Wednesday, April 22, 2020

Tear Down The Walls II


The Wall That Says It All: Bob Dylan’s “intimate club room” quote


Tear Down The Walls II:

continued photo essay on sudden 
shuttering of Armando’s Music Hall

by Jamie Jobb

Vince Martin and Fred Neil gained a bit of fame in the mid 1960s for “Tear Down The Walls”, their gentle anthem which became a campfire favorite among student protestors of the time. The “folk song” certainly was more akin to The Smothers Brothers than to say Stokely Carmichael. And by the end of the decade the sentiment of that tune had soured as the political landscape rumbled with campus violence. Now the song is so forgotten, Google finds a more current title unrelated to Martin and Neil and completely detached from American street politics one hundred years after the Civil War.

The photos that follow document the demise of a unique set of very colorful walls that once existed in Martinez California. The full story is found in the first installment “Armando’s Pulls the Plug”.

Roy Jeans behind the bar for the last time: no customers


The Musicians’ wish: Politely asking for silence in Spanish

Armando’s patio wall littered with campaign and street signs

View from The Booth: what the light-and-sound man saw of Armando’s

When you have more than enough paint for the canvas … 

A Sign of End Times: Deconstruction crew removes sign from the window

Cogito, ergo sum: a painting philosopher does the math

The Wall That Said It All: Post No Bills!

Stuck Inside of Mobile with Memphis Blues: ain’t gonna work on Armando’s Farm

View from an Empty Stage: Everywhere an Empty House

A Hard Rain’s Gonna Fall: the quote musicians saw from stage


View out the front door: abandoned stage (right), empty bar (left)

View from behind the bar: everybody is eighty-sixed!

“Oh Mama, can this really be the end?”

“Dear Landlord: If you don’t underestimate me, I won’t underestimate you”

Thursday, April 16, 2020

Armando's Pulls The Plug


The Essential Roy Jeans: tip jar, a microphone, a can of paint.

The quote above the wall:

“The best sound you can get is in an intimate club room
where you’ve got four walls and the sound just bounces.
That’s the way this music is meant to be heard.”
– Bob Dylan

 "Tear Down The Walls”

Armando’s Pulls The Plug

by Jamie Jobb

Since my high school days in 1960s Miami, I’ve been a very lucky guy as far as easy access to great live music is concerned. Back then, my friends and I had The Flick coffeehouse across from University of Miami, and The Gaslight South, funky southern brother to the original Gaslight Cafe of Greenwich Village. Folks like Fred Neil, Gamble Rogers, David Crosby, Joni Mitchell, John Sebastian, Tom Rush, John Denver, Jimmy Buffett played those South Florida stages. We could watch them work up close, Neil was a marvel on his twelve-string.

Later, in school at Gainesville, I hung out with several local musicians who played the university’s rathskeller, not to mention front and back porches around town. We knew we were extending a fine Southern tradition of sonic hospitality in these home concerts.

After I left Florida for California in 1970s, I entered another world of live musical opportunity. In Marin County, I lived along a convenient cruise of over a dozen music halls spaced about a half mile apart – from the No Name Bar in Sausalito to Rancho Nicasio in West Marin. Then when I moved to the East Bay I had more great choice between Freight and Salvage in Berkeley and our local Musicians Coffeehouse up the hill from my home near Mount Diablo.

Bands born in San Francisco’s Summer of Love played together or in curious one-night stands any day of the week live on stages all over Marin and the East Bay in clubs that no longer exist: Knightsbridge, The Ark, The Barrel House, The Original Trident, The Lion's Share (or "The Share"), Euphoria, Charles Van Dame, River City, Uncle Charlie's, Ted's, Prince Charles Inn, Jean's Bit of Bohemia, The Blue Rock, Edgewater, The Cricket Club, Runway 5, San Rafael Union Hall, Black Oak, Old Mill Saloon.

After I moved to Martinez at the turn of the century, an odd storefront called “Mama’s Mercantile” slowly developed into the coolest night club I’d ever encountered. Mama’s certainly was the oddest business on the planet. It had no proprietor, but locals knew he could be found at the bar down on the corner, if you needed him. He sold only one thing: golf clubs. Used and unsorted.

These were displayed in large four-foot by four-foot cardboard boxes, stuffed there in no particular order. Thousands of golf clubs! You wondered if the owner hung out at driving ranges and collected all the tossed sticks of frustrated duffers leaving the facilities in disgust. Anyway, one day Mama’s was closed for good and something new started to sprout in its place.

Hard to tell what it was, though. In fact, the place seemed to change its looks every time we walked by with our dog. Was it an art gallery? A frame shop? An event and party space? Eventually the storefront got a name – for the grandfather of the proprietor – and a sign out front: Armando’s. The place remained a live house for musicians for over fifteen years.

I was so impressed by the shows coming out of the place that I produced a No Budget Film about it: “Quoting Roy Jeans”.

To make that motion picture, I vowed to spend no money – except for tickets and tip jar, as anyone would do to help the musicians remain working “professionals”. But we spent no money on travel or rooms or meals or any staff. We didn’t shoot on film. Used our own equipment. I got together with neighbors and we produced it all ourselves on YouTube. You may see the whole thing here, although the “documentary” currently is just the first four “takes”. A new fifth take will be added, which includes the last weekend’s performances and demolition of the venue’s walls …

We attempted to structure the project around the obvious visual clues that spoke to the spirit of the place. Roy Jeans, the emcee and a local legend, makes his living as a house painter. So, as he says, “I have a lot of paint.” Indeed, Armando’s was distinguished by the unique colorings found on every surface inside the club. So we broke down the interview into those obvious surfaces: the chairs, the door, the stage, the walls, the pole and the road. “The Road” is a local legend unto itself and that story is told in Take Four of the documentary.

Not every music hall has a “pole”. Armando’s put its to good use. Written on the side of the pole was this challenge to those on stage: “I’ll know my song well before I sing it” – a line lifted from the end of Bob Dylan’s “Hard Rain’s Gonna Fall”.

Anyone who knows Roy knows where these colors originate. From cans of paint he collects after a hard day’s work. Many cans have only a little paint remaining and it’s best to use it than to lose it. So Roy paints all the time, after work. He is a true “painter” who knows art history.  

Author's mirror-selfie: Armando’s stage, the morning after the last performance


One Man's Ceiling

Is Another Man's Floor


An on-going dispute with the landlord was at the root of Roy’s decision to close Armondo’s. He had hoped to hold out until July, when his lease ran out. But the landlord, a son of the original landlord who entered the lease with Roy, lived upstairs and was constantly battling Jeans, so Roy called it quits on February 9 when The Sunday Paper, a rockNfunk band filled the house with raucous merriment before the place went silent.

Roy allowed me to join him on Monday morning, February 10 to record the House in situ before a demolition crew was to start deconstructing the place. The best of those photos follow this essay.

The demolition itself was an incredible process to capture in camera, with the walls deconstructed one poster at a time. Hundreds of posters had been added over the years, and Roy wanted each one saved. Indeed, he began Armando’s as an underground art spot with framing and house parties. Many of his posters dated from that time.

Demolishing Armando’s took over a week and involved several volunteers – among them were Harlan Bailey, Thomas O’Brien, Chris Bryan, Lynn Quinones, Steve Ricco Bono, Belinda Godin, Daryl Schawel, Den Belicco, Gary Cockrell, Karen Stiles, Beate Bruhl, Eric Akeson, Brad Vicnair, Robert Perry and Bryan Walker. A handful of others helped but did not autograph the signup sheets, so we don’t know who they may be.

Also, Roy said this morning that he expects to resurrect Armando’s soon on-line, after he works out details. He’s aiming for something in May featuring an East Bay duo. Jeans should announce his first digital concert, a backyard affair for a special invited audience of eight couples separated by proper social distancing.

Watch for updates on the Armando’s website which is still active: https://armandosmartinez.com/. 

* * *


The Morning After

a photo essay

10 February 2020

by Jamie Jobb




The Morning After: out of habit, Roy wipes down tables for last time




Mismatched multi-cultural chairs will never fill this floor again

Backstage at Armando’s: the Paint Department


The Chairs of Many Colors piled up: for removal from The House

The walls of Armando’s had eyes, ears, noses, throats and banjos with legs … 


The walls spoke backstage – with run-on quotations



Every day something new ended up on the walls of Armando’s

Paint brushes never cleaned: artworks among themselves?




No Show in the Window: Armando’s closing night reflects the end


The back door to the bathroom: not a pretty sight

* * *

15 April 2020
(more photos to follow)

Sunday, April 5, 2020

An Audient Dreams ...


An Audient Dreams

of Gathering Crowds

by Jamie Jobb

As our shelter-in-place enters a fourth week, we learn almost daily that another
city council, church, civic association, social club, chorus, hobby hut … it seems almost any group that gathers, has joined with thespians, musicians and other performing artists in seeking virtual venues to meet their obligation to audience members forced to remain home by order of state and/or local officials.

The brief report that follows is from Jill Bourque, mentioned in “The Digital Box Office” previously on these pages. Jill’s on-line audience streaming service, RushTix, has compiled the list and offers it to anyone evaluating the best way to round up an audience on line.

RushTix is a San Francisco Bay Area discovery and production platform where artists can easily sell tickets, livestream shows and build their own virtual audience, all with the intent of helping performers generate revenue. We must admire Jill for her objectivity in these times of crowd crisis: her company is one of eight platforms listed, although they did not include an evaluation of the Japanese platform, Zaiko, previously mentioned on these pages.  Here’s the RushTix press release:


Livestream Platforms Reviewed
With live in-person events on hold, performers who rely on live in-person performances to earn a living are switching to livestreaming. Here are eight livestreaming platforms reviewed with performing artists in mind.
    Facebook Live is an easy and popular way to do livestream video. Difficult to schedule a livestream unless you use third party streaming platforms
    - Pro: Large Audience
    -
    Con: Hard to Monetize

    Instagram makes it nearly impossible to search for livestreams which makes sense as it’s the ultimate influencer platform so fans are more likely to catch things spontaneously on IG.
    - Pro: Livestream Right From Your Phone
    - Con: Hard to Get the Word Out to Your Followers

    RushTix offers an end-to-end livestreaming platform allowing the artist to monetize their show and build a community. Performers can sell tickets, livestream with real-time chat and tip-jar, and build a community.
    - Pro: Easy to Monetize & Build a Community
    - Con: Currently Focused on Bay Area Artists

    Stageit offers easy, livestream video, the ability to sell tickets and collect tips during shows in their own currency called "notes." The interface is a bit complex and out-dated but an enjoyable experience overall.
    - Pro: Caters to Musicians
    - Con: Outdated Interface

    Twitch, a haven for gamers, livestreaming on Twitch requires the user to gear up with streaming software like Open Broadcaster Software. This solution is favored by geeky comedians and improvisors.
    - Pro: Highly Engaged Gaming Community
    - Con: Limited in Other Forms of Content

    Vimeo Livestream like its parent company, Vimeo, seems to be focused on the more arty side of entertainment with eclectic musical offerings.
    - Pro: Good for High-End Corporate Events
    - Con: Requires Technical Expertise to Create Livestreams

    YouTube Live - Probably the easiest platform to do livestreaming, but lacks the community of its rival Facebook.
    - Pro: Easy to Livestream
    - Con: Hard to monetize

    Zoom has become indispensable for business and also some inventive improv and theater companies.
    - Pro: Easy to livestream multi-person shows and experiences
    - Con: Requires viewers to add Zoom app

5 April, 2020


Thursday, April 2, 2020

The Toilet Papers



Shelter-In-Place III:


My Rolled Yards

or

"The Toilet Papers”

by Jamie Jobb

Today was a good day, strategically speaking. Eighteen days into our “shelter-in-place”, I came home from my intermittent hunter-gather expedition with TWO packs of toilet paper! Granted, they’re very skimpy packets of only four rolls each. But they were two-ply! That beats the last six-roll pack of one-ply which a grocery clerk rescued from storage for me two weeks ago. Our situation became dire after our last Costco run which coincided with the first day of The Panic Runs, so to speak. The Big Box Store had flushed itself of paper towels too. So we’ve been running low on two of life’s essentials for over a month.

Actually I was quite lucky to get the two packets today as Safeway’s One-Per-Customer limit was still in effect. Fortunately for me it was just after 6 a.m. and few people were in the store. After ringing up the sale, the checkout woman whispered she wouldn’t notice if I left the store, came back in and got another roll to take to the only other checker working that morning. Sure enough, that worked and I got our second pack.

Another clerk they call “Junky” (it’s an Philippine thing) says he’ll save me another packet (or two) Friday morning. “Just be there again at 6 a.m.” he warns. I mark that on my calendar with a note to get to sleep early the night before. Oh, how quickly does The Post-Modern Hunter/Gather adapt to ever-changing conditions of our new wildling conurbation!

Most of us recall days not long past, when toilet paper and paper towels were not endangered species. Who knew a pandemic with more impact on lungs than guts would cause such a ridiculous run on the supply chain? Things are so dire that, according to The South China Morning Post, an armed trio of thugs stole 600 rolls in a Hong Kong panic-buyer heist in February outside a supermarket in Mong Kok. Two were arrested, their knife confiscated and their haul estimated to be worth US$220.

A few of us fondly may recall those far more distant days when there was more than enough toilet paper in the world for groups of teenagers to leisurely hang it from trees.

(pause)

I guess I should explain.

* * *

Most Americans of a certain generation – those who came of age between The Depression and Climate Change – have heard about somebody’s place getting “TP’d”. Meaning their humble abode (especially its landscape) was delicately draped in scores of streaming toilet paper banners hung high from above, as if by Zeus itself.

Actually the rolls were deftly tossed by human hands. Particularly gifted were those paper pitchers who could lob a streaming roll over, around and through 50-foot oaks, without wasting one sheet off the roll. I never did appreciate that term – “to TP” someone. It sounded too Native American to me. And there was a far better expression for the covert operation.

In Alabama we called it “rolling yards” – a more proactive term. Folks there still use the term. And, it was an activity that I engaged in willingly, with friends a dozen times as a sophomore and junior at Birmingham’s West End High School. When I moved to Miami we only rolled two yards (both in luxurious Coral Gables), and Florida kids did NOT call it “rolling”. Those sun-burned wimps!

Two of my Alabama rolling friends are deceased, so naming them now could not embarrass them. My two main cohorts were pals from West End’s football team: Bobby Atcheson, our starting fullback, and Roy Sims, a B-team quarterback. I was a linebacker. When we were lucky, Joe Price might run along with us to roll a yard.

A halfback, Joe went to our cross-town rival Ramsay High, but his brother was starting center at Auburn, aka “the loveliest village on the plains” (more on that later). So Joe was very cool with us. And he was a rolling expert: he had lots of ways to toss the rolls: overhand, underhand, hook shots. He had “the touch” we all envied. A Steph Curry, well ahead of his time.

If Joe couldn’t go rolling, Bobby usually drove and was our ring-leader, although I recall Sims and I were the go-to roll-gatherers. We’d collect our toilet paper one roll at a time. It wasn’t easy, this self-imposed One-Roll-Limit. In a fast-food place full of people, you couldn’t just pop in and out of the restroom because our mission would be obvious, and we’d blow our cover!

I should further explain: The unspoken, unwritten rules in Birmingham were quite clear to those of us obeying them. Rule Number One: You absolutely could NOT purchase toilet paper for these public displays of disaffection, which almost always involved boyfriend vs. girlfriend (and usually Bobby’s girlfriends). No, no, no! We had to spend most of the night running around town, from filling station to restaurant to any available public restroom, “borrowing” the stuff.

It was all sleight-of-hand and very seat-of-our-pants. We stuffed a roll into our crotch and waddled out with it. Our night progressed like this: one roll at a time. Thus all the time it took. Three hours allowed four guys to collect enough rolls for decent visual effect.

Of course, I’m now recalling this during the Great Covid-19 Toilet Paper Crisis. Today, on April Fools Day – with San Francisco’s annual St. Stupid’s Day parade cancelled – it’s now very difficult to imagine any such foolish activity. Nobody – not even fools – are hanging toilet paper in trees these days.

* * *

The greatest “rolling” effort I ever saw did not involve me directly, but my teenage son. I just woke up to find it. And it wasn’t in Alabama, it was in California in our town outside San Francisco. So of course, West Coast kids called it a TP job.

My son obviously had annoyed someone in his senior class, maybe a fellow baseball player. And it must have been a big deal: he wouldn’t talk about it, none of his friends would say anything either.

But we lived next to an incredible creekside canopy of Quercus lobata (California white oak or “valley oak”) in a forest of at least two dozen trees. Our house was not under the oaks, which sat between us and the road. But those trees loomed over our neighborhood.

Based on my own vast Alabama experience, I know it must have taken at least six kids and maybe 60 rolls to do that much coverage. Certainly these suburban students bought all those rolls. But they were very quiet and very effective in their work. My windows were open and I slept facing the trees, so any loud disturbance would have awakened me. I assume it must have been a mix of athletes and art students, given the perfect pitch and precise installation of their exhibit.

I first saw their work on my way out to get the morning paper. I crossed the creek and looked up to see a gentle breeze slowly sway hundreds of 80-foot long strands of plush two-ply. I was struck by the sheer beauty of it all!

And it looked incredible from the street. When I came back into the house, my son was eating breakfast. I said “There’s a surprise for you in the oaks outside. Take some bags with you, so you can clean it up.”

Funny, I thought in that moment, not once in Alabama did we ever consider the parents of the girlfriends’ yards we had rolled. And, given the time and the residue of Southern Hospitality, we actually knew those parents!

* * *


Auburn’s notorious Toomer's Corner oaks – basking in their former glory! 

The State of Alabama hosted perhaps the most notorious Rolled Trees of all time, those known as “Toomer’s Oaks” which grew at the entrance of the Auburn University campus across the street from Toomer’s Drugs. After major football wins by the Auburn Tigers, fans would “roll The Oaks”. The hundred-year-old Auburn trees needed no introduction in The Deep South. Tales of Toomer’s Oaks were legend across Dixie, or at least in the Southeastern Conference.

But things got ugly in 2011 when those oaks suddenly upped and died, as they say down South. It turns out, a transplanted Alabama fan, Harvey Almorn Updyke, Jr., pled guilty to poisoning the famous oaks shortly after Auburn miraculously beat ‘Bama, 28-27, in the 2010 Iron Bowl, when the Crimson Tide blew a 24-point lead.

Updyke spent 70 days in Lee County jail and was ordered to pay a $800,000 fine. That figure was well beyond his means, so the court ordered him to pay $500 a month. But Harvey payed less than $5,000 in six years, so the Court ordered him back before the bench to explain why he did the deed yet refused the fine.

But Updyke had already explained why, on the radio. Right after the incident happened. Updyke called Paul Finebaum’s talk show to confess. It was quite a stunning admission of guilt by a guy who did not grow up in The Cotton State, where he came to learn the new term for what he’d known as a Longhorn to be simply: “TP’d”. Here’s what he said on the radio:

“When Bear Bryant died, I was livin’ in Texas. And I didn’t really understand the Alabama-Auburn rivalry. But a good friend of mine that lived in Birmingham sent me a copy of the newspaper showing the Auburn students rolling Toomer's Corner celebratin’ Bryant’s death … Let me tell you what I did: The weekend after the Iron Bowl I went to Auburn, Alabama cause I live 30 miles away, and I poisoned the two Toomer’s trees … I put Spike 80DF in ‘em.”

Of course, Updyke undid himself in that call-in confession which was traced to his phone. But the story of Toomer's trees did not end with Updyke’s tale of woe. Auburn’s arborist attempted to save the poisoned trees, but was unsuccessful. So The Corner was redone, tainted soil removed and two fully-grown Southern Live Oaks planted where the old trees grew.

Students and fans were admonished not to roll the new trees until they acclimated.  But in 2016 the trees had to be replaced a second time after an intoxicated German Jochen Wiest set one of them on fire after Auburn’s controversial last-second 18-13 win over LSU. Neither tree grew well after that vandalism, so the University again replanted in February 2017 with new trees.


Toomer’s trees after an Alabama fan poisoned them in 2011

The Moral of These Stories

Given that Alabama governor Kay Ivey has yet to issue a full statewide stay-at-home order, Toomer’s trees are not yet out-of-the-woods, so to speak. But at least, we’re all old enough now to know what we didn’t know then:

Toilet paper does not grow on trees!


1 April 2020
(last of three parts)