Showing posts with label newspapers. Show all posts
Showing posts with label newspapers. Show all posts

Wednesday, February 27, 2013

Bukowski: Lost Original Drawings Of A Dirty Old Man Are Found

by Stephen J. Gertz


Nineteen long-lost original drawings by Charles Bukowski, America's poet laureate of the depths, surfaced at the 46th California International Antiquarian Book Fair February 15-17, 2013, offered by ReadInk of Los Angeles. Sixteen of them appeared as accompaniment to Bukowski's classic column in the Los Angeles Free Press (The Freep), Notes of a Dirty Old Man. The remaining three originally appeared in Sunset Palms Hotel, Issue #4 (1974).


The drawings come from the personal collection of L.A. poet-publisher Michael C. Ford, who found them while cleaning out his desk at the end of his own tenure as a Freep staffer in late 1974. When he offered them to Bukowski, he was told “ah, you hang onto ‘em, kid, they might be worth something someday.” Ford took the advice and tucked them away in his personal files, from which they have emerged just once before now, for a short-run display a few years ago at a small and now defunct gallery in Long Beach, California.


Until its termination in 1976, Bukowski’s Notes of a Dirty Old Man feature in the Los Angeles Free Press was probably the single biggest contributing factor to both the spread of his literary fame and his local notoriety as a hard-living, hard- drinking L.A. character.  


Begun in John Bryan’s famous Open City underground newspaper, published in L.A. from 1967 to 1969, “Notes” continued in the Freep after Bryan’s paper folded, and was also picked up by underground and counterculture publications in other parts of the country (e.g. NOLA Express in New Orleans). Bukowski’s contributions, which alternated irregularly between prose and poetry, were often illustrated with his crude but evocative and humorous doodles; occasionally he dove into comic-stripland, as with his “Clarence Hiram Sweetmeat” episodes, which made a handful of appearances in late 1975. 


Deadpan and hilariously direct, these Free Press drawings represent an important “lost” element of one of Bukowski’s signature achievements. Both published collections of “Notes” columns - Notes of a Dirty Old Man (1969, which of course predates these particular drawings) and More Notes of a Dirty Old Man: The Uncollected Columns (2011) - reprint only the text portions of the originals, omitting the illustrations. 
 

Yet it’s so much more satisfying to read Buk’s piece on his day at the racetrack (The Freep, November 2, 1974), when it’s accompanied by his slapdash rendering of a race in progress, its essence brilliantly encapsulated in his simple caption: “Right or Wrong in 18 Seconds.”


Until these originals came to light the only way to appreciate the “Notes” columns in their illustrated fullness was to either scrounge up old copies of the Freep (neither easy nor cheap, these days), or  park yourself in front of a microfilm reader at a major library and feel your eyes dissolve from the strain.


All the drawings are ink on paper, 81⁄2”x11" with a single exception, 6 1/2" x 4". Information regarding original publication date(s) is available upon request from ReadInk.
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All images courtesy of ReadInk, with our thanks.
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Of Related Interest:

Charles Bukowski's Last, Unpublished Poem, and the Bestial Wail.

Charles Bukowski, Artist.

Charles Bukowski Bonanza At Auction.

Dirty Old Man Exposed At Huntington Library.
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Tuesday, November 13, 2012

My Bonnie Lies Over the Ocean: Robbie Burns in Philly

by Alastair Johnston

Second (first Edinburgh) edition (1787).

Like many before him, a Scotsman emigrates to the New World. He is a success, prospers, and adapts well to his new home. But as he advances in years he starts to miss his homeland. So he decides, on turning 70, to go home one last time and see his native sod. He telegrams his brothers and gets on the boat that brought him thither many years afore. On Clydebank he gets on the wee puffer to Tannochbrae and heads back into the glens once more. But at the station no one greets him. Then he sees two old guys on a bench. Och, Jamie and Geordie, he says, aa didna ken ye, wi them lang white beards! Aye, says yin, when ye went aff tae Americay, ye tak the razor wi' ye!

                                   
                                     Perhaps it may turn out a Sang;
                                     Perhaps, turn out a Sermon.
                                       (Burns, Epistle to a Young Friend, May 1786)

A new acquisition by the National Library of Scotland sheds interesting light on the way authors' works circulated before publication in the 18th century.

This summer the NLS acquired a collection of newspapers printed in Philadelphia by John Dunlap, containing individual poems by Robert Burns. Dunlap (1747-1812), you may know, was printer to the Continental Congress. He'd been brought to the colonies from county Tyrone, in Ulster (Northern Ireland) by his uncle William as a printer's apprentice. When he turned 18, Dunlap took over the printing business and began publishing a weekly newspaper, The Pennsylvania Packet, or the General Advertiser. Like many colonial publications, its contents reflected the press in Europe, particularly Britain, from whence a lot of material was derived. Thus the Pennsylvania Gazette (which was bought by Benjamin Franklin in October 1729) was padded out with extracts from the Dictionary of Eminent Scotsmen. In 1773 Dunlap married Elizabeth Ellison, niece of Franklin's wife. Three years later, a rush job for printing a broadside, brought to him by John Hancock, would put his presswork into the annals of American history. (I have often remarked how American Independence from Britain did not extend to print culture, for not only is the Declaration set in Caslon type, most of the printing in America continued to be cloned from British editions, text and typography.)

His paper was eminently successful and when Dunlap died he was one of the wealthiest men in America, owning large tracts of land. While the survival of old newspapers is not that remarkable, the contents of this group are. They are the first appearances of the poems of Robert Burns in America. Unlike the Lakers (Wordsworth, Southey, Coleridge), Burns was immediately popular on the appearance of his first book of poetry. Poems Chiefly in the Scottish Dialect (Kilmarnock, 1786) was a huge success and Burns would become the best-selling poet of the nineteenth century (followed by Byron, Milton, Pope, and then Bloomfield, whose own rustic character Giles is a complete hick next to the swinging Scotsman we find in Burns' poems and songs.) A review by Henry Mackenzie in The Lounger (no 97, Edinburgh, 9 December 1786), referring rapturously to the "Heaven-taught Ploughman," was picked up by the London Chronicle and brought the Scots bard to public notice.

The 1786 Kilmarnock edition of Burns' poems, set in Caslon type

A second edition of Burns was printed in Edinburgh (with 1600 subscribers) and copies quickly made it to the New World via the ports of Philadelphia and New York. With the peace of 1783 trade as well as immigration resumed. It was common for a bookseller to arrive by boat stocked with the latest books and start business as soon as he disembarked. As Anna Painter said, "Wherever Scotsmen had gone, the poems and fame of Burns followed, and Scotsmen had gone everywhere in the eighteenth century." The continued adoration (and memorization) of Burns' work has also meant the survival of the Lallans dialect.

In Philadelphia two Scots immigrants, Peter Stewart, a printer, and George Hyde, a bookbinder, decided to print the first American edition of Burns. There was no copyright agreement between America and its former government in Britain so piracy was rampant. They had been anticipated by some New Yorkers who were trying to get subscriptions from the St Andrew's Society in that city, but subscribers were slow in coming forward, for those who were determined enough were getting copies of the London third edition fresh off the boat. So it took over a year for the New York edition to get off the ground (today there's a statue of Burns in Central Park).

To test the market Stewart and Hyde placed poems in the Pennsylvania Packet from 24 July 1787 to 14 June 1788, then issued their edition on 7 July 1788. The NLS mentions that Burns' poems clearly had a positive impact on their American readership; the selected poems were chosen to portray him as a sentimental, God-fearing ploughman, a working man at one with nature and sympathetic to the aims of the American colonists in freeing themselves from British control. Among the poems printed in the newspaper are: "The Rigs o' barley," "The Cotter's Saturday night," "To a louse," "To ruin," and "Epistle to a young friend."

I kiss'd her owre and owre again, | Amang the rigs o' barley
(Burns' first appearance in the New World)



Despite its arcane rhymes of "grozet" with "rozet", and "smeddum" with "droddum," "To a Louse" is one of the most magnificent poems ever composed in any language, striding boldly from contempt and arrogance to a transcendent observation on human nature in the last stanza. It still boggles the mind today. The putative publishers didn't need to cock the big guns, like "To a Mouse," leaving them for the discovery of the delighted reader. Two later issues of the paper ran ads for the American edition as a 'neat pocket volume.' It is likely the American edition was printed by Dunlap (who was a more commercial printer than Stewart, who only printed ephemeral jobwork), then the sheets were bound by Hyde.

Frank Amari Jnr, an American rare book dealer, attorney, and member of the Ephemera Society, sold (and partly donated) the collection to the National Library of Scotland where it will be a useful tool for those studying transatlantic commerce in books.

               L--d man, were ye but whyles where I am,
               The gentles ye wad ne'er envy them!
                                  (--Burns, The Twa Dugs, a tale)


Ref: Anna M. Painter "Poems of Burns before 1800", in The Library, 4th ser. 12 (1931-32), pp. 434-456.
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Monday, March 12, 2012

Fictional Newspapers of Mark Twain (And Then Some)

by Stephen J. Gertz


Objective journalism is a modern concept.  Through the end of the nineteenth century and into the early years of the twentieth, subjective newspapers were the norm, typically assuming the attitude of the publisher, editor, or printer, roles that often met in the same person.

Samuel L. Clemens (early writing as W. Epaminondas Adrastus Blab before adopting the pseudonym Mark Twain), began as a tramp printer, soon reporter for a handful of newspapers, and knew the species well. In Journalism in Tennessee, a story he wrote (as Mark Twain) while editor for the Buffalo Express, September 4, 1869, he satirically relates an apocryphal sojourn with the Morning Glory and Johnson County War-Whoop, a paper run by a Chief Editor who knew a thing or two about the realities of journalism. 

In the story, Twain reports that he wrote the following on assignment:

"The editors of the Semi-Weekly Earthquake evidently labor under a misapprehension with regard to the Dallyhack railroad…"

To which the editor responded, "Thunder and lightning! Do you suppose I am going to speak of those cattle that way? Do you suppose my subscribers are going to stand such gruel as that? Give me the pen!"

The editor's rewrite:

"The inveterate liars of the Semi-Weekly Earthquake are evidently endeavoring to palm off upon a noble and chivalrous people another of their vile and brutal falsehoods with regard to that most glorious conception of the nineteenth century, the Ballyhack railroad…"


In addition to the Morning Glory and Johnson County War-Whoop, and Semi-Weekly Earthquake, Twain, in this story, also cites the apocryphal Moral Volcano, Mud Springs Morning Howl, Higginsville Thunderbolt and Battle Cry of Freedom, and the Daily Hurrah.

There were, surely, other dubious American newspapers of the nineteenth century that proudly declared their character but Twain, alas, does not mention them. We at Booktryst are not so shy. Would that modern papers cut through the claptrap to get to the heart of their product, and conscious or unconsciously assert, in their names, the subjective reality behind the objective fantasy with nineteenth century gloss and piquant result:

The Daily Noose

The Conniption Fit and Farm News

The Pottsville Primal Scream

The Daily Fracas and Sunday Fuss

The  Clamorer

The Afternoon Lather

The Town Crier & Weekly Weeper

The Herald-Prevaricator

The Mendacity Times

The Morning Bracer

The Daily Oy

The Paroxysm & Apoplexy Ledger

The Morning Drizzle and Evening Deluge

The Sunday Moral Hazard

The Daily Mudslide

The Tuscaloosa Seer and Tea Leaf

The Newel Post & Sub-Intelligencer

The Washington Blind Observer

The Richmond Detached Retina

The Louisville Corrective Lens

The Country Crock & Crackpot

The Denver Dismal-Register

The Amityville Horror-Express

The Basal Cell Carcinoma-Standard

Journalism in Tennessee was recently reprinted in a new book I cannot say enough good things about, Typographical Tourists, which we recently reviewed.

The typographical device is courtesy of Poltroon Press, with our thanks.
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Readers are invited to submit their own apocryphal newspaper names in the Comments section.
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Tuesday, February 14, 2012

An Anti-Valentine's Day Card To Huffington Post's Book Section

by Stephen J. Gertz

On February 10, 2012, the day that the largest rare book fair on Earth opened - one of the most significant book events in the world with 200 antiquarian booksellers from around the globe congregating to exhibit the best rare and antiquarian books on the planet - what was on the Huffington Post's Book Page?

Love Me Not - 7 Books You Realy Shouldn't Get For Your Valentine

9 Books That Cause Irrational Phobias

What Is The Vampire Novel of the Century?

Harry Potter and Voidemort Play Plead The Fifth On 'Watch What Happens Live'

JFK's Other Women: 7 Alleged Mistresses

'Game Of Thrones' Season 2 First Look

Funny: Lincoln's Intern Finally Comes Clean About Affair

New Book: Simple Ways To Stop Doing Dumb  Things With Money

New Lemony Snicket Series Begins This Fall

Disturbing Trend Found In New Children's Books

Why EBooks Don't Mean The Death Of Print

Protecting Your Bright Ideas From Literary Scavengers

Watch: Sophie Blackall Illustrates Missed Connections

New Book: Why Sinning Is Good For You

'Twilight Director Says Script 'Sucked'

Which Book Received The Meanest Review Of The Year

12 Lies That Politicians Tell About Jobs

Author: My Book Was Banned In My Country

New Book: Unexpected Ways To Find Your Ancestors

And Your Favorite Dickens Character Is?

Why You've Learned More Languages Than You Think

'Other Press' Wins Nerdiest Superbowl Wager Ever

Why Creative Writing Classes Don't Work

Amy Adams To Help Adapt Steve Martin's Book, 'Object Of Beauty'

The Real Cost Of Library Cuts

Book Roundup: 5 Reasons To Love Madonna
 

Not a word, a whisper, a who, what, when, or where about the 45th California International Antiquarian Book Fair. Yes, it did not take place in Ulan Bator, Patagonia, Mozambique, or Outer Mongolia. It was held in Pasadena, CA, just a few miles out of downtown Los Angeles, one of the nation's major markets and the world's great cities.

It wasn't a secret. It was all over the media in Southern California. The Los Angeles Times featured a story about it on the front page of their Calendar section covering the arts and entertainment. Local radio and television coverage was solid. Even the Hollywood Reporter devoted a full-page to report on it, detailing all the stars that collect rare books and how the California International Antiquarian Book Fair is their mecca.

It's not as if the Huffington Post didn't have a head's-up. I have been an occasional blogger for Huff Post for  a couple of years; a post about the book fair sat in my queue for five days prior to the book fair's opening.  After a few days of nothing, I dropped a note to Huff Post's Blogteam inquiring about it. Would it run? No response at all.

Booktryst's piece on the Fair ran on Monday, February 6th. If Huff Post somehow missed the post in my queue, they would have seen it on Booktryst; we have been on major media's radar since the site debuted, in May, 2010, otherwise they would not have welcomed the cross-posting arrangement soon afterward. And Booktryst's coverage was a page one story on Google News - Rare Books for the entire week leading up to the Fair's premiere. 

The Fair's publicist made direct contact with Huff Post. There was no shortage of alerts.

Now, I am surely disappointed that they didn't run my piece about it. But I am even more disappointed - and rather shocked - that they didn't cover the 45th California International Antiquarian Book Fair at all, by anyone, nada, ziltch, nicht, bubkus. One of the most important book stories in the U.S., a major international cultural event, and one of the book world's most anticipated happenings was completely ignored.

But Coked Up Stimulus Monkeys was not; big news on Huff Post's book page.

They did, however, cover a major non-event in the world of rare books: "Watch: The 'Pawn Stars' Appraise A Signed Copy of Edward VIII's Memoirs." It was a signal event for Huff Post, signaling that the 'Pawn Stars' are now another Huff Post novelty-entertainment hook passing for hard book news. The 'Pawn Stars' seem like nice guys but they do not know a damned thing about rare books, or, at least, not enough to provide an informed professional appraisal. It isn't enough to go online to research. You actually have to have deep experience to know how to truly appraise a rare book.

People want to know how expensive a rare book is; the higher the price, the more attractive the story.  A copy of Audubon's Birds of America sold last month for $7.9 million last month.  That got Huff Post's attention. The California International Antiquarian Book Fair certainly had a big ticket volume to crow about: A scarce, hand-colored copy of Rudimentum Novitiorum, published in 1475, the first history of the world in print and the first printed book to contain maps. Asking price: $1,150,000. (It sold). Not too shabby. That eye-opening fact was certainly not buried in any pre-Fair coverage.

The many charms of Arianna Huffington cannot mask the sense that the editorial policy of Huff Post appears to be based upon the promiscuous use of "click-bait" tabloid headers for book stories of dubious newsworthiness and significance, often as thin as rice paper but no where near as durable. "Click-bait"  - luring readers to a story with a grabby pop-headline that may or may not accurately represent content - is not a journalistic crime; it has been going on since the dawn of newspapers. But it is rarely used more egregiously than on Huff Post.

And that is, ultimately, the problem with their policy, which appears to be based upon generating as many pages and page-views as possible with little regard for the quality of stories. Or, it seems, their importance.

Shame on the Huffington Post's Book Section. On this Valentine's Day, the love affair is over.

I am not expressing sour grapes. The 45th California International Antiquarian Book Fair was not my story. It was the book world's story, and Huff Post betrayed the world it is supposed to serve. Room, apparently, had to be made for Top Ten Celebrity Rehab Moments, a story about a new novel, the book Gutenberg had in the back of his mind when he imagined movable type but after bleeding with leeches was drained of the vile humour and, purged of sin, printed the Bible instead.

That must have been one hell of an editorial meeting. Perhaps a little bloodletting at Huff Post might cure the sick patient.
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DISCLAIMER: The views and opinions expressed on Booktryst are solely its own, and do not represent those of the Antiquarian Booksellers Association of America (ABAA), with which I am associated.
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Monday, August 8, 2011

The First and Most Important American Political Cartoon Comes to Auction

by Stephen J. Gertz

By Benjamin Franklin
From the Pennsylvania Gazette, May 9, 1754.


On May 9, 1754, the Pennsylvania Gazette, a newspaper published by Benjamin Franklin and the most successful in the American colonies, featured a cartoon by Franklin with accompanying text  by him that rallied the American colonies to unite and defend against the French in the looming French and Indian War. It was the first time that the colonies were asked to act as one.

That issue is among the rarest pieces of all early American history, the most ephemeral of ephemera. The only known surviving copy of that issue of the Pennsylvania Gazette lies in the Library of Congress. But another copy has surfaced and will be auctioned at Heritage Auctions Historical Manuscripts Signature® Auction September 12-14, 2011 in Beverly Hills, CA. It is estimated to sell for $100,000 - $200,000. There is no reserve. The estimate may be conservative. This is major, major offering, the only copy to ever come to auction and quite possibly the last.

The cartoon, Join, or Die, would, in 1765, be republished in the September 21st issue  (its only issue) of the Constitutional Courant as a clarion-call against the Stamp Act. calling for the unification of the colonies in their struggle for justice from Great Britain. In 1774 Paul Revere altered the cartoon to fit the masthead of the Massachusetts Spy.


"This rare and historic newspaper holds the earliest publication of the first and most celebrated editorial cartoon in American history," says Sandra Palomino, director of historical manuscripts at Heritage Auctions.

In the cartoon, the snake represents the the colonies, eight individual sections labeled with abbreviations for New York, New England, New Jersey, Pennsylvania, Maryland, Vermont, North Carolina and South Carolina. There was, at the time, a long-held superstition (with roots in the legend of Osiris)  that held that a snake cut to pieces would come back to life if the pieces were put together before sunset. Separate, they are inert and impotent. United, they are active,  and powerful. Delaware and Georgia were omitted, for reasons that remain unclear.

The image, redrawn, was later co-opted by each side during the American Civil War.
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Image courtesy of Heritage Auctions, with our thanks.
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Friday, June 25, 2010

Are You The Newspaper You Read?

A reader of The Star.

Be careful, you are what you read - specifically, your newspaper of choice. Who are you if you read the New York Times, the New York Post, the Daily News, or any of the other metropolitan newspapers across the United States (or anywhere) that still survive? How about the National Enquirer, or the World Weekly News ("The World's Only Reliable News!" if you follow the latest on Nessie, Big Foot, or the three-legged pygmy accountant by day werewolf by night)?

A reader of The Daily News.

Acclaimed illustrator Kyd, pseudonym of Joseph Clayton Clarke, dipped his brush in droll wit and skewered the average reader of London's most popular newspapers of the late 19th - early 20th century in a singular suite of original watercolors, Some Typical Newspaper Readers, executed c. 1900.

'Tis a sad fact indeed that while there were once many newspapers competing for readers of all classes and tastes - Clarke lampooned twelve published in London alone - many cities now have only one. How can you judge yourself against a single paper?


 A reader of The Era.

Joseph Clayton Clark (1856-1937) worked as a freelance artist with a particular affection for Dickens, his Dickens illustrations first appearing in 1887 in Fleet Street Magazine, with two collections soon to follow: The Characters of Charles Dickens (1889) and Some Well Known Characters from the Works of Charles Dickens (1892).

 A reader of The Sporting Times.

In the first decade of the twentieth century, five sets of postcards based on his Dickens drawings were published, and seven sets of non-Dickensian comic cards by him were issued. Beginning in the 1920s, he earned his living from watercolor sketches, mainly of Dickens' characters, which he sold to and through the London book trade. Frederic G. Kitton gives him early notice in his classic text, Dickens and His Illustrators (1890); Kyd's watercolors were at that date already being avidly bought by major Dickens collectors (Kitton, p. 233), the Cosens sale in 1890 successfully selling a collection of 241 of Kyd's Dickens watercolors, and Mr. Tom Wilson, at the time the foremost collector of Dickens, possessing 331 of Kyd's drawings.

 A reader of The Times.

"As a character 'Kyd' emulated those of Dickens and his own illustrations - slightly larger than life. In his style and dress he was mildly flamboyant for the period…He seldom varied his attire from a grey suit, spats, homburg hat, gloves and was never without a carnation or substitute flower in his button hole" (Sawyer, Richard. "Kyd" (Joseph Clayton Clark): A Preliminary Study of his Life and Work Together with an Essay on Fore-Edge Paintings, 1980. p. 7).

A reader of The Referee.

"The vast majority of 'Kyd's' works which are offered for sale today are single-character studies…Far more rare are character studies with backgrounds" (Sawyer), as here. Rarer still are non-Dickens or playing card themed work. Thus, this is an exceedingly scarce suite of watercolors not noted by Sawyer, and quite likely unique. It's closest relatives appear to have been two of Kyd's post card series: The Book and Its Reader, a set of six cards humorously depicting the artist's idea of types of readers of contemporary popular novels (oh, to see that!), and London Types.

 A reader of The Daily Mail.

With so much news content now delivered through the Internet we may never know the personal character  of Web-based newspaper readers. With annoying banner, sidebar, pop-up, open-collapse, etc. ads, it may be that those of us who've come to depend upon Web-based news services are or may soon become like Kyd's impression of  the Daily Mail's average reader. But, take heart, there is no shame in being crazy for print.


KYD (pseudonym of Joseph Clayton Clarke). Some Typical Newspaper Readers. A Series of 12 original Humourous Sketches drawn in colours by "Kyd" (Clayton Clark). [London, c. 1900]. Ten (of twelve) original watercolors each titled and signed by the artist, and with full backgrounds. Loose in original portfolio illustrated and titled in black ink by the artist on the front cover.
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Booktryst invites readers to suggest current newspapers that might best be read in a padded cell, as Kyd has caricatured the above reader of The Daily Mail.
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Images courtesy of David Brass.
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Friday, September 11, 2009

The Lowest Entry-Level Job in Journalism

Late summer through early December of 1969 was frightening to those of us up in Bel Air, the gated Los Angeles community for the financially fabulous. It was the dark season of the Manson Family homicides and paranoia ran high; the “Acid Is Groovy” murderers were still on the loose and appeared to be attracted to upper income neighborhoods.

I would often drive, all alone in the middle of the night, on upper Bellagio, Somera, Mulholland, Sarbonne, Roscomare, Stradella, Linda Flora or any of the other narrow, serpentine roads I routinely traversed, through gothic fog so thick I crawled rather than drove, anxious that lurking around the next winding curve ax-wielding acidheads might be right on top of me while on the prowl for their next victim. I ran various self-defense scenarios in my head; there would be no time for ad hoc reaction. I was hyper-vigilant.

I didn’t live in Bel Air. I delivered the morning paper.

I was eighteen, callow, and a struggling jazz drummer supplementing my income, although given the dearth of paying or otherwise gigs the reality was the other way around. I desperately needed the job.

Start time was 3-3:30AM, depending upon when the L.A. Times truck pulled up with the news-final bundles to the anonymous storefront on Midvale north of Santa Monica Blvd. in West Los Angeles. I’d begin the “assembling” routine at a waist-high countertop with my allotted bundles on the floor. I had 453 addresses on my route, one of six that subdivided the tony area the franchise covered, and I’d place a news bundle directly behind a stack of features– all the non-news segments earlier stuffed into one section– then lay a news atop a features, fold the two so that the news was inside and protected from tears or light moisture, then grab and insert the doubled up paper into the stringer to my right on the counter. It was a mean contraption with an explosive, unforgiving trip-lever mechanism that would knot a length of cord around the bunched-up paper to hold it together. If you weren’t careful, the working arm of the thing would get angry and strike the back of your hand; forty years later, scars remain.

Last step was dropping the paper into a wooden rack that stood on the floor at my right. It was a process to master into a rapid four beat ostinato lasting no more than a half-hour so I could as fast as possible load up my ’65 Beetle and head for the hills; you had to finish throwing by 6:30AM. Reading the morning paper with your coffee first thing is one of the simple pleasures in life; people get quite upset when their paper is late.

The papers would be neatly loaded into the back seat of the car, stacked high, obscuring the rear window. To get all the papers in, I removed the passenger seat and piled the rest beside me to window height, leaving throwing clearance. The job paid $425 a month but because the weight of the papers wreaked havoc with suspensions, only $110 was taxed, the remainder as non-levied car allowance. For a kid in 1969 with few expenses, the pay was a king’s ransom. In a pathetic sign of the march of time, as a percentage of net I had more disposable income then than I have now.

First day on the job, I was given a small notebook with all my addresses – no names - in order of delivery predetermined as the most efficient mapping of the route, first paper to last. I ran it two times with the dealer in his van before I was cut loose on my own. Surprisingly soon, the route became rote, and I never looked at the notebook again. My delivery time dropped from late to not so late to on time, then early, ultimately three hours more or less from stuffing to last throw. Out of bed at 2:30AM, I was often home and back in the rack by 6:45, waking at 11 or 12, the whole thing occurring as if in a dream.

When I came in to work each night, I’d get a slip with new starts, stops, or vacations; the night manager gave you the precise number of papers needed, not a single issue more or less. If, when you neared the end of the route, you were short, you’d screwed up, non-subscribers accidentally getting a free paper and you’d have to schlep all the way down to a spot on Sunset Boulevard to pick up extras which had been left there for contingency, and then rush back to route’s end. If you had leftovers, you’d also screwed up but where? Mystery solved with an annoyed message on the dealer’s answering machine; he’d then have to make a supplicating pilgrimage to deliver the way-late paper.

With addresses on both sides, at the beginning of each street I’d organize papers in my lap, piled with the folded, throwing ends in delivery order: three right, one left, two right, two left and so on to run the route as smoothly as possible. Carefully S-ing up the roads, throwing out of both windows, things went fast as long as houses were at street level but long, steep driveways, up or down, were common and I’d have to slow the car. With a full load, even in first gear, the car strained to make it upward; on the downhills, if I wasn’t careful, the papers in the back would avalanche. If the down driveways weren’t too long and you could actually see the house from the curb, it became something of a precision sport to see if I could coordinate strength, speed, hand and eye, and car motion to angle-throw the paper down the drive directly to the front door.

My VW had a sunroof and when I was feeling particularly cocky I’d insouciantly toss through it, the papers sailing through the air left and right in graceful parabolas before splatting on the walkways like delay-fuse, wood-pulp mortar shells, detonation occurring when the paper was opened, headline exploding off the front page.

Under all circumstances, you had to be careful of flowerbeds and bushes; foul balls would definitely generate an angry complaint. I have no idea what it was like in other neighborhoods but Bel Air subscribers were indulged, most demanding that their papers be delivered to very specific spots. The well-to-do expect perfect service, even if they don’t pay their bill on time, which happened more often than the dealer preferred.

When it rained or threatened to do so, we’d have to bag the papers in plastic, adding a fifth step to the stuffing process, and squaring the degree of delivery difficulty: the slipperiness of the bags made 453 papers an unstable load; drive, stop, or turn too fast and they’d be all over you, and what a thrill if they slid under or over the accelerator or brake pedals. Sundays were most challenging, the size and heft of the paper requiring different assembly and two loads; there was no way 453 Sundays could fit in a Beetle, and if bagged for rain, dangerous. Rainy nights, windows open and almost as wet inside the car as out, slippery roads, poor visibility – these were “character builders,” as the dealer would declare to us with an amused verbal point in my direction. I don’t know why. I thought I had some but, apparently, you can never have too much of the stuff.

Toughest addresses, rain or otherwise, were the buildings along the flats on Moraga Drive just east of Sepulveda Boulevard, and on a short section of Roscomare up in the hills. I’d have to stop, get out of the car with an armful of papers, use a pass-key, and walk through the building, quietly dropping the subscriber’s paper at their door.

Apartment houses in Bel Air. Who knew? It did my heart good to learn that when he developed the community in 1923, Alphonso E. Bell, Sr. allowed a little loose acreage for the upwardly-mobile down payment poor, low-income housing L.A. รก la mode.

For most of us, it was a temporary or second job. For Naito it was one of three. A Japanese gentleman in his 50s with three kids to put through college, he was quiet, slow and steady, in contrast to the rest of us. Mickey was a wiry guy in his 40s who, with a pencil-thin moustache and curly hair slicked back on sides, tight pants and fitted short-sleeved Sy Devore knock-off to highlight biceps that needed all the highlighting they could get, looked like actor Cornel Wilde if Cornel Wilde had been an over-age, circa 1956 American Bandstand reject. He was a dissipated, atrophying juvenile delinquent and first-rate lounge-lizard, habitat: third-rate bars, with a stupendously tacky sense of debonair. He’d been on the job for years; this was it. I supposed he never thought it would wind up as a career but it had, a bitter, angry edge betraying the good-buddy bonhomie he projected. This is not a job you aspire to as a kid. It’s dead end employment, and failed expectations and exhausted possibilities fueled the hedonistic philosophy he’d often express with empty exuberance: “When I die, I wanna be cock-inserted with a cigarette in one hand and a drink in the other!” It was unclear whether he drank because he delivered newspapers or delivered newspapers because he drank.

Though we were never supposed to know the names of those on our routes, I delivered to many Golden Age Hollywood stars. Mickey, who had thrown all the routes in the franchise at one time or another, made notes in my route-book, pairing names with addresses to wise me up. It was a classy favor to one I’m sure he was not at all convinced was worth it. With the knowledge, I give a little extra, got the paper just that much closer to the front door so subscribers would save a step. It paid off at Christmas, Mickey asserted, in tips that could add up to a hefty, much needed year-end bonus. Because they routinely interacted on the set with craft and labor personnel, the stars knew how to take care of the working guy who made life a little easier for them, and I saw quite bit of Andrew Jackson and Ben Franklin in the days before Santa showed up. Even the anonymous apartment–dwellers stepped up to the plate, batting an Abe or an Alex my way. Classy people, all. Well, almost.

Brando was beginning his involvement with the Native-American movement, and I received an unsigned letterpress Christmas card from him blandly informing me that a donation had been made in my name to some tribal cause.

Thank you. (N.B. to Marlon, wherever you are: remember the 5AM sonic boom every day between Christmas 1969 and New Year’s that I hope you didn’t like? Your paper, bazooka’ed against your front door, courtesy me).


Before work I’d sometimes meet up with Micky and a couple of guys who threw routes in West L.A. at Picwood Bowl, now buried under a shopping pavilion. Here, the night-shift world presented itself as blue-collar spectacle, the bowling alley packed with nocturnal bowlers joyfully kicking back after work or, like us, gearing up for the extremely early shift.


My parents had comfortable childhoods; the Depression never touched them. But, on their own and getting started after WWII, all they could afford was veteran’s housing in a working-stiff neighborhood in New York City which somewhat galled them. My sister and I were raised to feel like members of the landed gentry – without the land, aristocrats who, like characters in a Jane Austen novel, had little but name. We didn’t even have that. Possessing my own streak of snobbishness, I always felt self-conscious and uncomfortably different. I aspired to be accepted as a regular guy, even as I remained aloof: I didn’t want to be that regular. No, I had delusional ambitions to be on the receiving end of the paper in Bel Air, a well-monied guy reflecting the upper-class I possessed in attitude only.

The first night at Picwood Bowl, Mickey introduced me to the gang as one of them. “Steve, he’s good people,” he kindly declared even if he didn’t really believe it, another classy gesture that warmed me to him.

Mick was a role model for me – on what not to do with one’s life. Good judgment not his strong suit and stubborn, he was a poster-boy for the popular, inspirational message that if you continually fail in life but keep working hard at it, eventually you’ll become a successful failure. If only I’d paid more attention.

It was easy to romanticize the job – ennobling, working-class hard work, a member of the news cavalry, the unsung heroes of journalism, we silent town criers of the night delivering the world to your doorstep. I know I certainly did. I had to. I was young, with the world at my feet but stumbling around. I had no idea where I was headed and was frightened that I was going nowhere fast and in danger of arriving early. I was working my way down the social ladder, sensing that I was, with precise skill, throwing my present and future away 453 times a night, seven nights a weeks, fifty-two weeks a year. The job was bad news.

Eighteen months into it, I was involved in an unrelated car accident, hurt my back and quit. And while I had no prospects, I still had possibilities, however vague.

A few years hence, while I was clerking at the old Discount Records shop on the corner of Brighton Way and Beverly Drive in Beverly Hills, a wealthy friend of my mother offered me $50K to marry his daughter; she was seriously dating a gas station attendant and the fumes from their potential union offended him. He told me I had great potential for class. Nice. I thought I had some but, apparently, you can never have too much of the stuff.

His figure was the cube-root of what a sane person would even remotely consider; I’d dated this girl a few times. She was deceptively sweet, a chocolate-covered razor blade who, 34 years later, would refuse to tap the million-dollar trust fund her Dad set up for her when she was young and he had the loot. He was now old, sick, bleeding home healthcare expenses and near broke. He desperately needed her help to avoid nursing home internment; even the best of them stink. Though they knew which fork to use, had the background, and dressed tastefully, Mickey, who stood at the head of the crass, had more class in his unmanicured pinkie than the two of them put together.

I gave the offer its moment; hey, 50K.


When I started delivering the Times, I was young, dumb, and made of rubber. When I left the job, I was still young, dumb and made of rubber but had unconsciously begun to develop a solid core. Delivering the newspaper had, indeed, been a character-building experience. I thought I had some but apparently…
 
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