest Jack acquire a new car, he always insisted on coaxing a few more miles out of the Maxwell. The car’s throes of anguish in its brave attempts to start were given voice by the great Mel Blanc.

Jack Benny and Eddie Anderson as Rochester from the television version of The Jack Benny Show, with Jack’s 1908 Maxwell—one of the rare times an actual car was shown. CBS Television, 1951. Public Domain.

When Benny encountered a hoodlum demanding cash, the studio audience and every fan at home could see the punchline coming.

Jack was a master of the long pause. Comics to this day rave about Benny’s comic timing.

Fred Allen 1940 publicity photo. Public Domain.

Audiences, who may not have understood such subtleties, roared.

To boost ratings, Benny and rival comic Fred Allen concocted a feud, which played out on both shows over a period of almost twenty years, until Allen’s sudden death at 61 in 1956. A typical exchange:

Allen: Jack, you couldn’t ad lib a belch after a plate of Hungarian goulash.

Benny: You wouldn’t say that if my writers were here.

But Benny’s writers were there, every Sunday night. And when he moved from radio to television, “audiences learned that his verbal talent was matched by his controlled repertory of dead-pan facial expressions and gesture” (Wikipedia).

A Smooth Transition

Except for that discovery, the transition was seamless. Of all shows that went from radio to TV, Benny’s had the least noticeable format change. The Jack Benny Program on television was exactly what we radio listeners had always seen in our mind’s eye.

Benny trouped on for another fifteen years on television and continued making stage and TV appearances until shortly before his death in 1974. 

Audiences gradually learned that Jack’s on-air persona was a carefully constructed myth. In person he was warm and generous. And his devotion to music was real, even if his musical talent was less than stellar.

He donated a Stradivarius violin purchased in 1957 to the Los Angeles Philharmonic Orchestra. At the time of the gift, Benny said, “If it isn’t a $30,000 Strad, I’m out $120.”

If you’re interested in a more complete account of the Jack Benny Program, try  https://www.wikiwand.com/en/The_Jack_Benny_Program.

Next week: Something completely different. Tune in.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Author of Price of Passage—A Tale of Immigration and Liberation.

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

FREE FOUR-CHAPTER PREVIEW!

(History is not what you thought.)

03.07.23
by

Add Pictures and Stir

Guglielmo Marconi, in 1896, figured out how to send Morse’s telegraphic code through the air, over great distances, without wires. 

Guglielmo Marconi. Photographer unknown. Public Domain.

Microphones, also invented in the late 19th century by a series of audio pioneers, were added to the radio signal, and by the 1930s commercial radio had become an established medium. Popular programs included The Lone Ranger, Amos ’n’ Andy, and the National Barn Dance.

Antique radio, photographed by Doug Coldwell, licensed under CC BY-SA 4.0. 

After supper, American families now sat around large wooden boxes warmed by the orange glow of vacuum tubes to hear concerts, dramas, comedies, mysteries, westerns, news, and quiz shows. Your New Favorite Writer remembers it, Dear Reader. When I was a boy, in the Fifties, “old-time radio” was still going strong. 

But the seeds of its destruction had been sown. Somebody—a group of somebodies, actually—figured out how to transmit motion pictures using radio waves. 

At the end of World War II in 1945, almost nobody owned a television set. By 1955—only ten years later—almost nobody did not own a television set. 

Continuity is a recurring theme in human affairs. The first automobiles resembled horse-drawn buggies or carriages, with a combustion engine taking the place of the horse. 

Early TV set, an RCA Model 630-TS, sold in 1946-47. Photo by Fletcher6, licensed under CC BY-SA 3.0

Likewise, the first TV sets were built like radios: lovely mahogany furniture filled with vacuum tubes, with the addition of a luminous picture tube, the front surface of which served as a screen. That one extra tube brought moving pictures of the world to us in glorious black-and-white. 

Continuity of design ruled content as well. The early television shows were often just radio programs with pictures added.

Cowboys and Indians

Moore and Silverheels as the Lone Ranger and Tonto. ABC photo, Public Domain.

The Lone Ranger and his “faithful Indian companion” Tonto galloped across our living room three nights a week on ABC Radio. When TV came along, they became movie stars, their cinematic exploits piped into our homes once a week on Saturday mornings. 

George W. Trendle produced both the radio and television series, but other personnel changed. On radio, Brace Beemer played the Lone Ranger and John Todd played Tonto. But Beemer was only marginally photogenic, so Clayton Moore was hired to wear a mask and ride the great horse Silver, while authentic Native American Jay Silverheels took over the Tonto role. He looked the part.

Gunsmoke was another western that began on radio and switched to TV. Manly-voiced radio actor William Conrad played U.S. Marshal Matt Dillon. But Conrad was inescapably rotund, so he was replaced in the TV series by tall, lanky James Arness.

William Conrad. CBS Radio photo, Public Domain.
James Arness. CBS Television photo, Public Domain.

What’s a Question Worth?

The radio quiz show show Take It or Leave It premiered in 1940 and rapidly became popular. Wikipedia describes its format perfectly: “Contestants selected from the audience were asked questions. After answering a question correctly, the contestant had the choice to ‘take’ the prize for that question or ‘leave it’ in favor of a chance at the next question. The first question was worth $1, and the value doubled for each successive question, up to the seventh and final question worth $64.”

Because of the show’s popularity, “That’s the sixty-four dollar question” became a widely-used catchphrase applied to any especially difficult conundrum. 

When something you have created becomes a household word, use it. Take It or Leave It changed its title in 1950 to The $64 Question. The program went off the air two years later.

But in 1955, CBS revived The $64 Question as a television show, hosted by actor Hal March. The producers added three zeroes and called it The $64,000 Question. It was the first big-money game show. For that kind of dough, they made the questions hard.

IBM card sorter, 1955. Photo by Atomic Taco, licensed under CC-BY-SA-2.0.

For TV, they added visual gimmicks to the program. When a contestant chose the category to compete in, a lovely young lady pushed the start button on an IBM card sorter—at that time the most decorative aspect of computer technology. The machine whirred and shuffled. The lovely assistant scooped up a deck of IBM cards from the end of the sorter and delivered the deck to Hal March. 

It seemed that an all-knowing machine, the computer, had spun out a graduated series of questions on the spur of the moment. A modern marvel!

There was another gimmick: Once a contestant reached the $8,000 level, he or she was sequestered in an “isolation booth,” able to hear only the quizmaster. It was show biz, folks.

Dr. Joyce Brothers in 1957. World Telegram photo by Phyllis Twacht. Public Domain.

The show spawned imitators: The $64,000 Challenge, Twenty-One, The Big Surprise, Dotto, and Tic-Tac-Dough—all quiz shows with tough questions and high stakes. We TV watchers could not get enough of shows like that. They made instant heroes of brainy people nobody had heard of before. People like eleven-year-old science wizard Rob Strom; polymath Teddy Nadler, a St. Louis stock clerk who made $264,000 answering questions across a broad range of categories; and everybody’s favorite, psychologist Joyce Brothers, a demure young blonde with an uncanny knowledge of boxing. All us regular folks out in TV-land were deeply impressed.

What’s an Answer Worth?

Then, in August 1958, CBS cancelled Dotto without explanation. A federal probe revealed a contestant had been given answers in advance. The G-men expanded their inquiries and found hanky-panky going on in several shows. The bloom was off the rose for big-money game shows. They all went off the air that fall and did not return until forty years later (Who Wants To Be a Millionaire?, 1998).

Soon after, in 1959, the U.S. Congress launched grim hearings exposing “payola.” The Congressmen were shocked, shocked!, to learn that record companies were paying radio disc jockeys to plug their records, manufacturing smash hits by the simple expedient of playing them more often than other records. This actually might have been legal had the source of funding been disclosed; but it was not.

The quiz show scandals, followed soon by the payola scandals, were a one-two punch to the solar plexis and jaw of Middle America. Perhaps not since the Black Sox scandal of 1919 has the American public been so let down. (“Say it ain’t so, Joe!”)

It was hard to know exactly how we’d been cheated. The quiz shows, after all, were entertainment. Seeing all these smart people answer tough questions was engrossing and entertaining, even it it was rigged. After all, for years we’d been watching professional wrestling, which everybody knew was rigged. We liked it anyway.

Likewise, the smash hits produced by the payola system were great songs. We still play them on the oldies stations today. Did anybody really care how they made their way onto the air? 

Still, there was something unsettling about unseen people manipulating contests we had no reason to think were not on the square. Our stubborn innocence was under attack.

I’m not sure it has ever recovered. 

A Ray of Hope

Fortunately for all of us, Jack Benny remained steadfastly on the air, first on radio, then TV.

Benny and cast members, 1946. Public Domain.

Be sure to tune in next week.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Author of Price of Passage—A Tale of Immigration and Liberation.

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

BUY NOW

(History is not what you thought!)

02.28.23
by

Train Ride

One bright morning in 1952 I boarded the Santa Fe Chief in Streator, Illinois, and rode to Galesburg, a hundred miles away. 

The Santa Fe Chief pulls out of Chicago in 1957. Kansas Historical Society.

All by myself. 

I was seven years old.

Mom had given a small tip, probably a dollar or two—equal to ten or twenty of today’s dollars—to the porter, a smiling man in a white coat and brown skin, for the extra trouble of looking after me. It was a commonplace transaction.

But for me, a train ride was an adventure. 

You could take a train from almost anywhere to almost anywhere. This was near twenty years before the railroads gave up on passenger service and turned it over to a tax-funded company called Amtrak.

It was more than twenty years before computerized ticketing and reservations. To ride the train, you spoke to an agent through the metal grille of a ticket window. In small towns the ticket agent might also be the station agent and telegrapher (although by the time I was riding the train, manual telegraphy had been replaced by teletype machines). 

You told the man—it was always a man—where you wanted to go, and he gave you a rectangle of pasteboard which conveyed that information to the conductor of the train. If you were going on a long trip that required changing trains, or even changing railroad lines—starting on the Milwaukee Road and ending your journey on the C.B.&Q., for example—your ticket might be a long, multipart form with two or more sections stapled together. 

The conductor punches a ticket. Photo by Donnie Nunley, licensed under Creative Commons Attribution 3.0

The conductor—a white man in a dark blue uniform—came through the car soon after the train left the station and asked for your ticket. He punched it with a hand punch to show it had been used. He kept the ticket and placed a slim paper tab in a clip above your seat. The tab was color-coded and marked to show your destination. 

I wore my best clothes—of course one did that for such an important thing as a rail journey—and carried a small cardboard suitcase and my best friend, Teddy. The stuffed bear rode in the seat beside me, at no extra charge. If a grown-up sat there, Teddy could ride in my lap.

A great panoply of the Heartland blurred by the large train window at sixty miles per hour. We sped past the clotheslines, tenements, and scrapyards of Moon, Ancona, Leeds, Caton, Toluca, LaRose, Wilburn, Atlas, Holton; crossed the Illinois River and stopped for several minutes at the important town of Chillicothe; then clackety-clacked through the stockpens, car lots, and water towers of North Hampton, Edelstein, Princeville, Monica, Laura, and Williamsfield; jumped the Spoon River at Dahinda, and rolled on through the quaint backyards and byways of Appleton, Knoxville, and East Galesburg, to stop at Galesburg, where I got off and was met by Grandma Sommers, with her big old Hudson sedan. 

(Confession time, Dear Reader. My brain does not contain the full litany of railside towns after seventy years. I cheated by looking at an old railroad map.) 

The smiling porter, who had checked my well-being from time to time during the two-hour trip, handed me down the passenger coach steps onto the platform, where Grandma waited. She and I  walked through the station—or, as we called it, the depot—on the west side of North Broad at Water Street.

Santa Fe depot interior, 1950s. Kansas Historical Society. Between the bulletin board, left, and the ticket window, center, stands the shiny metal Chiclets dispenser.

Where you left the passenger waiting room there stood a gum machine. You could put in two of Grandma’s pennies and choose among four flavors of Chiclets. Down a little chute they slid, two pieces of hard-shell chewing gum in a bright-colored cellophane packet. Tutti-frutti was the best flavor, and its packet was peach-colored, not unlike Tennessee Avenue on a Monopoly board.

That color, halfway between orange and pink, marks in my mind not only tutti-frutti Chiclets and Tennessee Avenue, but also Tuesday, my favorite day of the week. For no reason I can think of, Tuesday is peachy in color. 

That may be peculiar to me. If you don’t like it, Fair Reader, you’re free to paint your Tuesdays a different color. Go ahead, I dare you.

The grand exploit of soloing by rail into the wilds of western Illinois, like most of my youthful pleasures, is denied to young people now. Today, minors under twelve may not ride unaccompanied on Amtrak, and those of twelve years and older may do so only subject to numerous regulations. 

In the safe world of my childhood, we did not think strangers were likely to be perverts. It was unspoken and universal that adults would protect children. Adults trusted other adults to safeguard their children; and we who were children believed that adults—even the legions of grouchy ones—would watch over us if need be.

Others may remember things differently. Perhaps my memory wears rose-colored glasses. But those growing old along with me can testify that in those days, though we were often fussy and formal, sometimes about trivial things, we were at the same time more relaxed and confident in the major departments of life. 

Thomas Wolfe said you can’t go home again. Galesburg, however, is still served by Amtrak. But Amtrak rides the old Burlington main line, now owned by the mega-railroad company called Burlington Northern Santa Fe (BNSF).

That means you can go home again, but you get off the train at a different station. The old Santa Fe main line tracks still run just north of Water Street, owned and operated by that same Burrlington Northern Santa Fe. But that line is traveled only by freight trains. The old depot that had the Chiclets machine is long since demolished.

Santa Fe depot at Broad and Water, about 1962. Kansas Historial Society.

That stately old depot, and the way of life it embodied, are now gone with the wind, as Margaret Mitchell might say. They are with the snows of yesteryear, per François Villon. 

The old depot site at Broad and Water, as it is today. Google Earth screenshot.

No matter. Those trains and stations and clackety-clack journeys still exist in memory . . . for a few years yet.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Author of Price of Passage—A Tale of Immigration and Liberation.

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

BUY NOW

(History is not what you thought!)

02.21.23
by

BOOK REVIEW & INTERVIEW

CHARRED

by G.P. Gottlieb

Charred, the third book in G. P. Gottlieb’s Whipped and Sipped mystery series, puts the reader deep in the mind and heart of Chicago café owner Alene Baron at a time when Covid seems to have shut down everything except arson, murder, and chicanery.

A construction site is torched, an unburned body found in the debris. Amidst pandemic-imposed precautions, protest marches, and opportunistic looting, it’s all too much. A dead body at a fire scene shouldn’t have anything to do with Alene’s café, but—as things turn out—it does.

Baron is hardly an eager sleuth. She just wants to protect her family, her friends, her business—and her love commitment to divorced police detective Frank Shaw. The rhythm of these concerns as they overlap and clash in Alene’s brain forms a distinct heartbeat for this engaging story. Everything is further complicated by the skeleton in Alene’s closet—an estranged uncle who wants absolution for his role in a long-ago bank robbery.

Juggling characters, relationships, and conflicts in a way that flows swiftly to a compelling conclusion is Gottlieb’s special strength as a mystery writer. This is the third literary outing for Alene and her coterie, and the author strikes a confident pace with a narrative which, though complex, always moves forward.

Readers of the first two books, Battered and Smothered, will certainly enjoy Charred. And so will anyone else who enjoys mysteries whipped, sipped, and basted with the juice of uptown intrigue.

#

INTERVIEW WITH THE AUTHOR

G.P. GOTTLIEB

Dear Reader,

Few authors I have met since entering the literary world can match Galit Gottlieb for hard work, organization, and brains. It was Galit who introduced me to my book publisher, DX Varos Publishing. And when the book was published, she helped me spread the word by interviewing me on her New Books Network podcast, New Books in Literature. Besides organizing and conducting this weekly half-hour author interview show, she has found time so far to write and publish three engaging murder mysteries, the Whipped and Sipped series from DX Varos.

These are great books, and if you like a mystery, they’ll be right up your alley.

A few days ago, on your behalf, I asked Galit these questions:

ME: What made you become a novelist, and more specifically, a mystery writer? 

G.P. GOTTLIEB: In 2014-15, I made it through an epic cancer battle by dreaming of the novel I was going to write if I made it out on the other side. I’d written stories, poems, and songs, but because I loved reading mysteries, I wanted to write one. I read a lot of classics, and especially enjoyed Rex Stout’s descriptions of the gourmet food his protagonist enjoyed. In my book, I thought, I’ll also include recipes, and the food will be what I like best-vegetarian, healthy, clean. So, I sat down and started writing a story about a café owner in Chicago, very close to where I live. I worked with a fabulous teacher, spent three years perfecting that first novel, and won a publishing contract in a rare stroke of good luck!

ME: How much of your protagonist, Alene Baron, is G.P. Gottlieb? How do the two of you differ?

G.P. GOTTLIEB: Alene is nothing at all like me; she’s from a different generation, a different neighborhood, and had different dreams. Also, I have no business ability and can’t imagine running a café, dealing with employees, or facing endless dilemmas. I do love eating and drinking in cafes though, and I enjoy being around people, so maybe there’s just a little bit of me in her.

ME: What is next on your horizon as a writer? 

G.P. GOTTLIEB: I’ve started another novel in the Whipped and Sipped series (it might be called POUNDED), I’m writing lots of essays to submit to journals and as guest posts, and I’ve been working on and off on a novel in short stories for several years. I enjoy most of the process except for the marketing, which I wish wasn’t as necessary as it is. My plan for this launch is to write so much that every day people around the world look at social media and see another essay by me – some are standard, but some might be (and have been) referred to as “odd.”  As long as it entertains me to write it, I’m okay if anyone thinks it’s odd!

02.17.23
by

Writing a Historical Novel

Dear Reader: This is a Friday Reprise of material originally posted on 28 May 2019. It’s amusing to read it now, because when this was written, I thought the book was done. I had no idea! At any rate, hope you enjoy the retrospective.

Three and a half years ago, in January 2016, I retired from other pursuits so I could try to write fictional stories that other people would like to read. 

Coastal village in Norway. “Enligt AB Flygtrafik Bengtsfors: ‘Havstenssund’.” by G. AB Flygtrafik Bengtsfors / Bohusläns museum is licensed under CC BY-NC-ND 4.0 

After a few small success with short stories, I got the idea to write a historical novel based on my ancestors Anders Gunstensen and Maria Nybro, who came to Illinois from Norway in the 1850s. We had scant information about their lives—a few dates,  places, and milestones—not much more. Not enough real knowledge to support a detailed, book-length factual account of their lives—even if I had wanted to write one. But what I actually wanted was to use the bare facts as a framework on which to hang a made-up story, through which we might discover the world in which they lived.

I spent more than six months on the trail of Anders and Maria. I struggled to imagine a plot around the known and unearthed events of their lives that would make a good fictional story, yet would not much distort the known facts. At last, early in 2017, I began to write text. 

Me writing.

The first draft of this novel, Freedom’s Purchase, took more than a year to write, at a steady rate of 1,500 to 2,000 words per week.This time also included research “on the fly” to support the detailed demands of particular scenes in the story.

My writing process is iterative. Contrary to what many great writers recommend, I invest a lot of time and effort, while laying down the first draft, in simultaneously revising passages already written. So by June 2018, when I finished the “first draft” of the novel, it was really anywhere between a fifth and a fifteenth draft, depending which part of the book you’re looking at. 

I loved my book so much that I started to query agents, seeking a traditional publication contract. After nine months, I felt a bit stymied. At the UW-Madison Writers’ Institute in April 2019, I asked Laurie Scheer about this. She said, “How many agents have you queried so far?” I said, “Thirty or forty.” She guffawed. “Try three hundred!” she said. 

Discouraged? On the contrary, I found myself reassured. The problem was not necessarily with my book; only that the literary market is tough to crack. However, that very reassurance gave me the freedom to consider the niggling little thought that if the manuscript itself were a bit better, that would make it easier for agents to see its merit. Perhaps a hundred fifty queries would be enough to do the trick!

My other friend in the UW Writers’ program, Christine DeSmet, read my first ten pages—the most important part of any book for making a first impression—and gave me very useful feedback. Her comments showed me how I could make the first chapter not a little better—rather, a whole lot better. So I did. But Christine also recommended dissecting the whole book scene by scene, then improving each scene as needed. I blanched at the thought. I decided to do it anyway.

Toward a Smashing Second Draft

I spent the whole next month just reading my book. I analyzed 159 separate scenes; I wrote down the overall purpose of each scene, its setting, its characters, their goals, their conflicts, the resolution of those conflicts, and the particular moments of dramatic change. This yielded an analytical document 54 pages long.

So now, I revisit each scene to fix the problems that have shown themselves through this process of analysis. A huge task. Yet, not enough.

After I work my way through a chapter of scenes, I do the next step, suggested by another friend, Tracey Gemmell, author of More or Less Annie, and other members of my Tuesday evening writers’ group. In Microsoft Word, I search for every “ly” in the chapter (many of these turn out to be adverbs); for every “ing” (present progressives, present participles, gerunds); for every “and,” “or,” and “but” (conjunctions); for every “is,” “are,”  “was,” and “were” (verbs of being); for every “saw,” “heard,” “knew,” “felt,” “smelled,” and “tasted” (“filter” words). Then, I re-read the chapter in search of introductory time phrases or other introductory adverbial constructions. 

That step is a lot of work, too.

Not that there is anything wrong with adverbs, a progressive verbs, passive constructions, conjunctions, or introductory adverbial expressions. All those things have their places in effective prose. But they can become crutches that allow us to write gimpy narrative, when overused. By considering each occurrence in isolation, one often finds a more vivid and robust way—a less distanced, less stand-offish way—to say what one meant to say. If you change even a quarter of those expressions to more powerful constructions, it’s worth the effort. 

By the end of this process, I’ll have a book more worthy of readers’ time and attention. And, perhaps, a traditional publishing contract.

Stay tuned, dear readers.  

Larry F. Sommers, Your New Favorite Author

Author of Price of Passage—A Tale of Immigration and Liberation.

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

BUY NOW

(History is not what you thought!)

02.14.23
by

Windward and Leeward

After our escape from Devil’s Island, we sailed north, bound for the Windwards.

If you’re already confused, Dear Reader, allow me to set you straight. 

Mandatory Geography Lesson

The islands in this part of the world are called, for no good reason, “antilles.” If you will consult your map—or your globe, should you own such a princely object—you will see a line of giant antilles running east-west. They are named, from left, Cuba, Jamaica, Hispaniola, and Puerto Rico. These are the Greater Antilles. They form a ridge that walls off the Atlantic Ocean, to the north, from the Caribbean Sea, to the south.

Now, look to the right side (east) of Puerto Rico and there, hanging down like the tail of a large west-facing chameleon, you will note a north-south string of teensy antilles with names like Antigua, Martinique, Saint Lucia, and so forth. These would be your Lesser Antilles. They do not wall off, but do demarcate, the South Atlantic, to the east, from the Caribbean, to the west.

So now you know.

The Greater Antilles, across the top; and the Lesser Antilles, down the right side. From Google Earth.

None of this, Kind Reader, applies to the Dry Tortugas, so get that out of your mind right away. But let me ask you, in all candor—what good is a wet tortuga?

Getting back to the Antilles, I regret to inform you of one further development: Some of the lesser ones are known as Windward Islands, whereas others are called Leeward Islands, on account of the lamentable tendency of sailors to chalk everything up to the wind. Because the Trade Winds, in those latitudes, blow from east to west, therefore the southern islands of the Lesser Antilles are windward and the northern ones are leeward. 

There you go. Don’t ask me. It is what it is.

Now, Back to Our Story

Two long, rolling, sea days after not landing at Devil’s Island, we came to Bridgetown, the principal city of Barbados—which may be a Windward Island or may not, depending which way the wind is blowing. Barbados is technically in the Atlantic Ocean, yet it seems Caribbean, for what that’s worth.

Not yellow, but our submarine nonetheless. Jo Sommers photo.

Barbados is the birthplace of rum, and it still makes some of the best. English is the main language spoken there, along with a local patois that is also part English. After centuries as a British colony, Barbados gained independence in 1966 and is still a member of the British Commonwealth. 

We visited a pineapple farm and later saw the coral beds of Barbados from the viewports of a real submarine!

Our next port of call was Castries, the main port city of Saint Lucia, which is for sure one of the Windward Islands. Between 1660 and 1814, France and Britain fought fourteen times for control of the island. Seven times it came out French and seven times British. Finally the French, exhausted after the energetic reign of Napoleon, gave up. Saint Lucia, like Barbados, is now an independent state in the British Commonwealth.

Saint Lucia’s caldera–the low spot between the lumpy mountain on the left and the two craggy pitons on the right–looms over the fishing town of Soufrière.

I found Saint Lucia lovely and appealing. It is volcanic. The southwest shore of the island features two great stone spires, called Petit Piton and Gros Piton, and a caldera or basin formed by a gigantic blow-out more than thirty thousand years ago. Hot steam still oozes skyward from the unhealed wound in the earth. 

Thirty years ago, after Gabriel, a tour guide, was burned by steam, the government built a safe viewing platform that overlooks the steam vents. The platform is safe, that is, until the next eruption. But geologists hope the Earth will give warning before that happens. I hope so too. 

The steam vents.

For the present, I can only report that I am happy to have escaped alive.

On we went, ending our voyage in San Juan, Puerto Rico. As a young man, I had paid a brief visit to San Juan. A fellow passenger on our ship asked me how long ago that was. “Oh,” I replied, “it was about thirty years ago. No, wait . . . forty . . . uh, no—make that fifty years ago.” 

Time sure sneaks up on one, does it not? 

San Juan astounded me. Gleaming white buildings stretched along the shore as far as I could see. Old San Juan, the place marked by a pair of famous old Spanish fortresses, is still there. But the city now spreads out over the countryside. Those gleaming white buildings are hotels, apartments, and condos with price tags up to and beyond a million dollars apiece. 

Puerto Rico’s residents are exempt from U.S. income tax, and the island recently passed legislation cutting its own corporate tax rates. As a result, a lot of folks from the U.S. mainland are moving to Puerto Rico, establishing residency, and bringing their businesses with them. No doubt there are still many poor Puerto Ricans, but the new prosperity is not to be sneezed at. 

We had only a little time on Puerto Rico, for our airplane home was waiting. And it was great to get back to good old Madison. Who doesn’t love zero degree weather and foot-deep snow? 

It beats a wet tortuga any day.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Author of Price of Passage—A Tale of Immigration and Liberation.

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

BUY NOW

(History is not what you thought!)

02.10.23
by

Boatman on the Tamsui

Dear Reader: This is a Friday Reprise of material originally posted on 28 May 2019. Enjoy!

Taipei, 1968

The boatman bends to his oars. He guides his sampan with the ease of a sage, gliding by a large gate, toward a three-masted junk that looms beyond. Shadows and ripples tether him to water, yet he hangs suspended, the center point on which the misty harbor turns. 

“Look at this, Ralph.” 

My drinking-, carousing-, philosophizing-buddy peers through the shop window at the row of canvases. “I can’t believe the same guy painted all of these.”

“Me neither.” Six oils in sepia monochrome. Five show stark village streets, all sharp angles, hard lines, crisscossed phone wires; the sixth reveals a dreamscape that evokes the timeless China of peasants and poets. All six have the same name at the bottom.

“Good afternoon, you like these paintings?” A man stands at my elbow. A smiling man, a chubby Chinese with a servile aura. (Hen heqi,“very affable,” his mother might say.) He wears dress slacks and a gray short-sleeve shirt, stands before the storefront, shares our perspective on the art.

“Not bad,” I say.

“These are my paintings.” He smiles full wide. “I am Peco Yeh.” He shakes hands, gives us each a small card. On one side, Chinese characters; on the other, in English,  “Peco Yeh, Traditional Chinese Artist.”

Sidewalk commerce, typical for Chungshan North Road. I downplay the boatman in his watery realm, feign attraction to the sterile village scenes. But Peco Yeh homes in on my real interest. “This, Tamsui River,” he says.

Chungshan North Road, 1960s. Courtesy Taipei Air Station Blogspot.

“Local scenery, huh?” 

He waxes lyrical on Taiwan’s mountains and rivers. Besides his fawning attitude, typical for Chinese pitchmen, there is something else. One can’t mistake Peco’s effeminate manner. It suggests he is queer—a surprise, in broad daylight, here in Chiang Kai-shek’s Methodist/Confucian state. However—to each his own. He’s trying to sell his paintings, that’s all.

Ralph bad-mouths the artwork. I walk away twice; both times Peco Yeh shepherds me back to the storefront for “one more little look.” Eventually I make the watery scene my own for three dollars American, twenty-two less than his original price. The artist smiles, gives us a good-bye wave, bends his head, palms together, in the timeless Asian gesture.

A fictionalized account of true events.

#

Larceny at Twice the Price

My only defense: It was a different time and place. The event narrated above is fictional only to the extent that I have invented bits of dialog I can’t recall, word for word, from fifty years ago.

Ralph and I were U.S. airmen stationed on Taiwan to monitor radiocommunications of the Chinese Communist Air Force, who flew operations just across the hundred-mile-wide Taiwan Strait. We had been taught Mandarin Chinese for eavesdropping purposes; it also came in handy when we mingled with the people of Taipei. 

Young men on our own in a place where most prices are negotiable, we took haggling to extremes. We prided ourselves on the discount we could wring from anyone selling anything. The sum of three dollars in those days was equivalent to about twenty-two of today’s dollars. One U.S. dollar bought forty NT (New Taiwan dollars), the local currency. You could get a nice restaurant dinner for half that or less. So Peco Yeh got more purchasing power from me than may be apparent. Still—when you consider that Peco’s asking price of twenty-five U.S. dollars would be less than two hundred today—I feel chagrin at having driven such a hard bargain, in the service of youthful pride. 

The value derived from this picture is far beyond the three dollars paid. That price, by the way, included the wood frame that the canvas still wears today. I took the whole thing to the U.S. Navy’s Headquarters Support Activity just up Chungshan Road. They crated and shipped it to my mother and father in Kenosha, Wisconsin, for fifteen dollars—five times what I had paid for the painting, but a worthwhile expense. 

The canvas graced my parents’ living room wall for decades. It came back to me when they died. Now it hangs in our house, where I pass it every day, oblivious to the quiet beauty it radiates. When I do stop to notice, I can’t believe my good fortune in having encountered Peco Yeh fifty years ago in Taipei. 

In Search of Peco Yeh

Who was Peco Yeh? It seemed he spent a lot of time on the street, promoting his art to any American who happened to walk by. His effete manner made him the butt of ridicule. “That guy’s as queer as a three-dollar bill,” one of my fellow airmen said. In 1968 “queerness” was not accepted. Homosexuality, although common and known of (even in the military), stayed under cover.

A Google search on “Peco Yeh” yields thumbnail photos of a few pictures attributed to him on various online auction sites, at modest prices. The paintings shown do not much resemble my boatman in style or substance, any more than did the stark village scenes with which it appeared in the store window. Peco, I think, dabbled in many styles.

Some sites give an unattributed, apocryphal biography of the artist:

“Peco Yeh is/was a Chinese man living in Taipei Taiwan during the 1970s. He came from Chengdu, China with the nationalists in 1947 with his mother. His mother was the mistress of the last court artist of the Qing Dynasty. When Empress Dowager Cixi was poisoned, the court artist went to Chengdu and took the mistress.”

A romantic tale. It seems farfetched. Could it be true? Yes. Stranger things have happened. 

China was in turmoil in the late 1940s. Communists under Mao Tse-tung defeated Kuomintang (Nationalist) forces under Chiang Kai-shek. In 1949, the Nationalists fled the mainland, occupied Taiwan, became its government. Wikipedia says, “The Kuomintang (KMT, Chinese Nationalist Party), its officers and approximately 2 million troops took part in the retreat; in addition to many civilians and refugees, fleeing from the advances of the Communist People’s Liberation Army.” Most civilian escapees came from Sichuan or other southern provinces.

The thumbnail bio puts Peco Yeh on Taiwan two years before the main exodus. That’s possible; or it could be a misprint. He is said to hail from Chengdu, which happens to be the capital of Sichuan. Many civilians who fled with the Nationalist Army were members of, or related to members of, the upper crust. The mistress and child of a former imperial court artist could have been among them. So this narrative, though extravagant, may be true. Hard to tell.

I pray that Peco Yeh lived out a long life to its proper natural conclusion. And may God forgive me for appropriating his fine artwork at such a mean price. 

Mountains and Water

Whatever the merits of his other works, the one that hangs on my wall seems to me a fine example of a modern impressionistic work that embodies important elements from classical Chinese art: Careful composition, calligraphic brushwork, and the suggestive use of negative space—areas of the canvas that seem occupied by nothing at all yet contain the universe in that nothingness. The effect is of beauty, tranquillity, eternity. The masters of the Southern Song would recognize an affinity with their landscapes.

Chinese people use the term shan-shui(山水), “mountains and water,” to mean both natural scenery and the landscape painting that depicts it. They also have an old maxim, “The wise delight in the mountains; the good delight in the waters.” 

I can only hope the delight I now take in Peco Yeh’s Taiwan waterscape, purchased in 1968, suggests some upward evolution of my soul in the intervening fifty years.

Blessings,

Larry F. Sommers, Your New Favorite Author

Author of Price of Passage—A Tale of Immigration and Liberation.

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

BUY NOW

(History is not what you thought!)

02.07.23
by

What the Devil!

We sailed out the enormous maw of the Amazon River and headed north.

Our good ship began to roll with the waves of the broad Atlantic. I headed for sick bay and picked up a few tablets of meclizine for myself and my wife. That was a good move, because crossing the ocean from Brazil to French Guiana becomes a long haul. 

Alfred Dreyfus in 1894, photographed by Aron Gerschel. Public domain.

On the morning of our third day at sea, we stood a few hundred meters off Devil’s Island.

And there we stood. 

Our cruise itinerary noted a brief excursion, on foot, over the grounds of the now-defunct penal colony, where Captain Alfred Dreyfus had been imprisoned from 1895 to 1899.

The French Army’s counter-intelligence section discovered a leak of military secrets in 1894. Suspicion quickly settled on Dreyfus, the only Jew on the general staff, and he was convicted of treason. Even after another officer confessed to having been the spy, it took years for Dreyfus to regain his freedom and clear his name. So “the Dreyfus affair” became France’s most celebrated case of miscarried justice—justice colored by more than a tinge of antisemitism.

As background to our projected trek on Devil’s Island, Viking Cruises had shown us the film Papillon—the 2017 film starring Charlie Hunnam and Rami Malek, not the 1973 classic with Steve McQueen and Dustin Hoffman—which was based on a mostly fictitious memoir by Henri Charrière, one of the few Devil’s Island prisoners ever to make a succcessful escape.

Our disappointment was palpable when, after this buildup, we were not permitted to land. The only way ashore was by ship’s tender. We would have had to step from the large, stable ship into a small lifeboat bobbing on the tremulous sea. Had we been a shipful of young Olympians, Viking might have chanced the maneuver, but hardly a passenger aboard was under seventy. The captain’s decision was undoubtedly correct; the swells were too great.

Émile Zola in 1902. Self-portrait. Public Domain.

The thing is, Dear Reader: We cannot know precisely what we missed. No guided tour was planned—only self-guided exploration of some ruins, perhaps bearing explanatory signs. But would we have been exploring the real Devil’s Island, the place where Dreyfus languished until a nationwide campaign led by literary lion Émile Zola prompted the reconsideration of his case?

The answer is not clear, Gentle Reader. “Devil’s Island” is one of those terms that has several varying degrees of precision. 

For example, if you say, “Mâitre Renard, convicted of stealing cheese from Mâitre Corbeau, was shipped off to Devil’s Island”—you may be referring generally to French Guiana. The whole colony was a large penitentiary, to which more than 80,000 prisoners were banished over the 101-year period from 1852 to 1953. Devil’s Island, the most notorious part of this penal colony, has come to stand in common parlance for French criminal punishment in general.

Mâitre Renard prepares to grab Mâitre Corbeau’s fromage. Public domain image.

One small part of this large penal system was the group of three small islands—the Îles du Salut or Salvation Islands—collectively known as “Devil’s Island.” The three islands are Île Royale, Île Saint-Joseph, and Île du Diable. All three of these islands held prisoners, but only one of the three was the Île du Diable—Devil’s Island. This island was originally the colony for prisoners with leprosy, now known as Hansen’s disease. Later, it was reserved for political prisoners, of which Dreyfus was one.

Devil’s Island seen from Île Royale. The small cottage at right is where Dreyfus was imprisoned. Photo by Christian F5UII, licensed under CC BY-SA 4.0.

Our cruise director, David, called our planned excursion site “Devil’s Island,” but he also called it “Isle Royale.” I conclude that, had the excursion happened, we would have been landed on Île Royale, which appears to have a pier where our tender could have dropped us. From there, a short hike would have taken us to the back side of the island, where we could see Île du Diable across six hundred meters of water, as shown in the photo above. So we would not have set foot on Devil’s Island, but only on “Devil’s Island,” in the plural sense.

But we’ll never really know, will we? 

The best thing about Devil’s Island would have been the simple opportunity to set foot on land after three days at sea.

The second best thing about Devil’s Island—speaking more generally—is the 1955 movie We’re No Angels, a wry comedy in which three Devil’s Island escapees—desperadoes played by Humphrey Bogart, Peter Ustinov, and Aldo Ray—come to the rescue of a bumbling shopkeeper and his family in the mainland town of Cayenne at Christmas. 

If you haven’t seen We’re No Angels, do yourself a favor. Pop some corn, put your feet up, and make a highly enjoyable two-hour escape into Devil’s Island.

Next week: Up the Caribbean.

Blessings,

Larry F. Sommers

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