The Holy Bee’s Adventures in Massachusetts, Part 5: The Freedom Trail Goes Ever Onward…

Dr. Joseph Warren

The tea went overboard into Boston Harbor in December of 1773…

The British responded with the Coercive Acts which, among other things, closed down the port of Boston, and drastically rewrote Massachusetts’ colonial charter, putting the misbehaving colony under direct royal control. Town meetings and colonial assemblies were for the most part banned.

Massachusetts and the other colonies decided to send delegates to a meeting in Philadelphia to decide how to handle this. This was the (First) Continental Congress.

In early September 1774, it seemed like Dr. Joseph Warren was the last of the anti-royalist resistance activists left in Boston. Most of his compatriots were either serving in the extralegal Massachusetts Provinical Congress, for secrecy and their own safety moving between Salem and Concord, or on their way to the big meeting in Philly. (The anti-royalist faction of colonists had been commonly referred to as “Whigs,” but a new label was starting to be applied: “patriots.”)

But Dr. Warren had work to do. In between tending to patients, he was writing. And writing. And more writing. Crafting a document that would “signal the transformation of the resistance movement into a rebellion.” 

Conventions for the purpose of resisting or undermining the Coercive Acts (known in America as the “Intolerable Acts”) were being held throughout Massachusetts on a county-by-county basis. Boston’s county was Suffolk, and Dr. Warren was the Suffolk County convention chairman. And he had quite a statement to make.

On September 9, the convention met in a large private home in Milton, ten miles south of Boston. Warren read aloud what came to be known as the Suffolk Resolves. Each resolve received a boisterous cheer as it was read, and all of them were unanimously approved.

Warren’s resolves stated that the people of Boston and Suffolk County would boycott all British goods, pay no heed to any of the Intolerable Acts, demand the replacement of any government official appointed under the Intolerable Acts, support the Provincial Congress in operating free from any royal authority, and — this really got people’s attention — increase the size and strength of their colonial militia to fight if needed on behalf of these resolves.

Collectively, the resolves were a step-and-a-half further than anyone had gone before in an open forum. This was a group of colonists flatly rejecting acts of Parliament and expressing a willingness to defend this stance with lethal force. The other colonies needed to know about them as soon as possible. It was imperative that a copy be dispatched as quickly as possible to the Continental Congress.

Dr. Warren handed off the Suffolk Resolves to his friend and trusted courier, who sped off towards Philadelphia…

The patriot movement in New England to re-establish colonial rights never had a true leader. There was no one demagogue or figurehead. It was a widespread social and political movement, guided by the will of the people. But the British government was desperate to blame it all on some kind of small cabal, just a handful of wily agitators stirring up trouble. The names they came back to again and again by the early 1770s were Samuel Adams and John Hancock. 

But that duo was really a triumvirate. The efforts of Adams and Hancock to organize (not really “lead”) resistance to British oppression may not have succeeded without the contributions of their associate and confidante, Dr. Joseph Warren. 

Born in 1741 to a respectable Roxford farming family that had been settled in Massachusetts for generations, the bright young Warren was sent off to Harvard in the late summer of 1755. (Sadly, his father, with whom he was close, died a few weeks later, after falling off a ladder while picking apples.) After graduation and a year of teaching at his old Latin school, he decided on a career in medicine. There was no such thing as a medical school in the American colonies, so Warren returned to Harvard to get a Master of Arts in medicine.

After gaining his post-graduate degree, Warren next had to serve a year-long apprenticeship under an established physician. He was lucky to be taken on by Dr. James Lloyd, one of Boston’s most respected medical practicioners. Under the tutelage of Lloyd (who had spent several years working with the best medical minds in London), Warren learned the most cutting-edge practices, in contrast to the primitive and outdated treatments used by many colonial doctors. He also was introduced to the higher levels of Boston society. Lloyd was quite wealthy, had a well-appointed house and gardens on Queen Street, and entertained lavishly. “Living under Lloyd’s roof, Warren had to comport himself as an extension of his mentor’s household,” wrote Warren biographer Christian Di Spigna. “Ensconced in an opulent lifestyle, he learned proper etiquette and how to entertain, acquiring his own taste for luxury in the process…Lloyd transformed Warren from an educated farm boy into a skilled and respected town physician.”

Warren opened his own general practice in 1763, treating everything from broken bones to STDs. He was also one of the few doctors at the time to offer up-to-date obstetric care. (Rather than leaving such things in the hands of God and midwives.) He was an early proponent of vaccination, and was crediting with staving off what could have been a disastrous outbreak of smallpox in the first year of his practice. He mixed with all levels of society, and could speak like both a “working-class farmer and a gentleman scholar.” The practice was a success thanks to Warren’s charm, intelligence, and what we now call good bedside manner. 

Warren believed that a doctor should also be a responsible civic leader, so when the Stamp Act crisis hit in 1765, Dr. Warren plunged into the world of Boston politics. In addition to running his medical office (on south Hanover Street from 1770 on), he wrote provocative essays, made friends with John Hancock, Samuel Adams, and John Adams (who were also all his patients at one time or another), and discovered he had a talent for public speaking. Before his thirtieth birthday, he was considered one of Boston’s leading citizens and a major voice protecting colonial rights. Like Hancock, though, he maintained social connections on both sides of the divide (Dr. Lloyd was staunch Tory conservative) until that was no longer feasible.

He was there on frigid King Street in the aftermath of the Massacre, treating the wounded on site, and later performing the autopsies on the five who were killed.

He had married in 1764, and his firstborn came well short of nine months after the wedding day. (Despite 18th century folks having the reputation of being straitlaced, a teenaged pregnant bride was perhaps even more common then than it is now.) His wife, Betsy, died at age 26 in 1773, leaving him with four children under ten. After a brief but respectable amount of time, he began attracting the attention of several single women. After all he was only 31, easy on the eyes, made a good living, and was a well-known and well-liked figure around town. Although he kept it on the down-low, he was widely believed to be courting Mercy Scollay by the summer of 1774. Scollay was the daughter of a prominent town selectman and known to be a woman of “great energy and depth of character.”

Back for just a moment to 1630…

The town of Boston began at Bendell’s Cove. This small inlet on the southeast side of Shawmut Peninsula is where in September of that year John Winthrop established one of the primary necessities of a new trading colony — a dock. The Town Dock quickly became the heart of Boston commerce. Vendors converged in the area, hawking fish, butter, eggs, and poultry. 

The marketplace around the Town Dock expanded over the next century, and really became something of a dirty, disorganized mess. Hardly the image of a pure, shining “city upon a hill” that Winthrop envisioned. The town fathers decided to step in and provide a little supervision. In the early 1730s, they constructed a public market building, and merchants were expected to rent a stall and keep things tidy. This was met by heavy resistance. Many vendors felt a centralized location would lead to increased price competition and unwanted regulations.

As we’ve seen, colonial Bostonians did nothing by halves. It wasn’t long before a mob of unruly merchants literally hacked the public market building to pieces, effectively de-regulating Boston’s commerce for the time being.

Enter filthy rich Peter Faneuil, described in the opening sentence of his Wikipedia article as “slave trader and philanthropist” (??), who offered to personally pay for a sturdier new brick market building…if Boston wanted it. Property-owning male citizens would have to vote on it. There were some suspicions about Faneuil’s motives. Why was he doing this? What was in it for him? Faneuil agreed to throw in a second-floor assembly hall (because Bostonians loved their assemblies) to assuage the doubters. The final vote was 367 to 360, so not exactly a landslide of approval. But construction began, funded substantially by the sale of enslaved persons. (Slavery eventually fell from favor in most of the northern colonies, New England particularly, but they weren’t there yet.) 

#11 Faneuil Hall was opened in 1742 as the centerpiece of commercial Boston in what was now called “Dock Square.” The assembly hall’s first public function was Peter Faneuil’s funeral the following year. Yes, the hall burned to its brick walls in 1761, but that was to be expected. The restored Faneuil Hall was usable within two years, and completed by 1768.

There was some limited attic space, and this became the headquarters of the Ancient and Honorable Artillery Company of Massachusetts, founded many years before by our beleaguered friend Robert Keayne from the previous entry. The market was only partly successful in the colonial era, but the assembly hall was an immediate hit, and this is what Faneuil Hall is primarily known for. It has been referred to as “the Cradle of Liberty.” Town meetings were held there after every new British outrage in the 1760s, usually led by the era’s most captivating speaker, Samuel Adams. It was where a stunned populace gathered the morning after the Boston Massacre. It was the meeting place for Boston’s Committee of Correspondence, one of the earliest attempts to unite all the American colonies in resistance to British violations.

The original Faneuil Hall before its 1806 expansion

By the time revolution broke out in 1775, the British Army was using it as a barracks, a storehouse for arms and ammunition, and even as a space to stage theatrical plays for the entertainment of the soldiers. (This was especially galling to some of the more Puritan-minded Bostonians who still believed live theater to be sinful.)

After the war, Faneuil Hall returned to its original use. The market floor was now bustling in the post-independence era, illustrious orators brought large crowds to the upstairs hall, and by the early 1800s Faneuil Hall was deemed too small for its original purposes. Boston’s favorite architect, Charles Bulfinch, supervised the process of doubling the building’s width, and adding one-and-a-half stories to its height in 1806.

And it was still not quite enough.

Boston was incorporated as a city in 1822. Most of the city’s shipping was to be found on the big commercial piers to the south of downtown, leaving the old Town Dock — where it all started — as a  “receptacle for dead cats and other rubbish, its watercraft consisting of a pair of scows moored for the sale of oysters.” The dank waters of the harbor came right up to Faneuil Hall’s doorstep, and looking east from one of his offices on the Hall’s second floor, Boston mayor Josiah Quincy III gazed out on “a tangle of wharves and temporary wooden shacks.” The smell assaulted his nostrils. He decided to do something about it. The city bought out the wharves and shacks, or seized them through eminent domain, and began filling everything in. The shoreline moved eastward.

On the newly reclaimed land adjacent to the hall rose three long market buildings. The north and south buildings, funded by private investors, were made of brick, but the showpiece center building was granite with a large central rotunda and was paid for by the city. All of the original Faneuil Hall’s merchants were relocated to this new “Faneuil Hall Market” (or more commonly “Quincy Market,” against Josiah Quincy’s wishes), which opened in 1826. The hall then went through the first of several major renovations over the next two centuries.

The rear of Quincy Market. Faneuil Hall is in the distance, and the waterline is much closer than today

East facade, facing a now-distant harbor

An 1880 bronze statue of Samuel Adams, arms crossed in defiance, was placed in Dock Square to the west of Faneuil Hall. Dock Square itself became a traffic circle with the advent of motorized transport. By the end of the 20th century, the area was overshadowed by Boston’s cluster of high rise buildings, the traffic circle was eliminated as the citys streets modernized, and nowadays, Dock Square is pretty much gone. It’s sometimes used to describe the area around a small pedestrian plaza on the western side of the Hall, nowhere near any dock. 

West facade, facing what’s left of Dock Square

This was the area we entered looking for lunch. The shoreline was now even further to the east, and out of sight. Although it faces the busy thoroughfare of Commercial Street and boasts the aforementioned statue and plaza, the western side is technically the back of Faneuil Hall. The front, with its tall white cupola, faces east towards Quincy Market. I had a brief flashback of standing on the hall’s roof next to the distinctive grasshopper weathervane from back when I played Fallout 4. (I was strongly tempted to replay Fallout 4 after learning so much about Boston geography, which would go against my ironclad rule of never replaying lengthy open-world RPGs. Life’s too short. I inevitably fall into the same patterns and make the same highly moral decisions as my first playthrough. I could never call Dogmeat a “dumb butt,” even though the dialogue options give me the opportunity to do so. )

As it appeared in the dystopian future of Fallout 4

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The Holy Bee’s Adventures in Massachusetts, Part 4: Massacre (in the Wrong Spot) on the Freedom Trail

March 5, 1770…“That little twerp*,” Private Hugh White must have been thinking as he observed a wigmaker’s apprentice — a boy all of thirteen named Edward Garrick — accosting one of White’s senior officers, Captain John Goldfinch, about a past-due payment for barbering services owed to the boy’s employer. Goldfinch (technically a “captain-liuetenant”), who had actually settled the debt the day before, tried to laugh it off and continue on his way up King Street, but the lad wasn’t having it. He and his fellow apprentice, Bartholomew Broaders, blocked Goldfinch’s path, and Garrick even rammed his finger into Goldfinch’s chest, accusing him of thievery in the most colorful language his adolescent mind could concoct as his breath puffed visibly in the frigid late winter air. An officer and a gentleman, Captain Goldfinch simply stepped around the bothersome boy and headed for “Murray’s barracks,” an abandoned distillery converted into housing for British troops a few blocks away. Trouble was currently afoot between a group of unruly citizens and the soldiers posted there.

Garrick continued his nasty tirade even after Goldfinch was out of earshot. Private White was on guard duty in a small sentry box near the entrance of Boston’s Custom House and had been talking with barmaid Jane Crothers about the escalating mess at the nearby barracks when he finally had enough of Garrick’s mouth. Freezing cold and insulted on behalf of his captain, White was in no mood to let this low-class child get away with that kind of behavior. He approached Garrick, barked something about respecting your betters, and gave the little twerp a supremely satisfying crack upside the head with the butt of his musket. 

This would not end well…

Back for a moment to the Puritans, who were never comfortable with using the word “church” in reference to a building. They felt it gave an inherent holiness to an inanimate structure, an idea they did not care for. To them, the true “church” was the congregation, the people. Congregationalists met in a “meeting house.”

So the First Church in Boston was established along with the city itself in 1630, and its meeting house settled in on Cornhill, just up the road from the Hutchinson residence (see previous entry). The Second Church was established in Boston’s North End in 1649 to handle the city’s increasing population. The Third Church was established in 1669 by a few dozen breakaways from the First Church due to another one of those quibbles over a microscopic question of religious doctrine that seem incredibly stupid to anyone outside of the belief system. A debate over the proper amount of water used in a baptism caused several members of the First Church to completely lose their shit and set up a whole new congregation. The Third Church met in a cedar wood meeting house at the intersection where Cornhill became Marlborough Street on its way south. It was in this building that Benjamin Franklin was baptized, and attended services as a young boy. 

The site of the house where Franklin was born in 1706 is just around the corner. The original address was 17 Milk Street, and the house itself was destroyed by fire in 1811. Maybe the lot stayed vacant, or perhaps a few other buildings came and went until its current occupant, the Boston Post Building, was built in 1874. The Post Building was refurbished in 1930, and a bust of Franklin along with an inscription was added to the facade of the building between the second and third floors. 

The Boston Post Building, site of Benjamin Franklin’s Birthplace

The cedar meeting house was eventually torn down, and replaced with #8. Old South Meeting House in 1729. At the time of the American Revolution, it was the largest building in the city of Boston. It was diagonally across the road from the Hutchinson house/Old Corner Bookstore, and still within spitting distance of their estranged brethren in the First Church.

We will briefly return to the Old South Meeting House in a future entry, but now let’s reverse our steps and head back north past the Old Corner Bookshop. 

The Old South Meeting House (former home of the Third Church of Boston)

The former home of Anne Hutchinson is only one of many structures lost in the Great Boston Fire of 1711. As it burned its way up to where Cornhill (now Washington Street) met King Street (now State Street), the conflagration also took down the meeting house for the First Church of Boston. The First Church meeting house was quickly re-built in brick, and was used until 1808, when the congregation re-located and the “Old Brick” was demolished. On the site today is the massive modern skyscraper called One Boston Place, the 7th tallest building in the city.

The First Church of Boston (“Old Brick”), 1712-1808

One Boston Place casts its shadow over the location of another victim of the 1711 fire — the “Old Town-House” on King Street.

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The Holy Bee’s Adventures in Massachusetts, Part 3: The Freedom Trail Continues

Catherine of Aragon

“The King’s great matter” it was called back in the late 1520s, a time when the Catholic Church was still the only church in England (although the Protestant movement was already well underway on the Continent)...

Even people who aren’t history nerds know about King Henry VIII and his multiple (i.e., six) wives. He burned through his last five wives in the final fifteen years of his life, but his first marriage lasted almost 24 years. Henry VIII of England and Catherine of Aragon had a complicated relationship to say the least.

To begin with, she was Henry’s brother’s wife first. Old Henry VII had arranged a marriage between his eldest son Arthur, the heir apparent, to the Spanish princess for her 200,000-ducat dowry. The pair were married when both were 15 years old, then Arthur fell ill and croaked eight months later. Catherine of Aragon was a widow at 16, and reported to everyone within earshot that the marriage had never been consummated. (Consummation of a royal marriage was considered a matter of state and certainly open for discussion by just about anyone.) And Henry VII definitely did not want to send back that 200,000 ducats. So he kept Catherine as his “guest” for several years until his second son, young Henry, was old enough to marry — even though it was expressly forbidden by religious law for a man to marry his brother’s wife. Still, 200,000 ducats was 200,000 ducats. A special dispensation had to be finagled out of the Pope based on the non-consummation of Arthur and Catherine’s marriage, and wedding plans went ahead. 

Believe it or not, this is what Henry VIII looked like on his first wedding day in 1509

On June 11, 1509, Catherine of Aragon, 23, married Henry, not quite 18. There was an empty chair at the ceremony as King Henry VII had died two months before. Catherine was marrying the new King of England, and the whole nation was waiting with bated breath for them to hurry the hell up and procreate already…

For the next decade or so, poor Queen Catherine produced a string of infants who were either stillborn or lived a few days or weeks at most. The lone exception was the future Queen Mary I…most decidedly not a male heir, which was what Henry believed he needed to secure the still-new Tudor dynasty’s future. 

By 1525, Catherine was nearing 40 years old, and while it was still theoretically possible she could give birth to a healthy child, the reality was her track record of problematic births combined with her age meant that she was pretty much done with the whole reproduction thing. And her younger husband was clearly and publicly infatuated with one of her ladies-in-waiting, Anne Boleyn. Henry had already scored with her sister Mary, but Anne was proving a much tougher nut to crack (so to speak), refusing to pay a visit to the royal bedchamber without being properly married.

Thus began the “King’s great matter.”

This painting is called “The Courtship of Anne Boleyn” — the details speak for themselves

Henry set about securing an annulment of his marriage to Catherine. He either believed, or told everyone he believed, that his marriage to her was cursed (and invalid in the eyes of God) because it violated the rule from the Book of Leviticus about marrying your brother’s wife. The special dispensation that allowed the marriage in the first place was now allegedly based on a mistruth — Henry avowed that Arthur and Catherine, being typical horny teenagers, did in fact consummate the marriage, and Catherine was a lying liar. 

It was His Royal Majesty’s word against Catherine’s (who swore for the rest of her life she had never bedded down with Arthur). But even being a sovereign monarch, it would be difficult if not impossible to secure an annulment from the current Pope, Clement VII. At that time, the Pope was being held prisoner by Catherine’s nephew, Charles, who was doing double duty as King of Spain and as Holy Roman Emperor (and coping with the various infirmities and deformities caused by generations of enthusiastic in-breeding within the Habsburg dynasty). The Pope did not want to wreck his chances of release by booting his captor’s aunt out of her royal marriage, so the pleas from Henry’s messengers and letters fell on deaf ears. (If Charles had a verbal response, it likely would be incomprehensible and accompanied by a spray of saliva due to his enormous deformed lower jaw, referred to euphemistically as the “Habsburg lip.”)

The highest-ranking church official in England was (and remains) the Archbishop of Canterbury, who at the time was Thomas Cranmer, a Boleyn family friend and very recently an employee of the royal government, as England’s ambassador to none other than the aforementioned Charles. (One hopes he carried a good supply of handkerchiefs with him.) Henry pivoted to the Archbishop instead of the Pope to settle his great matter, and Cranmer took about ten seconds to review the case and said “Yup, your current marriage is invalid.” That was enough for Henry to marry Anne Boleyn in a secret ceremony in 1532. Catherine was stripped of her title of queen, and “banished” to a country life in retirement as “princess dowager” (based on her marriage to Arthur) with an ample allowance and a small army of servants, still loudly insisting she was Henry’s lawfully wedded wife. A more comfortable “banishment” cannot be fathomed, but I see her point. From this point on, when he mentioned her at all, Henry referred to Catherine as his beloved older “sister.” Anne Boleyn gave birth to the future Queen Elizabeth I in 1533, but no son.

Seeing that he had defied the Pope and not been struck down by a bolt of lightning, Henry spent the next year pushing a series of acts through Parliament that cut ties with the Catholic Church in Rome and established the independent “Church of England,” or Anglican Church.

Theologically, this was part of the Protestant Reformation that swept through Europe in the 1500s, setting up a variety of non-Catholic Christian churches, but the Anglican Church in Henry’s time still bore a striking resemblance to the Catholic Church. The only substantial difference was the king was in charge instead of the Pope. An entirely “new” religion was created pretty much out of pure spite, which may not be the stupidest reason to create a religion (it may not even be in the top five — see Scientology and its space aliens).

The boy king Edward VI. The Church of England dropped many of its resemblances to the Catholic Church during his reign

We won’t go into the fate of Anne Boleyn and the subsequent four wives here. All we need to know for our purposes is that the third wife, Jane Seymour, succeeded in producing a male heir. Edward VI became king when his father died in 1547, grossly overweight and riddled with ulcerated sores. The sickly Edward ruled only for six years, from age 9 to 15, before his own death, but during his reign his royal advisors worked hard to bring the Anglican Church more in line with other Protestant churches, who believed that all of the elaborate pomp and ceremony of the Catholic Church was inherently corrupt and blocked a worshiper’s direct connection to God. All the ornate vestments, gilded accessories, burning incense, red velvet, jabbering in Latin, and so on was considered entirely unnecessary and probably even sinful according to the Protestants.

Anglican church walls were whitewashed and stained glass was removed throughout the country in order to exude a more humble appearance. Liturgies in Latin were replaced by the Book of Common Prayer (written in English by Thomas Cranmer). Belief in transubstantiation, purgatory, praying to saints, rosary beads, and mandatory confession were all dumped. They kept the leadership structure of archbishops, bishops, and priests (referred to more as “vicars” as time went on) and a few other traditions.  

Some bumps in the road aside (Queen Mary reversed England into Catholicism again in 1553, and her half-sister Queen Elizabeth switched it back to Anglicism in 1558, giving the whole country a case of ecclesiastical whiplash), the Church of England had firmly established itself as the 1500s ended.

John Calvin, the religious reformer whose ideas inspired the Puritan movement

But for some — your typical “small but vocal” minority — the Church of England’s practices were still too closely aligned with the Catholic Church, and not following the spirit of true Protestant reform as embodied by the ideas of Martin Luther and particularly John Calvin. The only way for the Church of England to provide a true path to salvation was to purge all similarities to the Catholics. To “purify” itself, as it were.

They were referred to as Puritans.

They practiced a form of “Reformed Christianity” called Congregationalism. They were technically still holding on to an Anglican identity by half a fingernail, but the reality was that the version of Christianity they established for themselves was very different from anything identifiable as Anglican. (More on Congregationalism when we get to the Salem Witch Trials. Stay tuned.)

For a still smaller minority of Congregationalists, this was not enough. To them, there was no hope to purify the Church of England. They wanted to separate from it entirely. Even the Puritans considered these guys to be overly-hardcore and unreasonable, and that’s saying something.

They were referred to as Separatists.

The Puritans and Separatists were isolated from mainstream English society, partly by choice and partly because they were just difficult to co-exist with. And if they got too outspoken with their criticism of the Church of England in a public forum (and many of them did), they could be fined or imprisoned. 

The first to leave England to seek “religious freedom” were the Separatists, who began a slow trickle over to the Netherlands just before 1600. A specific group of about 300 of them, from the wonderfully-named village of “Scrooby” in Nottinghamshire, settled in Leiden in 1608. After resisting any attempt to assimilate, and terrified of their children turning away from their Separatist indoctrination and learning a more tolerant and open-minded worldview from the free-thinking Dutch (the whole reason the Separatists were welcome there in the first place), a portion of the Leiden Separatist community decided they would rather risk everyone’s lives and take a very dangerous chance on England’s brand new colonial territory in the North American wilderness.

This group of fanatical religious extremists are nowadays known affectionately as the “Pilgrims,” and still idealized in kindergartens across the country each November. They arrived after a tumultuous autumn crossing on the Mayflower near what was already known as Cape Cod in what would soon be known as Massachusetts in 1620. They established the Plymouth colony there.

To no one’s surprise but their own, most of the “Pilgrims” died in the first year. 

(SIDE NOTE: The handful of survivors did in fact hold a “thanksgiving feast” the following autumn with some Native Americans attending, but — guest list aside — this was not out of the ordinary. Puritans and Separatists would have a thanksgiving feast at the drop of one of their buckled hats. Someone caught an extra fish? Let’s have a thanksgiving. Someone returned from market without getting mud on their breeches? Thanksgiving! It seemed to be their only form of release. The national holiday as we know it was not established until Abraham Lincoln did so in 1863 in gratitude for recent Union victories in the Civil War. Also, there was no turkey at the original 1621 dinner. Turkey were indeed abundant in New England, but they were wily and elusive, and no one could shoot well enough to bag one. All existing sources state that venison and seafood were the main courses. Sign me up, as that sounds much better than bland, boring turkey.)

John Winthrop

Not long after the establishment of the Plymouth colony, things got really rough for the Puritans back in England, triggering a massive wave of immigration to Congregationalist-friendly New England. The Puritans’ much bigger Massachusetts Bay Colony absorbed the Separatists’ little Plymouth. Boston was established in 1630, named after a mid-sized town on England’s eastern coast that was considered the spiritual home of the Puritan movement. John Winthrop referred to it in a speech that year “the city upon a hill” — a model city that would have the world’s eyes upon it as a shining beacon of Christian virtue.

Click to enlarge. (NOTE: I spent a full day at work making this instead of doing my actual work)

                                                                                                                                   

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The Holy Bee’s Adventures in Massachusetts, Part 2: The Freedom Trail Begins

John Hancock was likely a smuggler. But so was everyone else in his line of work. To a Boston merchant, finding creative ways to evade the Navigation Acts was just good business.

Hancock Manor

The series of Navigation Acts that began being passed in 1651 required that all shipments to and from the American colonies had to be on British-owned ships, and cargos had to pass through an English port no matter where they were coming from or where they were going so they could have import duties paid directly to the British government, along with a variety of other restrictions designed to line British pockets.

Thomas Hancock

It was a policy that was outrageously unfair to colonial merchants, but almost impossible to enforce effectively, and for much of the 1700s, Britain didn’t try particularly hard. As a result, tons of “illegal” untaxed goods sailed into Boston Harbor, technically making a criminal of one of our nation’s founders long before he joined the treasonous revolutionaries. (When the British government actually tried to get tough on import duties, the result was the Boston Tea Party, more on which anon.)

John Hancock’s father and grandfather were ministers. His father baptized the newborn future president John Adams in 1735. Hancock himself was born in 1737, and seemed destined to join the family trade. Those plans were derailed in 1744 when Hancock Senior dropped dead. Little John was sent to live with his uncle, Thomas Hancock. Hancock’s birth mother quickly re-married and vanished from his life, so Thomas’ wife Lydia became his beloved maternal figure.

As a purveyor of “general merchandise,” Thomas Hancock had done quite well for himself. An early adopter of vertical integration, Thomas owned huge tracts of tree-filled land, a paper mill to turn the trees into paper, a bookbinding factory to make the paper into books, and a bookshop to sell the books, among many other interests. It was only natural that such a prosperous merchant should have a fine home, so in 1735, Thomas bought some land on the south slope of Beacon Hill next to the Common and began construction on what would be described as Boston’s most famous home — Hancock Manor, the first house built on that hill, which in those days was on the far edge of the city proper.

Aunt Lydia

Two-and-a-half stories tall, the brown granite Georgian mansion sported three big dormer windows along the gambrel roof, a dozen main rooms, a dozen steps leading up to a broad front porch with a balcony above facing Beacon Street, and extensive gardens and orchards. The house had a commanding view of the city and the harbor. Thomas Hancock enjoyed his palatial estate for almost thirty years. When he died in 1764, he left all of his businesses — locks, stocks, and barrels — to nephew John. John had been working diligently for his uncle for the past decade, and had learned the import/export business inside and out. Aunt Lydia inherited Hancock Manor, but signed it over to John almost instantly with the understanding that she could continue to live there.

In one fell swoop, John Hancock was one of the wealthiest men in Massachusetts. He gave generously to the Boston community, covering the costs of the laying of paved walkways in the Common, the entire re-construction of the Brattle Street Church, and the free distribution of firewood to the poor during the winter months. His popularity gained him a place on both the town council and in the colonial assembly.

His deep pockets also funded the Sons of Liberty and their fight against British oppression. The savvy Samuel Adams took the political neophyte Hancock under his wing, knowing his local prominence as a successful businessman and his facility for using money to make more money could be very useful to the cause. 

Adams and Hancock made an odd pair. The shabby Adams could usually be found in the taverns and down at the harbor in his threadbare coat, shaking hands, gathering news, making contacts and connections. The genteel, well-dressed Hancock preferred more elevated company, and many among his business associates and social circle were conservative Tories who may not have known there was a rebel in their midst. Odd couple or not, once the situation between Britain and the colonies turned violent, it did not take the British authorities in Massachusetts too long to single out the team of Adams and Hancock as the driving force of the incipient revolution. 

In 1768, one of Hancock’s cargo ships, the Liberty (it was by now public knowledge where his political sympathies lie), was busted for smuggling. Try as they might, the British officials could not get the politically-motivated, trumped-up charges to stick, and the case was eventually dropped. But it galvanized Hancock against the British even more. To be clear, no official evidence of Hancock smuggling anything has ever come to light. But, c’mon…he was probably just really good at it…

Once I had located the former sites of the Liberty Tree and the Great Elm, it was time to begin our walk along the Freedom Trail. The Freedom Trail was conceived in 1951 by journalist William Schofield, who thought a pedestrian trail that linked important Revolutionary landmarks in the relatively compact central Boston area would be a great idea. Local civic leaders and historians agreed, and a route was established using 30 painted signs to guide the way. This system was a little befuddling for the typical tourist, so in 1958 an idiot-proof path was laid directly on the ground using red bricks. In 1972, the Trail was extended across the river into Charleston in order to include Bunker Hill and the USS Constitution. As of 2025, over four million people walk the Freedom Trail every year. 

The Freedom Trail officially consists of sixteen sites:

 1. Boston Common

 2. The Massachusetts State House

 3. Park Street Church

 4. Granary Burying Ground

 5. King’s Chapel and Burying Ground

 6. Boston Latin School

 7. Old Corner Bookstore

 8. Old South Meeting House

 9. Old State House

10. Boston Massacre Site

11. Faneuil Hall

12. Paul Revere House

13. Old North Church

14. Copp’s Hill Burying Ground

15. USS Constitution

16. Bunker Hill Monument

#1 Boston Common was already discussed in the previous entry, so we’ll move on to the second stop on the Trail, which was…

#2 The Massachusetts State House is just across Beacon Street from Boston Common. The parcel of land it was built on was mostly made up of Hancock Manor’s former cow pasture, sold off by Hancock’s wife in 1795 (Hancock himself had died two years earlier). Boston’s new young hotshot architect Charles Bulfinch was hired to design a grand new state capitol building to replace the too-small Old State House (more on that anon) where the Massachusetts assembly had been meeting since 1776. Bulfinch designed a red brick building in a Federal style, with an imposing central dome and white marble trim. It was right next door to Hancock Manor on the south slope of Beacon Hill, the summit of which rose up just behind them.

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The Holy Bee’s Adventures in Massachusetts, Part 1: A Tale of Two Trees

We’ll start this off in a logical fashion: by discussing two elm trees that no longer exist.

Actually, let’s back up a bit. When I last left you, I had been forced to abandon my trip to Boston in the summer of 2024 due to a mild case of passing out on a departing airliner, which was due in turn to a less-than-mild case of influenza (which I swear I had no idea I had). We got as far east from California as Gate B43 at Denver International Airport.

Since then, I got vaxxed to the gills for both COVID and flu. I always dutifully got my COVID vaccine since it was introduced because I am a good citizen and a believer in basic science, and also pretty dubious about the efficacy of location-tracking nanobots being injected into my bloodstream. My flu vaccination was always a little more hit or miss (mostly miss) because — as I figured it — “I never get the flu.” Well, lesson learned. It’s the double jab for me every autumn from now on.

June 17, 2025 — And now, here I was, striding across Boston Common on an overcast morning the following summer, eager to see a couple of vanished elms. Thus began my week of, as my wife put it, “taking pictures of plaques.”

Boston, 1775

The first place I was looking for was at the corner of Washington and Boylston, right where Boylston turns into Essex, on the northern edge of modern Boston’s Chinatown. There was, naturally, a Dunkin’ Donuts on the opposite corner. (What you’ve heard is true. Boston is positively infested with Dunkin’ Donuts. The next nearest one was literally 300 paces away.)

As I approached, I tried to picture what this intersection must have looked like 260 years ago. Three dirt roads known as “Frog Lane,” “Essex Street,” and “Orange Street” converged into an open space known as Hanover Square. The Chase and Speakman distillery was nearby. This was the old “South End” neighborhood, respectably middle-class. There would certainly be no Dunkin’ Donuts. Hanover Square was the site of several large elms, said to have been planted in 1646. The elms were so distinctive they were used as a landmark by people guiding newcomers into the city (eg., “turn right at the big elm trees”).

One elm, a little bigger and taller than the rest, grew in the front yard of bookbinder and church deacon John Elliott (1692-1771), who owned the house directly across the street from the distillery…

Nowadays, the streets are very paved and very busy. Orange Street eventually became Washington Street, and Frog Lane became Boylston Street. The house and distillery vanished around two centuries ago, the modern South End moved further south, and now you’re only a few yards in multiple directions from a half-decent donut and incredibly shitty coffee. It was right here that the Liberty Tree once stood, and where the first quiet rumblings of what grew into the American Revolution were heard.

Hanover Square at roughly the center of this image. The Elliott property would be the rectangle on the right side of Orange between Essex and Beech. Boston Common (and its Burying Ground) are off to the left

1765. The British treasury had been running on fumes since the end of the Seven Years’ War (yet another installment of the British National Pastime — going to war with France) two years prior. Since a big chunk of that war was to protect their colonial holdings in North America (and by implication, the colonists themselves) from the predations of the French army and their “savage” Native American allies, King George III and his Parliament thought it only fair that the American colonists pay their proper share for their own protection, which included a force of 10,000 British soldiers stationed on American soil from Georgia to New Hampshire. So they passed the Stamp Act in March of 1765, which imposed a small tax on paper goods sold in the colonies. The proof of payment of said tax would be an inked revenue stamp. It would go into effect that November.

The colonists and the royal government did not see eye-to-eye on this matter, to say the least. The Americans couldn’t give a toss about a handful of French soldiers in ramshackle little forts hundreds of miles over the Appalachians in the Ohio River valley. No, the colonists saw this as the Parliament picking their pockets to gain funds to keep an unwelcome military force in their midst, and to do god-knows-what else across their expanding global empire. It was pointed out to them that folks in Britain had been paying the exact same tax at a much higher rate for over fifty years. The colonists retorted (in the form of letters and petitions) that at least people living in Britain had some nominal say in how the revenue was spent, via their representatives in Parliament. American colonists had no such representation. They paid the necessary taxes raised by their colonial assemblies, who saw to it that the revenue was re-invested in, and served the needs of, that colony and that colony only.

As petty and stubborn as the American response to the first direct tax levied on them by their distant parent government was (it was only a few cents, after all, and the colonists did benefit indirectly from the British victory in the Seven Years’ War), it was definitely a principled response. And people started getting riled up. In Boston, especially.

Knowing myself as not much of a boat-rocker, nor a holder of many strong opinions that don’t involve classic rock, it pains me to acknowledge that I probably would have been one of those colonists saying “C’mon, guys, let’s just pay the damn tax and get on with our lives.”

A small group of Boston businessmen – “the Loyal Nine*” — began meeting clandestinely at the office of the Boston Gazette, and more notably, at the Chase and Speakman distillery, owned or co-owned by Loyal Nine members Benjamin Edes and Thomas Chase, respectively. The goal of the Loyal Nine was to prevent the Stamp Act from taking effect. They first plastered the streets of Boston with pamphlets and handbills, then decided to take it a step further.

On the morning of August 14, 1765, local passersby noticed several effigies hanging from one of the limbs of Deacon Elliott’s huge tree, the most prominent of which was emblazoned with the initials “A.O.” This was clearly meant to represent Andrew Oliver, the official stamp tax collector of Boston. Word spread. A crowd gathered. Speeches were made. Passions were stoked. The crowd was an angry mob by sundown (possibly fueled by rum punch provided by the distillery), and marched off to ransack both Oliver’s home and office. The first protest by Americans against British “tyranny” ended with Oliver barely escaping with his life. Three days later, Oliver was practically frog-marched to the suddenly-signifigant tree in Hanover Square, and forced to publicly resign his position in front of a cheering crowd.

The elm was referred to as the “Tree of Liberty” in a Boston newspaper the following month, and went by variations of that name for the next decade. It was the staging area for all Boston protests for the duration of the Stamp Act crisis. It was frequently covered with notes, flags, and streamers. A flagpole was installed next to it to summon meetings of the Sons of Liberty. How complicit the elderly Deacon Elliott was with the use of his tree for these purposes is unknown. He has no known association with the Loyal Nine or the later Sons of Liberty. Some of its massive branches may have simply overhung a public pathway. But the fact that it was used as a meeting place so frequently, and was often heavily decorated (and Elliott was known to rub shoulders publicly with local anti-royalists — “Whigs**”), serve as indicators that Elliott probably sympathized with the cause.

The Liberty Tree and Elliott house as they may have looked in 1774. This is a mid-19th century engraving loosely based on a lost original, so take it with a grain of salt

By the start of 1766, the Loyal Nine were folded into the much larger and better organized colonial protest group called the Sons of Liberty, and the term “loyal” was co-opted by supporters of the crown (“Loyalists”). The Sons of Liberty originated in New York, but soon had chapters throughout the colonies. The Boston chapter was established mainly by a newly-elected member of the Massachusetts colonial assembly, Samuel Adams. Adams had left a string of failed businesses in his wake, including the brewery that would (much) later be revived under his name. In the mid-1760s, he finally discovered his true talent: political agitation. Adams was a first-class pot-stirrer, and quite good at getting people on his side. A close associate of the Loyal Nine, but never an official member, it has been widely theorized that Adams was the mastermind behind all of their actions. There is no credible proof of this, other than the fact that the Loyal Nine were often viewed by later historians as run-of-the-mill merchants and artisans (and one ship captain) with little imagination, no previously demonstrated flair for inflammatory writing, nor any real skill at political organization. Still, never underestimate wealthy businessmen pissed off about paying taxes.

Most depictions of the Liberty Tree fail to show it in the front yard of a house

Under pressure from British merchants who were feeling the pinch from colonial boycotts of their goods, Parliament repealed the Stamp Act in February of 1766. It had never really been enforced. The Sons of Liberty called it a major victory, but before long there was more to be pissed off about (Townshend Acts, etc.), and meetings under the Liberty Tree continued.

Lots of stuff happened in Boston and around the Liberty Tree between 1766 and 1775, much of it none too pretty. The Quartering Act, the Boston Massacre, the Boston Tea Party and subsequent Intolerable Acts all served to further alienate the colonists from the mother country. In January 1774, an angry mob pulled a customs officer, John Malcolm, from his home in Boston’s North End. He was beaten with sticks, stripped of his clothes, and tarred and feathered. Tarring and feathering was the painfully humiliating ritual of coating a victim’s bare flesh with hot tar (causing second- or third-degree burns), then dumping chicken feathers over the sticky surface. It was a punishment more talked about than actually performed, but it did happen from time to time, perhaps no instance more horrific than this one. Malcolm was paraded in a cart to the Liberty Tree, forced to denounce the royal governor (which he refused to do), then had tea dumped down his throat in a lengthy series of sardonic “toasts” to every British politician the mob leaders could think of. Severely beaten, burned, hypothermic (Boston Harbor had completely frozen solid that week), probably vomiting tea and blood, Malcolm was paraded for several more laps around the city before he broke down and denounced the British government. At which point, he was dumped in front of his house, barely alive, with a long recovery ahead of him. (To be fair, Malcolm was well-known as the North End’s resident asshole — every neighborhood seems to have one — and this whole incident stemmed from him loudly threatening to beat a child sledding in front of his house with his walking stick, but still…) (And who brought all the tea? It reminds me of the hood scene in Django Unchained. Someone’s wife spent a whole afternoon brewing up gallons of tea for this awful purpose.)

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Things To Do In Denver When You’re Not Quite Dead

“Blucifer,” the allegedly cursed horse that guards the entrance to Denver International Airport

“Should we take a trip for your fiftieth birthday?” asked my wife Shannon out of the blue when I was still technically forty-eight. 

“Sure,” I responded, even though I have never been much of a traveler by nature. I am far too addicted to the comforts of home. But from time to time, I have been lured out to see the world. We had done a large family trip with my in-laws to the UK a few years before, and that quenched what little desire I had to be an international globetrotter. A nice, homey country where they have pubs with display racks of crisps and where I speak a similar (not quite identical) language is about my speed. I’ll admit I’m intimidated by going to a foreign country where I don’t speak the language (which is pretty much all of them except the UK, Australia, New Zealand, and most of Canada). Shannon said many people around the world — especially in the restaurant and hotel businesses — speak English just fine, but then you have to ask that horribly embarrassing tourist question “do you speak English?”, which I would hate to do, even though I am, in fact, a horribly embarrassing tourist. 

Shannon is fluent in Spanish, so I suppose Spain and Latin America are always options, but if anyone thinks I’m rucksacking around Cambodia, sleeping in hostels and squatting over a hole in the ground, they’ve got another think coming. I need a hotel, preferably with a bar and powerful air-conditioning. Which brings up another travel barrier: expense. To travel the way I like to travel (if I have to do it at all) is not cheap.

“A fiftieth birthday is a big deal,” said Shannon when I pointed this out. “Everyone will chip in. Where do you want to go?” My travel-averse mind tried to come up with a destination. Then it occurred to me: I had never been to Boston. As a history teacher specializing in the colonial era and the early republic, it was downright odd that I have never seen the Birthplace of the American Revolution with my own eyes.

“Boston it shall be,” said Shannon, and I thought no more about it as my fiftieth was almost two years away.

The extended family actually sprung it on me on my 49th birthday that December. It was still officially considered a 50th birthday present as the actual traveling would be done in June of 2024, the summer before my fiftieth birthday. We would leave on Sunday the 9th, the week after school ended. Plane tickets were bought, hotels booked, itineraries planned. 

Then came the last week of school. Sunday night, myself and the entire 8th grade class returned from the school’s annual graduation trip to Disneyland. Monday was a much-needed day off for all of us. Tuesday was their class breakfast, yearbook distribution and signing, locker clean-out, and graduation rehearsal. The graduation ceremony and dance was Wednesday. 

I woke up Wednesday morning feeling…off. Not necessarily ill, just wrong. My skin felt incorrectly aligned on my bones. I was light-headed. At the time, I paid scant attention to these signs. I had a graduation ceremony to attend, an award to give out (Outstanding Achievement in History) and a little speech to go along with it. I showered and dressed, waiting for the odd sensation to go away. It did not. I made it to the venue for the 11:00 am ceremony. By now, my head felt like a balloon on a string floating above my body. I handed out the award (to whom I have no recollection now), made it through my short speech to a good round of applause (I can talk on autopilot when I have to), and then started sweating copiously. I mean Springsteen-performing-in-the-Philippines-in-July copiously. The kids got their diplomas and did the formal single file recessional walk-out to “Pomp and Circumstance.” All the teachers brought up the rear, also single-file, out onto the back patio area of the venue for congratulatory back-patting and photos. I did not stop walking, but continued on out the back gate and to my car and escaped before the sweat stains became (more) visible. By the time I got home, it looked like I had run a 5K in my dress shirt and tie. I had six hours before the dance I was scheduled to chaperone commenced. Not thinking clearly at all, I figured I just needed some rest, maybe another cool shower.

I didn’t want to miss another graduation dance as I had done two years before because of getting COVID, most likely picked up on the annual Disneyland trip.

COVID! My heart sank. The symptoms felt different than last time, but who knows how nasty mutating viruses like that present themselves in one’s system two years apart. As soon as I got home, I tested myself. Negative.

When I woke up after a three-hour nap feeling worse, I knew I had to bow out of attending the dance. 

Then my heart sank again. It was Wednesday night. We were leaving for Boston Sunday morning. I had less than four days to shake off whatever was ailing me. With all my 8th graders graduated and gone, there were only a few light duties remaining at school. Thursday I dragged myself in and proctored an online exam for one of our advanced math students (by “proctored” I mean “curled up in my desk chair and slept”), and on Friday took a halfhearted swipe at doing the usual year-end room cleaning. I decided most of it could wait until later in the summer. I still didn’t know what was wrong with me. A second COVID test was negative, but I honestly couldn’t think of any other cause. I don’t get sick very often, but when I do, it is easily identifiable.

Not wanting to spoil the trip, I hid the extent of my suffering from Shannon. She knew I was “a bit under the weather,” but not that every gesture was an effort. On Saturday, there was a lot of work to do as far as packing, laundering, and generally prepping the house for the house-sitter. I projected an air of cheerfulness and excitement, and managed to get everything done by doing thirty minutes of work, followed by a full hour of rest. Thirty, sixty, thirty, sixty…all day into the late evening.

On that fateful Sunday morning, I felt a little better. Was I just telling myself (and Shannon) that? No, no, I genuinely felt better. It was the morning of the big trip, and the rush of adrenaline was causing my body to send false signals of imminent recovery. We were on our way to Boston, with a lengthy stopover in Denver. I made sure I had a big water bottle to fill up at the airport (something I generally don’t bother with), and hoped hydration would see me through.

By the time we got off the plane in Denver, the adrenaline was gone and I had crashed. Our business-class tickets (the part of the birthday gift that was from Shannon’s parents) entitled us access to the lounge, with free food and beverages. (“Not free,” Shannon’s mom would remind us. “Included in the cost.”) I did not eat, which was not unusual (travel has always been an appetite-killer for me), but when I said I did not want a “free” beer, Shannon looked genuinely concerned. This was serious. The only thing I took from the buffet was ice for my water bottle.

By the time we got on the Boston-bound plane, my condition had deteriorated even more (for an obvious reason — remember where we were). The sweating began again. I turned the overhead fan nozzle on. It was warm air. I sipped from my bottle. I took off my hat, which was soaked through. 

“Do you have any ibuprofen?” I asked Shannon. She dug through her bag and found some Advil. I took four. The plane pushed back from the jetway and began its slow reverse roll onto the tarmac.

“How are you?”

“Not so good. I think I’m going to…”

The next thing I knew I was staring into the very concerned faces of two (or maybe three) flight attendants, all crouched down at seat level. A doctor (answering the “is there a doctor on this flight?” call) had her stethoscope on my chest. Shannon was terrified. I had hid the severity of my condition to make sure our trip happened, but I had done it too well. She had no idea how bad off I was until now.

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This Used To Be My Background

From 2009 to 2017, this website featured a series of entries collectively titled “This Used To Be My Playground,” named after a 1992 Madonna song. It explored my relationship to the popular music of the 1990s, when I was in high school (1989-93), college (1993-97…ok, ‘99), and experiencing my first romantic relationships, some heartbreak, a surprisingly robust social life, the freedom of a car and an open northern California road, a too-early marriage, and about a year-and-a-half of fatherhood before the decade ended. This particular series taught me how to really write (the first few entries are terribly clumsy), and was one of my favorite creative experiences. 

A bit of a change-up this month. I am turning this space into a forum for my firstborn son, at least for this entry.

From the time he could hold his head up in a toddler car seat to the time he was a teen in the front seat clutching the dashboard as my single-dad beater Corolla hydroplaned across another puddle in a downpour, I have controlled what’s on the car stereo.

He has some thoughts on this. 

Without further ado, everything written hereafter is by my now-adult kid:

I don’t think things really happen in terms of NPR’s Tiny Desk Concerts anymore, but a decade ago they were a big deal. Some artists that you would normally associate with autotune or studio magic would show up in a Chicago office and prove, yes, they can in fact sing. T-Pain comes to mind…or maybe Stephin Merritt would remind you just how exciting they used to be. Just a bunch of old fat guys (keep in mind they are old and fat and old) in a close up space recreating par-for-the-course pop songs. I don’t think my father was much of a Magnetic Fields guy, but boy howdy, they break my wee little heart. He’d rather listen to AC/DC deep cuts…I will not be oh so cutting or harsh on this entry, readers. But I will get my licks in. Oh readers. I don’t even know if there is a 69 Love Songs Tiny Desk Concert. There probably shouldn’t be. Who would care?

2004

I am son of the Holy Bee (Cade), maybe you’ve heard of me, I can’t remember… I love all of the loyal readers. All seven of you. Just joshing, the Holy Bee boasts a monthly readership that I could only ever hope of dreaming to achieve in my neck of the atomized cultural woods. He earned it, I’d love to luck into it, all over it. Not to say that this audience is a product of anything other than wit and aplomb. I have produced for you here an actual article, taking a page out of my father’s book, detailing some of the albums I remember my father playing for me and my thoughts on them some decade plus later. Not backed by the same level of research and rigor you are used to, but backed by considerable heart. Lots of edits and re-edits (not really), lots of love (that’s true). Lots of the idea that I want some mark on this website when my father inevitably dies, so we and — more importantly I — can say we collaborated on an artistic project. Something every father and son can and should do, if they are so inclined. As opposed to, I guess, going fishing. Screw going fishing!

I kind of pity people who have an absolute zero in the artistic aspiration department. But I really should not. In fact, I pity myself even more severely. It is–not as I have been brought up, but as I have determined on my own–deeply lame to want to be creative when you have no business doing so, as I have recently realized (not true, see below* — ed.). Gore Vidal published his first novel at the age of 19, that was my mark when I was 16. A decade has passed and I have not exactly published a goddamn novel.

Ok, enough of these boring self-flagellations. Here we go, my first attempt at blogging (7th) although I used to have a secret and regrettable music journal, meant to impress older people (read: girls) with better taste than me (didn’t exist). I thought for a while that if my taste was good enough, that if I watched the right movies and listened to the right bands, that would be enough to win over the people I liked. I never really considered developing a personality of my own, and my presumptuous attitude towards those with otherwise normal affinities has burned a few bridges. Being really good at consuming media does not get you a girlfriend!

I could not help but shit on boring Burger Records artists like FIDLAR and the other brand of music enthusiast button pin, a satanic individual by the name of Jack Antonoff, who currently produces both Taylor Swift and Kendrick Lamar albums, but back in the day made horrendous indie rock music and the world’s worst Beatles cover. He’s the one who bought the Abbey Road console on reverb.com listed for 5 million dollars.

To take a second…music right now is incredibly good. Amazing albums are being cut every day. I think it is natural and respectable to give up on finding new music, or caring about it, but an assertion that new music has gotten worse, makes you sound like the audiences who shit themselves in front of Stravinksy. Just ridiculous. Music doesn’t magically get bad because we get old. It’s quite clearly the other way around. And another thing…

Has the Brooklynite “trade synths-for-guitars-self-loathing” completely subsumed good old fashioned rock and roll? What is the actual issue with guitars or vice versa? More importantly, are people ready to embrace something that is not what they like automatically? We cherish an open mind. Those parents of the kids who cried when they saw the Beatles on Ed Sullivan, they managed to temper themselves in many cases, are those kids paying it forward, even fucking at all? The answer is no. It’s a cesspool. But my parents have been a light in the sewer, as we will discuss.

I wrote a test essay to my dad about this when I was creating a mixtape I never finished, but was too afraid to not only finish the essay, but send it in the first place, to say that synths are better and guitars are lame, as a means of getting a rise. This was worthless, in fact. And also just a riff on something James Murphy of DFA and LCD Soundsystem said years ago, a person who is insufferable, and a band that has suffered some severe overcorrection in the late 20-somethings division of cultural tastemaking. LCD Soundsystem is pretty good, I will not talk about them anymore for fear of making someone upset for liking them too much, or liking them not enough. I would go so far as to say that LCD Soundsystem is the single most polarizing band among my generation, but that is a post for another time.

At the end of the day, someone has to program the synths, and for people who don’t watch live music anyway, the appeal of the mere ability to demonstrate a captivating live performance still seems to generate an inherent bias against the synth, or the plug-in, or the what-have-you. The Holy Bee might tell you they are not legit because they cannot play any instruments. What gives?! That only matters at live shows. Don’t we spend thousands of pages more or less bringing the Beatles to completion for figuring out the studio is an instrument? What part of the record do you want to hear? Guitar players loop and finagle and molest their sound to oblivion, but because other bands’ source is from a keyboard attached to a someothering sound device, it’s illegitimate? A guitar solo is not any more inherently worthwhile than a synth solo just because the bald guy producing it is better at orgasm faces.

Animal Collective

As a proud Depeche Mode supporter, among millions, and as someone who loves anything else that makes brilliant pop music, let’s take a chill pill. Have fun, sing along, this enjoying music stuff is not difficult. In terms of music appreciation we kind of figured it out in roughly 2004, poptimists and rockists alike folded underneath the crushing weight of Clipse and Sufjan Stevens, at least as far as professional critics go. And this is a good thing! The problem now, is the criticism that pays a living wage is predicated on making sure hordes of 17-year-olds don’t firebomb your office for giving the latest pop star du jour anything less than a prostrating admission of their holiness. Christgau is still churning out the same post-punk fetishism, thank god. My favorite contemporary critic, Tom Breihan, is having a mental breakdown because all of his favorite artists seem to be either cartoonishly anti-semitic (Kanye) or serial rapists (most musicians). 

What made the critics flip their little peaheads? Was it just “Hey Ya” that did some weird shit to the cultural landscape? Some good, some bad, certainly. Even in ivory towers, you need helping hands from the ones who built it, those clamoring from the walls, half-mummified. Slave labor. A bunch of African-American geniuses halfway through the 20th century are not the only thing that happened, although they are mostly what happened. Elvis is like when your niece puts sprinkles on the cookies you painstakingly folded, rolled, and cut and tells everyone they did it all by themselves. I recommend Just Around Midnight by Jack Hamilton if anyone is interested in this exchange between race and popular music at this time. It’s a magnificent book inspired by a song that was originally going to be called not “Brown Sugar” but “Black – ”…never mind. Honkeys did have good ideas musically, throughout history, and I want to acknowledge this, but…

…2009 Brooklyn Indie is not an effective example of this, unfortunately, despite being one of the more important scenes of my lifetime. Clap Your Hands Say Yeah, Grizzly Bear, TuNe-YaRdS…god TuNe-YaRdS sucks and is embarrassing for everyone involved. The other two bands are all right though, check out “Is This Love” by CYHSY, an absolute bop. 

Clap Your Hands Say Yeah — “Is This Love?”

I know this is not your typical Holy Bee chow but listen, hold on, I’m not the Holy Bee, I am the son, I am the local boy done decent, product of both Sacramento and Yuba City. If you heard a reference to two beautiful boys in your time reading this blog, I am the elder, less beautiful one. The project, the mystery. A lot of time on this spinning planet we call earth, just a rock in a void, oh my god we are all flesh-columns made whole by an unforgiving particle that We shall not name (don’t you just hate hardcore atheists). Norm, I think, has a thing on this, like everything else, the devout Christian he was. 

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Act Naturally: The Films of the Solo Beatles (Part 6)

“To my mind I’ve already proved I can act. The trouble was that I used to approach acting like a rock ‘n’ roller. I was getting parts simply because of who I was. Geezers would say what a great idea it was to have a Beatle in their movie. And the fact that I wanted to act, that I felt I could act, wasn’t really the issue. But no one is going to offer Ringo Starr a top role these days just because I used to be one of the Beatles. I’ve got to be able to do the job…Maybe Caveman is the dawn of a new era for me.”

— Ringo Starr, 1980

Caveman — the movie that Ringo hoped would finally launch his career as a…well, maybe not “Serious Actor,” but at least someone capable of playing a leading role — would be the feature directing debut of Carl Gottlieb. It was intended to be an homage to B-grade humans-coexisting-with-dinosaurs schlock like One Million Years B.C. and When Dinosaurs Ruled the Earth, and to the silent slapstick of Chaplin and Keaton (who had both done comic “caveman” routines). The concept was not without promise, and Gottlieb had an impressive resume. Ringo had good reason to be hopeful.

Carl Gottlieb

Carl Gottlieb got his start in the 1964 iteration of the San Francisco improv troupe The Committee, along with guys like Howard Hesseman and Peter Bonerz. They transferred to L.A. later in the 60s, and Gottlieb moved on to TV writing before the decade was out. He scored an Emmy for writing for the controversial Smothers Brothers Comedy Hour in 1969. In addition to penning scripts for The Bob Newhart Show, All in the Family, and The Odd Couple as the ‘70s commenced, he also maintained a minor presence in the acting world, most notably in the small but dryly funny role as anesthesiologist Capt. “Ugly John” Black in Robert Altman’s 1970 feature film version of MASH. 

Lightning really struck for Gottlieb in 1974 when his friend Steven Spielberg (it helps to know the right people) hired him to do a quick polish on Peter Benchley’s screenplay for Jaws. Benchley, adapting his own novel, had created a screenplay that was serviceable but not great. The characters lacked dimension and the tone was humorless and relentlessly dark. What was intended to be a one-week job blossomed into Gottlieb traveling to the Martha’s Vineyard location for the duration of the production and doing an entire re-write in close collaboration with Spielberg while shooting was underway. (He also appeared in the film as Meadows the newspaper editor.) Gottlieb’s version was a huge improvement, with likeable characters and a subtle touch of humor. Jaws went on to be the first true summer blockbuster in 1975. 

Another feather in Gottlieb’s Jaws cap was his publication that same year of The Jaws Log, a book chronicling the film’s difficult production from a first-hand perspective. It became a behind-the-scenes classic in its own right among film buffs (a copy has graced the Holy Bee’s shelf since childhood), and has been updated and re-published multiple times.

Everyone’s heard the Hollywood cliche quote — “…but what I really want to do is direct.” Gottlieb was no exception, and got his chance when Steve Martin tapped him to direct his short film The Absent-Minded Waiter in 1977, which was nominated for an Academy Award. This led to him co-writing Martin’s first starring feature The Jerk (1979).

Around 1977 or ‘78, a movie producer named Lawrence Turman (The Graduate) was inspired by seeing comedian Buddy Hackett play a caveman in a Tonight Show sketch. “As a kid, I loved the film One Million B.C. [the 1940 version with Victor Mature], and the thought of doing a picture like that, using the same wardrobe and the same language, but played for laughs, seemed like a great idea.”

Turman and his producing partner David Foster hired Gottlieb and Rudy De Luca (fellow TV writer and frequent Mel Brooks collaborator) to do a screenplay based on this idea. Trusting Gottlieb’s comedy instincts, the producers decided to have him direct as well. Although they felt Gottlieb was on solid ground humor-wise, they hedged their bets when it came to the rookie director’s handling of visual effects. They brought in stop-motion guru Jim Danforth, who had done the effects on Caveman’s inspiration One Million Years B.C. and similar films, to direct all the sequences with the dinosaurs. He would be credited as a co-director with Gottlieb. 

“When we wrote the movie, it required a clever but small person, not someone with an imposing stature,” said Gottlieb. “We wrote it without an actor in mind, and then, when the screenplay was finished, we were looking at Dudley Moore or Ringo…Those were the choices. Dudley was unavailable and we went with Ringo because we met with him and found out he was interested in doing it…I told him this was not like anything he’s done before. It didn’t depend on his being a Beatle or a famous person — it’s actually an odd, funny little acting part.”

Filming began in February 1980 in Sierra de Organos National Park outside of Durango, Mexico. Joining Ringo in the cast were Dennis Quaid, Shelley Long (two years before Cheers), football legend John Matuszak, former Bond girl Barbara Bach (The Spy Who Loved Me), and veteran comic actors Avery Schreiber and Jack Gilford (if you don’t know their names, you know their faces).

Ringo, Avery Schreiber, and John Matuszak on location

Armed federales surrounded the location each day to protect the production from pillaging by the local bandits — and to make sure the visiting Americans had no narcotics, meaning the cocaine-loving Ringo had to do without, so he doubled down on his alcohol intake. He brought along his friend Keith Allison to be his “minder,” making sure he made it on set each morning in relatively decent shape after long nights in Mexican cantinas.

About two-thirds of the way through production, word came through from the Director’s Guild that Jim Danforth would not be allowed a co-director’s credit for directing the dinosaur sequences. He walked off the project. Gottlieb would receive sole credit as director. Danforth declined any onscreen credit, so visual effects are credited to his partner David Allen (who would later go on to do some great stuff for George Lucas’s effects company Industrial Light & Magic). 

The bulk of the location work was done at Sierra de Organos, followed by a week in Puerto Vallarta, and concluding with soundstage work at Churubusco Studios in Mexico City. As production proceeded, Ringo and castmate Barbara Bach found themselves in a developing relationship. After rehearsing a comedic “seduction” sequence with each other the night before the scene was shot, Ringo lingered in Bach’s hotel room after everyone else had left, and the couple showed up the next morning hand-in-hand. Bach was unawed by Ringo’s storied past. “I was never that much of a Beatles fan, which made it easier,” Bach said. “I just treated him like everyone else.”

Despite the credit dust-up with Danforth and a few queasy mornings with hungover cast members, shooting went smoothly and was all over within six weeks. Everyone had gotten along famously and went home satisfied with the results. 

CAVEMAN

Released: April 17, 1981

Director: Carl Gottlieb

Producers: Lawrence Turman, David Foster

Screenwriters: Carl Gottlieb, Rudy De Luca

Studio: United Artists

Cast: Ringo Starr, Barbara Bach, Dennis Quaid, Shelley Long, John Matuszak, Avery Schrieber, Jack Gilford, Evan Kim, Ed Greenberg, Cork Hubbert, Mark King, Carl Lumbly

Caveman tells the story of Atouk (Ringo), a meek and put-upon prehistoric cave dweller in the year “one zillion B.C.” The leader of his tribe is Tonda (John Matuszak), a bullying alpha male who forces his food-gathering expedition to abandon slow-witted Lar (Dennis Quaid) when he is injured in a dinosaur attack triggered by Atouk. Tonda also has a beautiful mate Lana (Barbara Bach), with whom Atouk is secretly in love. Atouk is already on the outs with the tribe for bungling the expedition, and finds himself cast out entirely when he is caught attempting to “seduce” Lana (after drugging her with sleep-inducing berries, which is pretty creepy).

Out in the wilderness, Atouk is reunited with Lar, and the two begin gathering other outcasts together into a “misfit” tribe, beginning with Tala (Shelley Long) and her blind father Gog (Jack Gilford), and eventually including a dwarf, a gay couple, and Nook (Evan Kim), who happens to speak perfect modern English. (The rest of the misfits find him totally incomprehensible.) The misfit tribe’s discoveries include standing erect, music, fire, and cooking. They also create weapons and armor, allowing them to strike up a rivalry with Atouk’s original tribe. There are multiple encounters with Danforth-designed dinosaurs, and a run-in with the Abominable Snowman before the whole thing ends up with Tonda vanquished and Atouk being acknowledged as leader of the combined tribes. Atouk ends up choosing Tala over the shallow Lana, and “they lived happily ever after” as the onscreen words tell us. 

Whether or not it was Gottlieb’s intent, what he ended up with is essentially a stoner comedy. The broad, basic humor is the textbook definition of “sophomoric” and perhaps very appealing to someone watching this glazed-over high at two in the morning. The film is reaching for a kind of sweet silliness, but too often comes off as just really, really dumb. It’s almost as though Gottlieb and De Luca secretly passed off their screenwriting duties to a group of fifth-grade boys. Falling into something (water or ideally something grosser), or simply falling over, is considered the pinnacle of comedy. Cartoon sound effects are employed to an extreme degree. Fart jokes and poop jokes abound.

The one element that seems to work well is that the dialogue consists of about fifteen nonsense words in “cavespeak,” so most of the acting is done through grunts, pantomime, and facial expressions…and the performers are clearly having a great time working that way. Dialogue was always Ringo’s Achilles’ heel, and now he could eschew his flat Liverpool monotone and rely on his natural physicality and expressive eyes. Shelley Long also came off very well and is kind of adorable, not yet associated with her uptight Diane Chambers character. In fact, the only one who seems a little stiff and hesitant is Barbara Bach. The animated dinosaurs are actually pretty charming, and for the most part steal the show. 

When all is said and done, Caveman is a harmless little film that feels interminably long at barely 90 minutes. Despite Lawrence Turman’s moment of inspiration, perhaps “comedic cavemen” is a concept best left to Buddy Hackett sketches and Charlie Chaplin shorts.

The reviews were surprisingly kind. The New York Times called it “nicely whimsical,” and the Village Voice went so far as to use the term “enchanting.” Newsday went with “infantile, but also playful and appealingly good-natured.” The Washington Post was a little more realistic: “Priceless it ain’t, but if the kids are determined to enjoy it, the brain damage should be minimal.” Ringo was also singled out for praise, with many comparing his performance favorably with his Beatles films. It generated a mediocre $16 million at the box office, but the budget was only $6.5 million.

So what happened? No one seems to know. Despite the good reviews for his performance, and despite the fact that, all things considered, Caveman was far from a disaster, Ringo was never offered another major film role again.

Carl Gottlieb went on to direct two sequences in the 1987 cult anthology film Amazon Women on the Moon. Each of his sequences perfectly encapsulates the two Gottlieb directing styles — “Pethouse Video” was obvious and crass, and “Son of the Invisible Man” was subtle and clever. (He wrote neither.) He hasn’t directed since, nor has he written anything of note since the ‘80s.

Ten days after Caveman’s release, Ringo and Barbara Bach were married at Marylebone Town Hall in London. Now happily (if blearily) hitched, he was still barely keeping his head above water career-wise. No movie producers were calling him. His most recent solo album, Stop and Smell the Roses (October 1981) sold about six copies and is now widely regarded as one of the worst of all Beatle solo albums. He was dropped by yet another record label. His heavy drinking continued unabated, and his new spouse joined in. “Every couple of months she’d try and straighten us out,” Ringo said. “But then we’d fall right back in the trap.”  

His next — and to date, final — movie role was handed to him by an old friend: Paul McCartney. He was to play a drummer in Paul’s band. Not too much of a stretch.

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Act Naturally: The Films of the Solo Beatles (Part 5)

“Ringo liked films, but I think he just liked being in a Hollywood movie sort of world…he didn’t stop to say, ‘Hang on, I’m Ringo Starr. I have to choose carefully.’ He just did [the films] because they were good fun. Having a little laugh, you know? You get doomed for that, forever. People remember them.”

–Ray Connolly, That’ll Be The Day screenwriter

Franz Liszt

Ringo had a fairly successful follow-up album to 1973’s smash hit Ringo with 1974’s Goodnight Vienna. It reached a respectable #8 on the Billboard album chart, and its accompanying single “No No Song” got to #3 on the singles chart. But he couldn’t resist the allure of hanging out and having a little laugh on a film set.

It’s been so long since I left this website series hanging, I had to re-watch Lisztomania. The things I do…

The term “Lisztomania” was coined by German writer Heinrich Heine to describe the effect composer and pianist Franz Liszt (1811-1886) had on an audience — mostly an audience of women. They would leap to their feet, scream, and sometimes faint. Liszt would rile them up, pounding out aggressive arpeggios, tossing his sweat-soaked hair, and distributing tokens such as scarves and gloves into the ecstatic crowd. It was the exact same effect that would crop up over a hundred years later in response to Elvis Presely and the Beatles. 

Franz Liszt was the first rock star. 

Director Ken Russell spun that single idea into a film that was as tedious as it was tawdry, its incoherence masquerading as “surrealism.”

But that’s Ken Russell for you.

“Lisztomania” cartoon by Adolf Brennglas, 1842

Franz Liszt was born in Hungary (thanks to some later border shifts, the town of his birth is now in Austria) and was considered a child prodigy. He studied under Antonio Salieri (yes, the Amadeus guy) and was said to have impressed both Beethoven and Schubert when he made his performing debut in Vienna at age 11. He subsequently lived for many years in Paris, composing, performing, and tutoring. He became personal friends (or sometimes “frenemies”) with fellow composers Felix Mendelssohn, Robert Schumann, Frederic Chopin, and most notably, Richard Wagner.

Comtesse Marie d’Agoult

As he grew to adulthood, his chiseled features and flowing locks earned him many female admirers, but his reputation as a rabid womanizer was probably a little exaggerated. He was something of a serial monogamist, engaging in safe, long-term affairs with titled women in arranged marriages to indifferent (read: probably homosexual) husbands. One of these relationships, with Comtesse Marie d’Agoult, produced three children in the 1830s — daughter Blandine, son Daniel, and daughter Cosima, who later married composers Hans von Bulow and Richard Wagner in quick succession.

The “Lisztomania” period made up only a small portion of Liszt’s remarkable life. For seven years (1841-1848), he barnstormed the concert halls of Europe as a traveling virtuoso, selling sex appeal as much as music. He then quit performing to focus on composition, publishing the first of his Hungarian Rhapsodies and Liebesträume (“Dreams of Love”) in the early 1850s. He became the court conductor and choirmaster in the city of Weimar, Germany, a very settled-down and respectable position.

Princess Carolyne zu Sayn-Wittgenstein

Liszt finally decided to marry for the first time to Princess Carolyne zu Sayn-Wittgenstein — who was, as usual, already married to someone else. He and Princess Carolyne spent over a decade trying to get her marriage annulled, to no avail. Even a sympathetic audience with Pope Pius IX in 1860 did not yield positive results in the end.

Pius IX (1792-1878) is known to history as the longest-serving pontiff. His leadership of the Catholic Church spanned 32 years, from 1846 to his death in 1878. He was initially a progressive supporter of church reform, but radical events such as the Revolutions of 1848 turned him more conservative. He orchestrated the literal kidnapping of a Jewish boy on the basis that he had been secretly baptized by a servant. Edgardo Mortara lived under “papal protection” until adulthood, despite the desperate pleas of his parents. The story brought waves of outrage, and contributed to Pius IX’s loss of the Papal States (a region of central Italy which the Pope had ruled directly as a sovereign monarch since 756).

Pope Pius IX

Liszt and the princess gave up their attempts at matrimony. Liszt decided to become a monk, joining the Third Order of Saint Francis. He received a tonsure, and became Abbe Liszt. He still composed on a small piano in his monastery quarters. After almost a decade of cloistered life, Liszt returned to the wider world and bounced between Rome, Weimar, and Budapest, teaching master classes in piano. He never fully recovered from a fall down a staircase in 1881, and died five years later at the age of 74.

All of this is thrown into a cinematic blender by Ken Russell, along with celestial rocket ships, Nazis, vampires, superhero costumes, Nietzsche references, rayguns, and a ten-foot penis. (Not for nothing was one of Russell’s biographies titled Phallic Frenzy: Ken Russell and His Films.) “My film isn’t biography,” said Russell in the understatement of the year. “It comes from the things I feel when I listen to the music of Wagner and Liszt and when I think about their lives.” 

Ken Russell was an authentic English eccentric. Born in 1927, his childhood ambition was to be a ballet dancer. Rather than sell shoes in his emotionally abusive father’s shop, Russell opted for disastrous stints in the Royal Naval College and the British Merchant Navy. When he washed out of the latter, he reluctantly returned to the parental home. One day his mother and a friend came home early and discovered a teenaged Russell frolicking around the house in the nude to Stravinsky’s Rites of Spring. There were embarrassed faces all around, and an ultimatum — sell shoes or join the RAF. It was an easy choice.

After being discharged from the RAF in 1948, Russell decided to make his childhood dreams come true. He was actually accepted into the International Ballet School in South Kensington, mostly because he was one of the few male applicants. It didn’t take long for Russell to discover the flaw in his dream — he was a terrible ballet dancer. The Institute patiently kept him on for four years before they finally, and no doubt with a certain degree of exasperation, asked him to leave.

Young Ken Russell

After making ends meet as a freelance photographer and a bit player in touring musical comedies, Russell was hired by the BBC to work in their documentary department based on a few independent short films he had made. One of his early assignments was a documentary on the composer Sergei Prokofiev.

The BBC had a very strict policy regarding documentaries. No actors, no “dramatic re-enactments.” It was to be only narration played over authentic photos, talking-head interviews with experts in the field, and, if available, archival footage. The iconoclastic Russell kicked against this policy from the get-go, and went ahead and inserted brief bits recreated by actors — hands on a keyboard, a reflection in a pond, that sort of thing. Despite admonishment from the BBC suits, he took it even further with his next composer biography on Edward Elgar. This was the beginning of a leitmotif in Russell’s career — a series of biographical films on composers. From relatively staid documentary works for BBC arts shows like Omnibus and Monitor in the 1960s to the twisted, overbaked cinematic explosions of the 1970s, Russell always returned to presenting the lives of composers.

Russell made his big cinematic breakthrough with an acclaimed adaptation of D.H. Lawrence’s Women in Love in 1969. Conventional compared to his later works, Women in Love still broke boundaries, featuring the first full frontal male nudity in a mainstream film. The naked wrestling match between Alan Bates and Oliver Reed certainly got the film a lot of attention…and repeat viewing. His next two composer biographies, The Music Lovers (1971) about Tchaikovsky, and Mahler (1974) reflected Russell’s increasing self-indulgence and reliance on surrealism. “More interested in impressionistic history than literal truths,” is how Russell biographer Joseph Lanza generously put it. 

Russell’s flamboyant, overblown style was already familiar enough to be parodied by Monty Python in 1972.

To be fair, Russell always did meticulous research and did throw in small nuggets of historical accuracy as long as they were suitably weird. For example, Princess Carolyne really did smoke cigars and really did write a 24-volume work entitled The Inward Reasons for the Church’s Outward Weaknesses as depicted in Lisztomania.

Mahler was the first of a proposed six-film series on composers to be written and directed by Russell and produced by David Puttnam’s company Goodtimes Enterprises. It was to be followed by a film about Franz Liszt, for which Russell initially envisioned Mick Jagger as the star.

Roger Daltrey

Before he jumped into the Liszt biopic, Russell decided he wanted to adapt the Who’s “rock opera” Tommy. The work was first released by the Who as a concept album in 1969, and performed by them as a three-piece band in opera halls as well as the usual rock venues across Europe and America. Classical music purist Russell was no fan of rock, but hearing the London Symphony Orchestra perform the Tommy material in true classical style in 1972 piqued his interest. He got in touch with Who guitarist/songwriter Pete Townshend, and the two hit it off and agreed to collaborate. It seemed only natural to cast Who lead singer Roger Daltrey as the title character. Tommy (1975) was a critical and box-office success, although I suspect the Who’s music and appearances by Elton John, Tina Turner, and Eric Clapton were more of a draw than Russell’s typical high-camp hallucinatory style.

At some point during the production of Tommy, Russell made a mental switch from Jagger to Daltrey for the role of Franz Liszt, and announced him as the lead in what was now called Lisztomania a month after Tommy had wrapped. Russell felt that Lisztomania would be a true companion piece to Tommy, exploring similar themes.

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Quiescence, Pt. 3

As should be pretty obvious by now, the Holy Bee of Ephesus website no longer updates on the first Saturday of every month.

I can’t claim being swamped in other areas of work and home life. This excuse does not hold water from someone who stares slack-jawed at YouTube, streams shows about a bunch of bearded rednecks in camo gear hunting for Bigfoot, doom-scrolls the Politics tab on Reddit, and plays an unhealthy amount of Assassin’s Creed as much as I do.

No, the fact of the matter is I’ve simply run out of subjects that pique my interest enough to bang out five to six thousand words per entry. I’ll get around to finishing the Solo Films of the Beatles (eventually), and updating my Indiana Jones chronology with stuff from the new movie (eventually).

The website isn’t dead. Far from it. Any idea or topic that gets enough traction from rattling around in my head for long enough will find a home here. But I am releasing myself from my self-imposed publishing schedule.

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