Division Street (Feature Film Script)

EXT. DIVISION STREET, CHICAGO - NIGHT

We see 1930’s Chicago along Division Street. The faces young and old. Some dressed for a night out, others in threadbare clothes. The area is run down but in the core of a bustling nightlife. Bars, nightclubs, etc. The camera moves like a voyeur taking it all in. Bits of talking, cars, music are all overheard. The hustling charm of Chicago in 1934.


INT. SWEET LADY LOUNGE - NIGHT

It’s July 23, 1934. The Sweet Lady Lounge is packed with people all getting drunk, telling stories, and singing songs in celebration and memoriam for the death of a legend. The night before, John Dillinger was shot dead in Chicago.

Behind the bar is a framed photo of a WANTED POSTER of Dillinger. Around it is a funeral wreath.
A short, stout woman, the sweet lady herself, MAY SOBOTNIK, 63, stands atop the bar ringing a bell to get the rowdy patrons to pay attention.
Everything comes to a stop.

MAY

Alright, now I want to see all your ugly mugs facing me. Tonight, we are here to celebrate the life of one of our own. He may not have been from Chicago or even called Division his stomping ground, but Chi-Town is where he met his end in a hail of bullets.
(pause)
He was a man who stuck it to those fat cats running things and made no apologies. He was crazier than the devil himself and I once had the privilege of serving him drinks in this very bar. So I want all of you to raise your glasses to a true hero and outlaw. To John Dillinger, may God have mercy on his soul.

The patrons of the Sweet Lady raise their glasses and give a loud “To John Dillinger”

MAY (CONT’D)

Now the lovely Mina is going to sing a song for us.

The PIANO MAN plays the opening chords to Bye Bye Blackbird and MINA ORLOV, 24, begins to sing.

Cut away to a group of men sitting in a booth. The man in the center is JAKE BOWDRE, 26. He is the ringleader of a small group of petty criminals that are seated around him. Jake is captivated by
Mina’s singing.

The man on his right, PATRICK FLANAGAN, 23, nudges him from his revelry. As Jake comes around, the music begins to fade, as if he’s been awoken from a sweet dream.

PATRICK

Hey Jake, didn’t you have drinks with Dillinger the night he was in here?

Jake annoyed by the interruption gruffly responds.

JAKE

Yeah. Had two whiskeys with him. Which he was good enough to pay for.

Another man at the table, WALT MCCARTY, 25, leans in.

WALT

Sure would’ve liked to have met him.

JAKE

Was a good man. Gutsiest bank robber there ever was. He will be missed.

PATRICK

Not by Hoover or Purvis.

Everybody at the table laughs but Jake, who is still focused on watching Mina.


INT. JAKE’S OFFICE - NIGHT

Jake's office is a one-room place. There is nothing to suggest that Jake spends any real time there. The only furnishings are a desk with two chairs opposite. In the corner near the desk is a large safe. The room has the feeling of a hideout or stash spot.

Jake sits down, turns the desk light on, then opens one of the drawers. He pulls out a document sized manila envelope, opens it and takes out a stack of money. Jake takes a few bills off the top, then puts the rest back in the envelope. He gets up and walks over to the safe, turns the dial and opens it up. Jake tosses the money inside and takes out a velvet bag. After closing the safe he goes back to the desk, sits down, then empties the contents on the desk. There are 3 high-quality diamond rings, two gold chains, and a Rolex. He begins inspecting the items carefully under the light.

Then there is a knock on the door.

Jake gets up from the desk and walks over to the door and takes a look through the peephole.

Jake gives a nod of recognition then opens the door letting Walt in.

Jake walks back to the desk and takes a seat. Walt sits in one of the chairs across from Jake.

JAKE

These are some really nice pieces you guys picked up. We should be able to get a few bills for them.

WALT

Thanks, boss. I was hoping maybe I could keep that watch you’re holding as part of my cut.

JAKE

Yeah. Sure thing.

Jake passes the watch across the desk to Walt.

WALT

Something else I need to talk to you about.

JAKE

What’s that?

WALT

It’s about that little grocery the Horechak’s run.

JAKE

What about it?

WALT

Don’t know if you heard, but they’ve been robbed a few time recently.

JAKE

I heard something about it.

WALT

From what I’ve heard, it’s not anybody from around here doing the stickups.

JAKE

That so.

WALT

Yeah, boss. And well, I’m close with the Horechak’s. Mrs. Horechak and my mother came to the neighborhood about the same time. They helped take care of me and my sisters when we were growing up. Gave us food when we couldn’t buy any and they looked after my youngest sister when my Pop got locked up and my mother was working three jobs.

JAKE

They are good people. I think my Pop used to play cards sometimes with Mr. Horechak.

WALT

I was thinking maybe we could help them out.

JAKE

What did you have in mind?

WALT

Just a little something to let them know we’re looking out for them, the way they did for me growing up.

JAKE

Sure. Why don’t you let them know I’m looking into it.

Jake reaches into a desk drawer, pulls out an envelope, and takes a few bills out.

JAKE (CONT’D)

Give this to Mrs. Horechak to help cover their losses. After you see them, find Patrick and see what the two of you can find out about who might be behind the hold-ups.

WALT

Sure thing, boss. I’ll head over there right now. I know the family will really appreciate it.

JAKE

We got to look out for our own, right.

The Poetry of William Blake

"The road of excess leads to the palace of wisdom."

The above is probably one of the most often quoted lines of William Blake's and is largely believed to be one of the driving principles in the personal philosophy of Jim Morrison, the infamous front man of The Doors. William Blake also happens to be one of the first poets that entranced me. I first came to know his work directly in a high school English class. Though the language felt antiquated, the biblical imagery and sense of Christian mysticism was something I could connect to given my Catholic upbringing.

One day while searching through the stacks of a used bookstore, I came across copies of Songs of Experience and The Marriage of Heaven and Hell and bought them both. Blake's poetry was like glimpsing a new world where the poet was an interpreter of a divine message, a person with a secret calling that couldn't be understood by others. His words had a direct impact on my own nascent writings and would lead me to discover other artists that had fallen under his influence. The music of The Doors, Jim Jarmusch's film Dead Man, Aldous Huxley's cult book The Doors of Perception, and the band The Verve, whose song 'History; borrowed from Blake's poem 'London'.   

I still have the copies of those two paperbacks I picked up that day, I have also added The Complete Poetry & Prose of William Blake to my collection. These are a few of the pieces that I still go back to seeking inspiration.


A Divine Image

Cruelty has a Human Heart 

And Jealousy a Human Face 

Terror the Human Form Divine 

And Secrecy, the Human Dress 

The Human Dress, is forged Iron 

The Human Form, a fiery Forge. 

The Human Face, a Furnace seal'd 

The Human Heart, its hungry Gorge.

London

I wander thro' each charter'd street, 

Near where the charter'd Thames does flow. 

And mark in every face I meet 

Marks of weakness, marks of woe. 

In every cry of every Man, 

In every Infants cry of fear, 

In every voice: in every ban, 

The mind-forg'd manacles I hear 

How the Chimney-sweepers cry 

Every blackning Church appalls, 

And the hapless Soldiers sigh 

Runs in blood down Palace walls 

But most thro' midnight streets I hear

How the youthful Harlots curse 

Blasts the new-born Infants tear

And blights with plagues the Marriage hearse 

From The Marriage of Heaven and Hell (plate 14)

The ancient tradition that the world will be consumed in fire at the end of six thousand years

is true, as I have heard from Hell.

For the cherub with his flaming sword is hereby commanded to leave his guard at tree of life,

and when he does, the whole creation will be consumed, and appear infinite, and holy

whereas it now appears finite & corrupt.

This will come to pass by an improvement of sensual enjoyment.

But first the notion that man has a body distinct from his soul, is to be expunged: this I shall

do, by printing in the infernal method, by corrosives, which in Hell are salutary and

medicinal, melting apparent surfaces away, and displaying the infinite which was hid.

If the doors of perception were cleansed every thing would appear to man as it is, infinite.

For man has closed himself up, till he sees all things thro' narrow chinks of his cavern.

Morrison Hotel & Hard Rock Cafe

When I first moved to L.A., I lived in Downtown. My time living in DTLA was great, and I try and get back to the area as much as possible. One of the things I liked to do when I lived there, and a thing I like to do around L.A. as much as possible is to visit culture landmarks. Especially those that are abandoned, forgotten, or totally made over. Recently, I went to find the original Morrison Hotel and Hard Rock Cafe that was featured on the front and back covers of the classic Doors album.

The original Morrison Hotel was located at 1246 South Hope Street. Currently, the Morrison Hotel building is abandoned but is likely to be converted into apartments or a boutique hotel in the near future as the revitalization of downtown continues. The Hard Rock Cafe was located at 300 East 5th Street and is now a Green Apple Market. Both of the iconic album photos were taken by the legendary Henry Diltz.

Cover of The Doors Morrison Hotel Album

The Window of The Morrison Hotel as of 2017.

View of The Morrison Hotel from across the street.

View of the alley alongside the side of the hotel.  

The Original Hard Rock Cafe in Downtown Los Angeles.

The Doors inside The Original Hard Rock Cafe in Downtown Los Angeles

Green Apple Market which currently occupies the space where the Hard Rock Cafe was located. 

A Life In Hiding

So... For the last three years, I have been largely focused on writing anything and everything that doesn't involve blog posts. Which is a shame because once upon a time I really enjoyed it. Not to say I necessarily stopped enjoying it, but writing scripts and books took priority. Now feels like a good time to get back into blogging. As with my previous blog The Lives and The Laughter and with this one, for the brief period I kept up with it, I will be writing about whatever the hell I want to. Entertainment, fiction, current events,  my wanderings around L.A. The point being that if it inspires me to put a few words down, then I'm going to do just that.  So for now, I'm going to leave you with a reminder that I've written some books. I would certainly appreciate it if you bought one or two of them.

West of Zanzibar

 

CAST

Lon Chaney (Phroso/Dead Legs), 

Lionel Barrymore (Crane), 

Mary Nolan (Maizie), 

Warner Baxter (Doc), 

Jacqueline Gadsden (Anna)

Directed By: 

Tod Browning 

Written By:

Elliot J. Clawson. 

Based on the play Kongo by Chester De Vonde

Run Time: 65 min.

West of Zanzibar was released on November 24, 1928 and turned out to be the second to last of the famous Chaney/Browning collaborations, which had begun to grow stale with critics. Donald Beaton wrote in Film Spectator, “There are a lot of people who are getting sick of seeing Chaney gulp over some girl half his age who is ungrateful enough to love someone else or set his jaw while another girl who doesn't know she is his daughter tells him that he is a low form of life . . . Chaney's once considerable acting ability has been atrophied by the parts he has to play until he has about three expressions left . . .” ¹

The film opens with a performance by the magician Phroso Flint (Lon Chaney). He is in the midst of his famous revolving secret door coffin trick. Phroso's assistant is his beautiful wife, Anna (Jacqueline Gadsden). From the very beginning we get the sense that theirs is a doomed relationship. Especially after we find out Anna is having an affair with a man named Crane (Lionel Barrymore), who is an ivory merchant in Africa. During the rest of the circus performances, a popular setting for Browning's films, Crane tells Phroso that he and Anna are running away together. A fight between Phroso and Crane ensues and Phroso is pushed off a balcony, becoming paralyzed from the fall.

Months later, Anna returns with a child. Anna is near death and Phroso meets with her in a church. When Phroso arrives, Anna is too weak to speak and soon in dramatic fashion dies, leaving Phroso grief stricken and vowing to get revenge on Crane by using the child that is now in his custody.

Eighteen years later—West of Zanizbar. Phroso Flint is now living in an outpost going by the name Dead Legs. When the local tribal king pays him a visit there is a great deal of classic racist and colonial attitudes on display, which were still very much apart of the accepted attitude of Hollywood films in the late 1920's. And is still accepted in Hollywood period pieces because this is how people probably thought and acted at the time. Dead Legs uses parlor tricks to convince the uncivilized and naïve natives that he has great magic and they need to fear him. Then one night while the local tribesmen are carrying elephant tusks back to the outpost of a local ivory merchant, a man sent by Dead Legs dressed up in a Voodoo costume scares the tribesmen and steals the tusks. We learn that Dead Legs is doing this in order to steal all the ivory from a local trader, who happens to be Crane.

After antagonizing Crane by stealing his ivory, Dead Legs decides it's time to put part two of his plan into action. Dead Legs sends word to the brothel he stashed Anna's daughter, Maizie (Mary Nolan), 18 years ago. In those years she has become a desperate alcoholic. Maizie is under the impression that she is being taken to finally meet her father. When she arrives at the outpost, she finds Dead Legs men sloppy drunk and acting crazy and Dead Legs himself, slithering across the floor like a serpent. Dead Legs pulls himself into his wheelchair to greet her, and Maizie asks him if he is her father. Dead Legs informs her that he is not. Maizie wants to know why she was brought her instead of to her father. While this is going on the natives have gathered outside of the outpost for a funeral ceremony. While Maizie is demanding an answer, Dead Legs puts on a terrifying ceremonial mask and joins the tribe for the funeral. Maizie watches the ceremony which involves the cremation of the deceased as well as having his wife and daughters burned alive with his body. Maizie becomes hysterical and tries to flee but is quickly recaptured.

Maizie and Doc (Warner Baxter), the alcoholic doctor who treats Dead Legs, develop a bond based initially on the fact that they are both in a sense prisoners of Dead Legs. Then news comes that Crane is coming to pay Dead Legs a visit now that he knows Dead Legs is the one behind the ivory thefts. The scene between Crane and Dead Legs is fantastic. As Crane enters the outpost, Dead Legs comes crawling out. At first, Crane doesn't realize the true identity of Dead Legs that is until Dead Legs shows Crane the coffin with the skeleton inside which he used to use in his act when he was still Phroso. Initially Crane finds the revelation hilarious. Then Maizie enters the room strung out. At this time Doc reveals that he is in love with Maizie. Crane is amused by the drama happening before him, then Dead Legs informs him that Maizie is Anna's daughter. Crane appears devastated by the news until he reveals to Dead Legs that Maizie is actually his daughter because Anna never ran away with Crane after she found out what he had done to Phroso/Dead Legs. The shot of the tortured Dead Legs trying to grasp what he has just learned is phenomenal. The emotion Cheney could convey with a single expression in a close up has never been matched.

Dead Legs and Anna are now left alone to deal with the nightmarish life he has inflicted upon her. Dead Legs tries for reconciliation, offering to take her anywhere in the world she wants to go. Soon a group of natives returns to the outpost with Crane, who is near death after being shot on orders from Dead Legs. Dead Legs realizing that Maizie will be burned alive if Crane dies, orders Doc to save him. Unfortunately, Crane is too far gone and Doc can do nothing. 

When Crane dies, the tribesman begin to prepare for the funeral. As is local custom Maizie is to be burned with Crane because everyone is under the impression that she is Crane's daughter. Dead Legs reveals to Doc that he is in fact her father. Doc can't bear to tell Maizie that Dead Legs is her real father, so he lies, telling Maizie her real father died years ago. When the men come for Maizie, Dead Legs tells them that he will bring her out himself. Doc and Dead Legs plot a way to save Maizie so she can avoid this terrible fate. 

 

Dead Legs decides to try a little 'White Man's Magic' to save Maizie from burning. With the natives watching, he puts her in the same wooden coffin with a secret exit that he used to use in his show. He closes it, then when he reopens it, there is a skeleton inside. Meanwhile, Doc, Maizie and the others flee by boat. However, the natives do not believe Dead Legs claim that an evil spirit has taken Maizie. The screen fades to black as the natives close in on Dead Legs. Later, a native fishes the same medallion that had hung around Dead Legs neck from out of the ashes.

West of Zanibar is a dark spectacle that seemed a perfect adaptation for Tod Browning. Unfortunately, Browning was no longer the director he had been and his creative relationship with Chaney had grown somewhat stale. West of Zanibar lacks the humanity that early Browning/Chaney films like The Unknown or The Blackbird . The sense that Phroso/Dead Legs had fully transformed to a cold-hearted animal is wonderfully conveyed in the way Chaney slithers along the floor near the end of the film. But the attempt to make him a redeemable figure in the end by having him sacrifice himself for Maizie felt a little too late. And even though Chaney still showed his ability to completely morph into someone else both body and soul and certainly looked tortured and anguished, his performance wasn't anywhere near as strong as it had been in films like Laugh, Clown, Laugh or his two most famous performances in, The Hunchback of Notre Dame and The Phantom of The Opera. Overall a good film to watch to experience the full arc of the Browning/Chaney collaborations.

1David J. Skal, Elias Savada. Dark Carnival: The Secret World of Tod Browning . (Anchor Books/Doubleday 1995)

Swing Low, Sweet Dong Sorcerer

A video by Jack Hackhorn for Swing Low, Sweet Dong Sorcerer by JUBANO!

heart has awoken

She is the mystical everything.

Goddess under sun and moon.

All the stars wishing to be her lover.

She is my muse with scars.

I know her heart, her dreams,

the broken, splintered bones

in the closets of her mind.

She knows the times I have tasted death.

The acts of desperation.

The moments of salvation found

in the eye of the storm.

Our love is based on these truths

and understandings.

As I sit across from her,

gazing into her dilated pupils

that reflect the flickering flames.

I am hypnotized.

Our hearts swell and pound with love and lust.

The energy we emit cause the flames to leap.

She knows my breath, hands, and lips

The way they feel upon her body.

I know how to send warmth, electricity,

along veins and nerves

making her body writhe.

Pleasure her in ways that only someone,

who has been her lover

in each of her incarnations could.

I'm driven into a frenzy by the scent of her neck.

Her exquisite velveteen skin.

The way her body turns from a slow, deep burning flame,

into an uncontrollable bonfire.

She is aroused by the way I moan and breathe

like a hungry, desirous, wild thing.

When her flesh becomes my flesh −−

my heart becomes her heart.

We become a single incandescent entity.

In sleep we still seek each other.

Various images of adoration and eroticism

find their way into our dreams,

burning themselves into the backs of our eyelids

so each time we close our eyes they can be seen.

A poem from my book, The Unimaginable City. Now available at amazon

The Unimaginable City

My latest collection of poetry, The Unimaginable City, is now available on Kindle.

Please check Amazon sites worldwide to download.

The Crimson Kimono

Released by Columbia Pictures in 1959

Written, Directed, and Produced by Samuel Fuller

Starring Victoria Shaw, Glenn Corbett, James Shigeta, and Anna Lee.

***

Crimson Kimono is a gritty detective story mixed with a melodramatic love story and the typical blunt social commentary that Sam Fuller brought to all of his films.

The film opens with the famous stripper Sugar Torch (Gloria Pall) finishing her act then coming backstage, taking a drag off her manager's cigarette, then approaching her dressing room door. A gun shot is heard, Sugar Torch opens the door and sees someone inside. Sugar Torch runs out of the night club and is chased into a Los Angeles street where she is shot dead by an unknown assailant. Detectives Charlie Bancroft (Glenn Corbet) and Joe Kojaku (James Shigeta) are assigned to the case.

During their first interview with Sugar Torch's manager Casale (Paul Dubov), they learn that Sugar was planning a new act called the Crimson Kimono, which was to a very elaborate piece telling the story of a tragic love triangle in a Geisha setting. While questioning Casale in the deceased's dressing room, the detectives come across a portrait painted of Sugar Torch wearing a Crimson Kimono. They inquire about the artist and who else had been hired to perform in the show. Once the information they need is obtained Charlie and Joe go off separately to track down the individuals involved.

Joe ends up at a local Martial Arts studio to see Willy Hidaka (George Yoshinaga), who was to play a Samurai in the Crimson Kimono. Willy tells Joe a man named Shuto (Fuji) was supposed to be the third star in the Crimson Kimono. Charlie, meanwhile, makes his way to Los Angeles Skid Row where his artist friend Mac (Anna Lee) has a studio. The scene in Mac's studio gives the film an unintentional moment of comic relief as it tries to capture the feel of the bohemian/Beat scene of 1950's. At the time of the films release, I'm sure seemed rather hip, but nearly fifty years later comes off as contrived and comedic.

The next morning Charlie and Joe are beginning their day in the apartment/hotel suite they share in downtown L.A. We learn that Joe is far more ambitious when it comes to obtaining a promotion than Charlie is, but being a Nisei is holding him back and forces him to work much harder than his white counterparts.

Charlie goes off to interview Chris (Victoria Shaw), a USC art student who painted Sugar Torches portrait. When Charlie meets Chris, he discovers that Chris is short for Christine and the woman behind the portrait is quite beautiful. At the this point, the professional interview turns more into pure flirtation, bringing together two-thirds of the love triangle that is to carry the film.

While Charlie is interviewing/flirting with Chris, Joe is attending a Buddhist service with George Yoshinaga (Bob Okazaki) who knows Shuto. After the service, George takes Joe to a rice cake shop where Shuto can be found. Joe confronts him in the shop and Shuto quickly flees. A chase down a street in Little Tokyo ensues, a fight between the two men takes place, but Shuto manages to escape.

The two detectives take Chris to meet Mac in a downtown bar. Mac warns Chris that the murderer, now identified as Hansel (Neyle Morrow) will now be after her since he's now aware that she knows what he looks like, since a sketch she drew of him for the police is now being broadcast on television. The tone of the film begins to shift here, as the melodramatic elements of the story begin to replace the gritty crime feel the film had up until this point. After the detectives drop Chris off back at her sorority house, Hansel appears outside of a window and takes a shot at Chris while she sits in the living room, fortunately missing her.

Charlie is now protecting Chris at the place he shares with Joe. We learn that Charlie and Joe became friends while serving together in Korea and that the strength of their friendship rests on their wartime experiences. When the doorbell suddenly rings, Chris becomes frightened and runs off into the bedroom as Charlie goes to answer the door. When Charlie returns, he finds Chris in the bedroom crying. He comforts her by continuously flirting with her, then kissing her.

Charlie and Joe are now on the hunt for Hansel. During their search it is revealed that Charlie has fallen quickly and deeply in love with Chris. So much so, he is already speaking about marriage. This revelation completely surprises Joe, as Charlie has always prided himself on being a easy going, commitment free, ladies man.

Later on, while Charlie is following up on a lead on the whereabouts of Hansel, provided to him by a local snitch, Joe and Chris are spending time together alone in the apartment. As Joe and Chris are talking, she discovers that Joe is a highly intelligent and deeply sensitive man who loves art and classical music. Before the night is over, Chris finds herself falling for Joe. Not too long after that Joe realizes that he too has fallen for Chris, but both the racial implications and knowing how Charlie feels about Chris, and that if he pursued her, he would be betraying Charlie, begins eating Joe up inside.

At this point in the film, Fuller has completely abandoned the gritty noir influence that the film began with and has now given way to a melodrama about love and race in 1950's America. Fuller uses a Kendo battle scene between Charlie and Joe that is part of the Nisei Week celebration in Little Tokyo to convey the building dramatic tension. In the scene, Joe's emotions get the better of him and he uncontrollably begins beating Charlie with his shinai (bamboo sword). After the fight, Joe confesses to Charlie that he and Chris are in love and out of respect for Charlie he hasn't touched her. A powerful scene unfolds in which Joe accuses Charlie of being disgusted by the fact that he has lost Chris not to just another man, but a Nisei man. This scene is then followed by a deeply emotional scene in which Joe confesses to Chris that he feels she can never truly love him because she can't understand what he goes through being a Japanese American.

Later on, in a bar, Charlie and Chris try to talk to Joe. As the three are talking Chris spots Hansel leaving the bar. Joe and Charlie chase him, following him into a shop in Little Tokyo. As they are questioning him, his accomplice Roma (Jaclynne Greene), whom Joe and Charlie questioned earlier in the film about Japanese costumes, comes into the shop and pulls a gun. She takes a shot at Joe and Charlie, missing, before running out into the street, right into the middle of a parade. The two detectives give chase through the parade, but are separated. Joe moves in, but is shot at a couple more times before he manages to take aim and shoot her. As Roma lays bleeding in the street, she confesses to Joe she killed Sugar out of jealousy. Hansel had been helping Sugar out planning the Crimson Kimono act, and Roma was convinced Hansel would leave her for Sugar, only to realize Hansel had no interest in Sugar, but it was too late, she had already killed Sugar.

The film ends with Joe and Charlie squaring things, then Joe and Chris kissing in the street before fading into an overhead shot of the lights of 1950's downtown Los Angeles.

Unfortunately, Columbia elected to market the film as just another Hollywood “B” exploitation movie, using such catch phrases as “L.A. BY NIGHT” and “WHY DOES SHE CHOOSE A JAPANESE LOVER?” Though The Crimson Kimono is imperfect in many ways and definitely not one of Fuller's best films, it is far better than the treatment it was given by the studio and audiences. But I guess that is what one should expect from a film that tries to break conventions both stylistically and in regards to subject matter. As Fuller himself said, “Upsetting the apple cart is fair game if you're striving to develop a character or underscore an emotion. In Run of the Arrow and Forty Guns, I'd broken plenty of rules to make characters more credible. And I'd do it again, as long as it gave my stories a fresh twist and allowed my characters to stay true to themselves.”

The Unimaginable City

My new collection of poetry, The Unimaginable City, is now available in a print edition through Amazon U.S. and Amazon U.K.


I will be releasing news of the ebook edition in the near future.

Fats Navarro

Theodore “Fats” Navarro was born September 24, 1923 in Key West, Florida. Navarro began playing piano at age six, later taking up the trumpet (the instrument he would become known for) at age thirteen. By the time he graduated from Douglass High School in Key West in 1941, he was desperate to leave, so he took a job playing with a traveling dance band that was headed to the Midwest.

Navarro spent the next few years touring with various bands, including, Andy Kirk's and Billy Eckstine's, which is where he was given the nickname “Fats”. Like most of the modernist trumpet players, or beboppers as they would later be known, Fats was heavily influenced by Roy Eldridge. But it was while in Eckstine's band, playing alongside Howard McGhee, that he began to fall under the influence of bop which enabled him to develop his own style.

After years of touring, Fats settled in New York in 1946. A new style of jazz had begun developing during the late 1940's. Lead by the great innovators, Charlie “Bird” Parker, John Birks “Dizzy” Gillespie, and Thelonious Monk, the Swing and Big Band music that got America through the Depression and World War II was replaced by the highly demanding and improvisational music the critics would dub BeBop. The new music was perfect for Navarro's talents and it was at this point that his career finally took off and Fats became an in demand player and could command a high salary.

During his time in New York, which sadly only lasted a few short years, Navarro played mostly in small combo bands which was ideal because it gave him a chance to explore the full range of his musical ideas. Besides playing gigs in all the hottest spots in Harlem and 52^nd Street, Fats recorded over 150 sides. Some of them under his own name, but most as a sideman. Navarro appeared on recordings with some of the greats of modern jazz including, Kenny Clarke, Dexter Gordon, Coleman Hawkins, Benny Goodman, Bud Powell, Tadd Dameron, and Charlie Parker.

By 1949 Navarro's health was in serious decline. Plagued by a serious heroin addiction and tuberculosis, his musical activity was fading fast. Fats did manage to go out on the road one last time for seven weeks (February and March), playing on the Jazz at the Philharmonic tour.

Then after playing a gig with Charlie Parker on July,1 1950, Fats was hospitalized and would eventually pass on July 6. Navarro was only twenty-six years old and was survived by his wife Rena and daughter Linda.

 

soft flesh, beautiful world

Soft lights and lingering smoke.

Her nakedness is bewitching.

Her pure form the only thing I want to see.

Eyes, soft with warmth and love, gaze into mine.

I see in them the stars. I see in them her blues.

I see in them her truest self.

Those lips, my forbidden fruit.

Her elegant neck carries the scent

which causes me to become aroused.

She has the small feminine shoulders of Ms. Monroe

Elegant arms marked by a butterfly on the right

her heart on the left.

A heart, the edges of which I have traced with my fingertips

whose pulse I have felt beneath my lips,

whose invisible scars I have had against my tongue.

Her breasts are perfect complimentary opposites.

The softness of flesh like springtime life.

Nipples, perfect dusky jewels. Hard when embraced by my lips.

Her stomach smooth but goose pimpled when my fingers brush.

Swollen with child in my dreams.

Hips, bone and skin, with the curve of wondrous femininity.

The magnificent pear-plum.

The skin of which is covered in soft dark hairs.

Its succulence and sweet juices,

quench my thirst, but leave me desiring more.

Thighs, supple, perfectly formed,

grow taut when gripped by my hands.

Her small, girlish knees, that I tickle with the hairs of my beard.

Calves that fit perfectly from palm the fingertips when I take hold

in order to elevate leg and kiss each perfect toe.

This gorgeous body is in my bed.

Mine to pleasure and possess until sunrise.

From outside the gypsy moon tries

to peek through drawn blinds at our sensual acts of love.

Taking place on upon white sheets

with pink and rust colored blossoms

from when we consummated out love in a time of blood.

Between broken bits of conversation

and declarations of love eternal and in the moment,

our hands and mouths seek each other.

Displays of passion. Eroticism.

Bringing each other to orgasm more times

than either of us or the moon thought possible.

Her eyes and mine, lost in satiated lover's gaze

grow soft with sleep.

But neither of us wants to drift,

so we can exist in this moment forever,

so we can drown together in this magic.

Now's The Time

Hello again all of you out there in the land of electronic impulses. It's been two years and change since my last blogging venture (some might remember the Lies and The Laughter). Two years and change since I left the lovely island of Oahu and headed to the City of Angeles. In that time I have been busy writing screenplays, stories, poems, and a couple of novels. I also spent my time trying to come up with a proper blog. Oh yes, good readers, I tried to come up with something with a theme, something that tied together nicely and would be easily marketable and understood. For those of you that read the Lies and The Laughter, you might recall it was a hodge-podge of thoughts and interests, lacking in the merits of a proper blog.  And I swear to you, I tried to come up with something, but I've come to the conclusion that my mind does not work in that way. I am an eccentric mess of interests and I have a short attention span. So with the brand new blog, The Part About..., I have elected to once again chase my impulses and share them with you in the only way I know how. So look for new posts by me and possibly others on a regular basis. And please do check out my books.

Love Is A Ghost Thing

Riverside Blues

Last Fair Deal

March of The Tongue Brigade.