A Musical Theater Piece

"Buffalo Gals/Old Dan Tucker Piece" by Mike Moran

GOATSINGER – Guitarist

BETSY – Young Innocent-Looking Woman – Dancer/Singer

JOHNNY – Young Innocent-Looking Man – Dancer/Singer

SLICK – Young Not-So-Innocent Man – Dancer/Singer

CLAIRE – Young Not-So-Innocent Woman – Dancer/Singer

CHORUS – Four Dancers/Singers – Two Pairs

(Lights. SIGN up reading "Salvation Army – Cafeteria Open". Goatsinger enters, playing)

CHORUS

Well, Old Dan Tucker was a fine old man –

Washed his face in a frying pan –

Combed his hair with a wagon wheel

And died with a toothache in his heel…

(BETSY enters wearing a Salvation Army uniform. Goatsinger bird-dogs her as he sings)

GOATSINGER

As I was walking down the street

Down the street, down the street

A pretty little girl I chanced to meet

Oh, she was fair to see…

Buffalo Gals, won't you come out tonight

Come out tonight, come out tonight

Buffalo Gals won't you come out tonight

And dance by the light of the moon.

(BETSY plays it coquettishly for a moment, teasing him, and then suddenly turns the "Open" sign to "Closed" and sings:)

BETSY

Get out the way, Old Dan Tucker

You're too late to get your supper

Get out the way, Old Dan Tucker

You're too late to get your supper

(SLICK and JOHNNY come out on the opposite side of BETSY and sing)

SLICK and JOHNNY

Buffalo Gals, won't you come out tonight

Come out tonight, come out tonight

Buffalo Gals, won't you come out tonight

And dance by the light of the moon

(JOHNNY and BETSY cross and he stops and they mime a conversation. JOHNNY appears bashful, nervous, but all smiles. BETSY moves lightly around on her feet, almost nervous. SLICK crosses to the exit and stands with the downstage arm leaning against the edge of the exit. It looks like he might be talking to someone backstage that we just can't see)

JOHNNY

I stopped her and we had a talk

Had a talk, had a talk.

Her feet to up the whole sidewalk

(BETSY moves in suddenly close to him)

And left no room for me.

(she starts to leave, reluctantly, but she has to go, so…. And then JOHNNY asks her out with these lines)

JOHNNY

Buffalo Gal, won't you come out tonight

Come out tonight, come out tonight

Buffalo Gal, won't you come out tonight

And dance by the light of the moon

(SLICK looks over his shoulder to the audience, and explains how he's been talking to this girl they can't see by singing:)

SLICK

I asked her if she'd have a dance

Have a dance, have a dance.

I thought that I might have a chance

To shake a foot with her.

(CLAIRE enters, sort of rolling past SLICK)

SLICK and JOHNNY

Buffalo Gals, won't you come out tonight

Come out tonight, come out tonight

Buffalo Gals, won't you come out tonight

ALL

We'll dance by the light of the moon

(the cast repeats the chorus to "Buffalo Gals" while another two pair of dancers – someday maybe a couple audience members – will step up and fill out the remainder of the square. Once everyone is in place, then:)

GOATSINGER

I danced with a gal with a hole in her stocking

And her heels kept a knocking and her toes kept a rocking

I danced with a gal with a hole in her stocking

And we danced by the light of the moon

(All turn and regard him for a moment while he stands and plays, and then:)

Get out the way! Old Dan Tucker!

CHORUS and LEADS

You're too late to get your supper!

GOATSINGER

Get out the way! Old Dan Tucker!

ALL

You're too late to get your supper.

(There's a dance that goes with this – that'd be the transition during the chorus. Each male, following the transition will enact the lyrics being sung)

GOATSINGER

Old Dan Tucker, he'd come to town

Riding a billy goat, leading a hound

The hound dog barked, the billy goat jumped

Landed old Tucker on a stump.

ALL

Get out the way! Old Dan Tucker!

You're too late to get your supper.

Get out the way! Old Dan Tucker

You're too late to get your supper.

GOATSINGER

Now Old Dan Tucker got drunk and fell

In the fire and kicked up hell.

A red-hot coal fell in his shoes

And oh my Lord, the ashes flew!

ALL

Get out the way! Old Dan Tucker!

You're too late to get your supper.

Get out the way! Old Dan Tucker

You're too late to get your supper.

GOATSINGER

Now Old Dan Tucker stands about six four

And he spits in the pitcher before he pours

Now, little fella – now what you going to do

When he fills your glass, then bows to you?

ALL

Get out the way! Old Dan Tucker!

You're too late to get your supper.

Get out the way! Old Dan Tucker

You're too late to get your supper.

GOATSINGER

I danced with a gal with a hole in her stocking

And her heels kept a knocking and her toes kept a rocking

I danced with a gal with a hole in her stocking

And we danced by the light of the moon

(repeat it, but it goes simultaneously with this:)

ALL

Get out the way! Old Dan Tucker!

You're too late to get your supper.

Get out the way! Old Dan Tucker

You're too late to get your supper.

(repeat this for as long as it's pleasurable, then CHORUS breaks off from the LEADs and adds…)

CHORUS

Buffalo Gals, won't you come out tonight

Come out tonight, come out tonight

Buffalo Gals won't you come out tonight

And dance by the light of the moon

(the chorus partners separate, saying good-bye, thank you, so on and forth, and exit. SLICK and CLAIRE are making out, while JOHNNY says good-bye to BETSY. They take a moment to pry SLICK and CLAIRE apart. BETSY writes down her number and gives it to JOHNNY. BETSY and CLAIRE exit. The boys chide each other as they exit)

GOATSINGER

Mount Revere Gals, won't you come out tonight

Come out tonight, come out tonight

Mount Revere Gals won't you come out tonight

And dance by the light of the moon

(Exits. End)

Morning

This is a segment of "Uncle Jim and Little Roy" from the 2009 Goatsinger production of Chooka Choo. Here, the two hobos, Uncle Jim and Little Roy, have taken refuge for the night in a barn. Unbeknownst to Little Roy, Uncle Jim is very sick. Once the young man falls asleep, Uncle Jim goes outside to try and pray.




"Morning" by Emily Dickinson

Will there really be a morning?
Is there such a thing as day?
Could I see it from the mountains
If I were as tall as they?
Has it feet like water lilies?
Has it feathers like a bird?
Is it brought from famous countries
Of which I’ve never heard?
Oh some scholar, oh some sailor,
Oh some wise man from the skies,
Please to tell a little pilgrim
Where the place called morning lies.

Curving Shadow

It was a late Saturday evening
Riding gravel with Willy-Todd
Humid Iowa evening
Flesh and Blood steaming
Yeah, the mood was odd

We saw a great big beautiful bonfire
Out in a shallow field
Curving shadows were dancing
We decided to chance it
Yeah, we made the devil a deal

A christian's eyes -- a sinner's smile
Stopped my heart -- no denial -- no, no, no, no

She was a bright-eyed shadow
Curving in the firelight like a knife's edge
Blurring -- a smoky look -- an open smile
Redemption there -- Lord, stop the trial

You think she holds the answer,
Willy-Todd, he said to me
But a woman's a hard road
Love makes for a heavy load
And you'll never be free

Then a gravel cloud kicked up high on the hill
And sirens cut through the night
The cops descended
The party was ended
Then some fool started a fight

Willy-Todd was at my shoulder
But the girl was pulling my hand
I told her it's okay
I'm not going away
I know what it means to finally be redeemed by a

Bright-eyed shadow
Curving in the firelight like a knife's edge
Blurring -- a smoky look -- an open smile
Redemption there -- Lord, stop the trial

~Mike Moran

Frog for School Board

Priestlike Guts

Today will be a day of many fruits and vegetables, I've decided, out of curiosity of what might happen to my priestlike guts if I give them the fresh offerings rather than the burnt offerings they've come to expect.

You realize I have the spleen of a cardinal and the gall bladder of an archbishop; I have the nuts of fundamentalist preacher and the cock of an angry-at-God saint. My lungs draw up the breath like a local chaplain draws up the collection plate, knowing that it'll all be distributed back out to the parts to keep the temple moving.

My heart belongs to jesus/buddha/raven/balder but my mind is very much my own.

That's why my prayers all sound whiny, an undercurrent of God-what-do-You-want-now? feel to them. Perhaps a diet one day of fruits and vegetables might turn my priestlike guts into the guts of a pornographer. Tonight I'll see if my wife will accept a different sacrament.

Lightning might come from my fingertips and burn down the church. Written words are lightning. I could burn you where you stand. So stand back.

the Intro for May's Goatsinger Show

Mount Revere is like a chalk drawing, like a Mary Poppins bit of magic -- the Iowa Goatsinger pulling through and out into the mirrored streets of Mount Vernon.

And bringing behind, like the Pied Piper: a pair of lovely spaniels equipped with their own lovely family; two quiet young men born with guitars in their hands; a pair of pretty blondes -- two tight friends; a bird who turned into a poet; a willowy lady with a side ponytail; a big-hearted bearded young man with a salty word already busting forth.

Out of the chalk drawings of Mount Revere and into the town of Mount Vernon and straight here, to this theater, the Goatsinger brings them to you.

to Mount Vernon on This Day

We are defined in this world by what we say and what we do.

Our first reaction to a crisis gives us a chance to recognize who we are. Everything that follows gives us an opportunity to see what we're capable of becoming.

The Iowa Goatsinger's Intro to April's Goatsinger Show

Before the Dawn

Up in the morning before the dawn – splashing off the porch and on to a wet sidewalk, running under stars dancing like children.

Up in the morning before the dawn: there are folks asleep – a tall, intense father with a gentle voice, his long-limbed daughter asleep behind another door, or the bearded songwriter with the wild voice and his anger at the world he loves so much. Or the out-of-town poet with the quick tongue and remembered song – she sits awake in the darkness somewhere, wondering about cigarettes and street signs, remembering moments and music.

Up in the morning before the dawn, past the pond and the frog blinking and thinking his cold amphibious thoughts and remembering a lean and mean blonde who knew all the wrong things to say at the right moment.

The goatsinger runs the darkness in the morning before the dawn, up and around the streets of his home, past library and chapel, past theater and high garden, before turning back and running, returning at last to his porch, even as the first birds wake and begin crying out their morning song.

He's brought them all here for you tonight, the goatsinger has: stars that dance like children; intense father and long-limbed daughter; angry-voiced songwriter, remembering poet, frog and lean-mean blonde.

Comic Books and Bubblegum

The story goes like this:

Both my parents worked at the John Deere tractor factory in Waterloo, Iowa when I was growing up. What this meant was that during the summer, I was left completely alone and un-attended.

Which is great when you're a kid in the summertime.

We lived outside a small Iowa town -- almost an even mile -- and when I was fifteen it was an awkward place to be. There wasn't much to do and I found myself wasting lots of summer days. My older brother worked as a cashier in town at the drugstore and I used to hassle him that someday I was going to come riding into a town and rob him blind, just to embarrass him.

One morning found me outside hunting squirrels with a water pistol. Now, this was back when you could get a water pistol that was actually shaped like a real gun rather than a bubbly-looking spacegun like you get nowadays -- although, they were still clear and primary-colored. Squirrels are quick and react generally the same way each time you squirt them, and all though it was really really hilarious at first, I did finally get bored with it.

You ever hear how John Dillinger once faked his way out of jail by carving a gun-shape out of a piece of wood and then blacking it with shoe-polish? Plastic will actually hold shoe polish as well. It actually makes a bright-yellow Browning look pretty good. So I painted up my water pistol, wrapped the handle in black electrical tape, put it in a bag so I wouldn't be seen carrying it down the road, and headed into town, whistling.

I waited until I knew the store was empty of customers and I could see my brother through the side-glass window, at the register. Then I burst in, brandishing my pistol.

"Don't move!" I shouted. "This is a stick up!"

My brother just shook his head, until I squirted him a good one. Then he got a bit angry.

I grabbed a Fantastic Four comic book and a pack of Bubble Yum bubblegum and told my brother to just go ahead and count to a hundred "real slow like." Then I backed out of the door, waving my scary-looking squirt gun.

Then I went to the city park, jammed all five pieces of gum into my mouth, and read my comic book.

Twenty minutes later one of our town's Finest pulled into the park. I knew him. I actually sat next to his son during choir. He got out, hiked up his britches around his big middle and strode over to me.

"Mike," he said.

I spit out my bubblegum. "Officer Woodyard," I said back.

"Understand there was some excitement over at the drugstore," Woodyard said.

"Yep," I said. "I robbed the place blind."

He almost grinned but didn't.

"Well," he said, "your brother paid for your loot and the pharmacist, Mr. Schmitz, he didn't seem too worried about it."

"That's good," I said.

"But," he said, then sighed. "Mr. Schmitz says you was waving around a gun. Is that right?"

"Yeah," I said.

"That's a problem," Woodyard said. "Do you still have it?"

I pulled it out of the bag.

"Sure," I said. "Here it is."

Officer Woodyard stepped forward and took it, then looked at me.

"This is plastic," he said.

"Right," I said back. "I've never held a real gun in my life."

Woodyard sighed again.

"Well," he said, "I'm going to have to take you home. We contacted your dad and he's on his way."

This was a surprise. Contacting my father at Deere was something I didn't know was possible. I thought it was a phone call that routed through three offices, down to the assembly floor, through a foreman, and then down the line. For all I knew, they stopped the assembly line if someone walked away from his position. And now he was coming home? This didn't bode well.

My old man had a list of chores made up in his head on the way home that kept me working around the house and acreage for three weeks, then he walked around and made me write up another list of things that occurred to him as he saw them that added another week of work on top of it.

Then he said, "Next year, you get a job."

When I turned nineteen I bought my first guitar. The first song I learned was a Beatles song, the next three songs I learned I wrote myself. This was one of those.

The Nekky Bird Song

Fourteen Ways of Looking at a Blackbird

- Wallace Stevens



I

Among twenty snowy mountains,
The only moving thing
Was the eye of the blackbird.

II
I was of three minds,
Like a tree
In which there are three blackbirds.

III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.

IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.

V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.

VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.

VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?

VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.

IX
When the blackbird flew out of sight,
It marked the edge
Of one of many circles.

X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.

XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.

XII
The river is moving.
The blackbird must be flying.

XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.

Driving My Life Away

from "So Long"
by Walt Whitman

1

To conclude—I announce what comes after me;
I announce mightier offspring, orators, days, and then, for the present, depart.

I remember I said, before my leaves sprang at all,
I would raise my voice jocund and strong, with reference to consummations.

When America does what was promis’d,
When there are plentiful athletic bards, inland and seaboard,
When through These States walk a hundred millions of superb persons,
When the rest part away for superb persons, and contribute to them,
When breeds of the most perfect mothers denote America,
Then to me and mine our due fruition.

I have press’d through in my own right,
I have sung the Body and the Soul—War and Peace have I sung,
And the songs of Life and of Birth—and shown that there are many births:
I have offer’d my style to everyone—I have journey’d with confident step;
While my pleasure is yet at the full, I whisper, So long!
And take the young woman’s hand, and the young man’s hand, for the last time.

-----
This tune was probably introduced to me by my old man when I was maybe thirteen or fourteen. He was big into country music after the divorce -- although, I think that was because that was as close as he could get to an Old School/Old Boy Rockabilly scene in Waterloo, Iowa in the Eighties.

It looks at the same pain-in-the-ass question the poem by Whitman looks at: We live and we love and we move on -- why are we doing this again?

Samson was a Bad-Ass

Relax, there's a song at the bottom.

Judges 16

¹Then went Samson to Gaza, and saw there an harlot, and went in unto her.

²And it was told the Gazites, saying, Samson is come hither. And they compassed him in, and laid wait for him all night in the gate of the city, and were quiet all the night, saying, In the morning, when it is day, we shall kill him.

³And Samson lay till midnight, and arose at midnight, and took the doors of the gate of the city, and the two posts, and went away with them, bar and all, and put them upon his shoulders, and carried them up to the top of an hill that is before Hebron.

⁴And it came to pass afterward, that he loved a woman in the valley of Sorek, whose name was Delilah.

⁵And the lords of the Philistines came up unto her, and said unto her, Entice him, and see wherein his great strength lieth, and by what means we may prevail against him, that we may bind him to afflict him; and we will give thee every one of us eleven hundred pieces of silver.

⁶And Delilah said to Samson, Tell me, I pray thee, wherein thy great strength lieth, and wherewith thou mightest be bound to afflict thee.

⁷And Samson said unto her, If they bind me with seven green withs that were never dried, then shall I be weak, and be as another man.

⁸Then the lords of the Philistines brought up to her seven green withs which had not been dried, and she bound him with them.

⁹Now there were men lying in wait, abiding with her in the chamber. And she said unto him, The Philistines be upon thee, Samson. And he brake the withs, as a thread of tow is broken when it toucheth the fire. So his strength was not known.

¹⁰And Delilah said unto Samson, Behold, thou hast mocked me, and told me lies: now tell me, I pray thee, wherewith thou mightest be bound.

¹¹And he said unto her, If they bind me fast with new ropes that never were occupied, then shall I be weak, and be as another man.

¹²Delilah therefore took new ropes, and bound him therewith, and said unto him, The Philistines be upon thee, Samson. And there were liers in wait abiding in the chamber. And he brake them from off his arms like a thread.

¹³And Delilah said unto Samson, Hitherto thou hast mocked me, and told me lies: tell me wherewith thou mightest be bound. And he said unto her, If thou weavest the seven locks of my head with the web.

¹⁴And she fastened it with the pin, and said unto him, The Philistines be upon thee, Samson. And he awaked out of his sleep, and went away with the pin of the beam, and with the web.

¹⁵And she said unto him, How canst thou say, I love thee, when thine heart is not with me? thou hast mocked me these three times, and hast not told me wherein thy great strength lieth.

¹⁶And it came to pass, when she pressed him daily with her words, and urged him, so that his soul was vexed unto death;

¹⁷That he told her all his heart, and said unto her, There hath not come a razor upon mine head; for I have been a Nazarite unto God from my mother's womb: if I be shaven, then my strength will go from me, and I shall become weak, and be like any other man.

¹⁸And when Delilah saw that he had told her all his heart, she sent and called for the lords of the Philistines, saying, Come up this once, for he hath shewed me all his heart. Then the lords of the Philistines came up unto her, and brought money in their hand.

¹⁹And she made him sleep upon her knees; and she called for a man, and she caused him to shave off the seven locks of his head; and she began to afflict him, and his strength went from him.

²⁰And she said, The Philistines be upon thee, Samson. And he awoke out of his sleep, and said, I will go out as at other times before, and shake myself. And he wist not that the LORD was departed from him.

²¹But the Philistines took him, and put out his eyes, and brought him down to Gaza, and bound him with fetters of brass; and he did grind in the prison house.

²²Howbeit the hair of his head began to grow again after he was shaven.

²³Then the lords of the Philistines gathered them together for to offer a great sacrifice unto Dagon their god, and to rejoice: for they said, Our god hath delivered Samson our enemy into our hand.

²⁴And when the people saw him, they praised their god: for they said, Our god hath delivered into our hands our enemy, and the destroyer of our country, which slew many of us.

²⁵And it came to pass, when their hearts were merry, that they said, Call for Samson, that he may make us sport. And they called for Samson out of the prison house; and he made them sport: and they set him between the pillars.

²⁶And Samson said unto the lad that held him by the hand, Suffer me that I may feel the pillars whereupon the house standeth, that I may lean upon them.

²⁷Now the house was full of men and women; and all the lords of the Philistines were there; and there were upon the roof about three thousand men and women, that beheld while Samson made sport.

²⁸And Samson called unto the LORD, and said, O Lord God, remember me, I pray thee, and strengthen me, I pray thee, only this once, O God, that I may be at once avenged of the Philistines for my two eyes.

²⁹And Samson took hold of the two middle pillars upon which the house stood, and on which it was borne up, of the one with his right hand, and of the other with his left.

³⁰And Samson said, Let me die with the Philistines. And he bowed himself with all his might; and the house fell upon the lords, and upon all the people that were therein. So the dead which he slew at his death were more than they which he slew in his life.

³¹Then his brethren and all the house of his father came down, and took him, and brought him up, and buried him between Zorah and Eshtaol in the buryingplace of Manoah his father. And he judged Israel twenty years.

----
Posted below is a traditional American song -- possibly a slave song.

Students: look for the metaphors in the story -- at least for your own sake. What does the story of Samson represent in your mind?

Murder in the Red Barn

"Roadkill has its seasons, just like everything..."

Two Vids for My Students

Two videos.

One deals with questions of loss and of faith and is very personal to me:




The other deals with the fears inherent when committing to a new relationship: is this going to burn me? Or save me? It's a leap of faith in the end:

The Ghosts of Mount Revere Opens

by Joe Jennison

“The Ghosts of Mount Revere,” an original theatrical production, written and directed by Mount Vernon resident Mike Moran, will have its world premiere Thursday, Friday and Saturday, Oct. 21, 22, and 23, at 7:30 p.m. in the First Street Community Building, 221 1st St. NE, Mount Vernon.

The theatrical piece mixes theater and music, and explores the ghosts of a mythical Iowa town, Mount Revere. The piece uses storytelling and music to introduce its characters and its town, culminating in a showcase of songs performed in a haunted juke house in the Iowa hills.

The piece features actors Nicci Miles-Thomas, Brandon Rowray, and Bill Thomas, and showcases music performed by Josh Woosley, Samuel Butz, Jessie Stewart, Zak Moran, and Rhythmixity.
--------------
And here's a spooky little tune dealing with the understanding that it isn't who you want to spend your life with that matters as much as who you want to buried with:

Mount Revere is a Town

Mount Revere is a town that seems sometimes too sharp, too vibrant, like a professionally-developed photograph designed to make the colors of the autumn trees pop. Sometimes, though, it seems as if its perspective shifts, like an Edgar Mueller 3D street painting, it's downtown appearing from the right angle to be bursting through clouds, the Midwest's own humble Olympus.

And other times, it's like stepping through the screen of a small, dark movie with deep shadows and despair that you can't turn away from. This is how it's sometimes going in Mount Revere.

How are things going with you?



The Ghosts of Mount Revere, a new Goatsinger Production, goes up at
7:30 pm
October 21, 22, 23
at The First Street Building (221 1st St. NE)
Mount Vernon, IA

No charge. The actors and musicians are working for tips.

The Cross Road Blues

Stumbling, falling, almost hitting the ground, guitar case held tight. If the world was watching, the world would call him him drunk.

But the world wasn't watching and Bob wasn't drunk. Too late at night – so late it was almost day and the horizon ready to crack the dawn like an egg against the edge of a frying pan. Cocklebur and horsenettle choked the edge of the dusty, dirt road heading out towards the old Dockery House. Estella was back screaming and clawing and throwing things at the wall still, no doubt – angry woman, but now the one woman who wouldn't take him back. Bob left in a hurry, bumping into his friend Willie Brown at the corner and telling him, "If I ever end up dead, you're the one who needs to know." He could hear Willie laughing at him even two blocks past.

Deep into the night and down the country road, Bob thought: How many different ways can I get hurt? Then he brushed the devil-thought off his shoulder and spit through his fingers. But the possibility still swirled.

How long before the ghosts came up on over the ridge in a pickup truck, a stretch of rope behind the seat and pale eyes looking through the windshield for a strong branch to bear the strange fruit? Every sound was a possible engine, rubber tires on a gravel road, carrying either a safe ride to a warm house, or ghosts. The crackle of dried weeds: morning glory, trumpetcreeper. The brush of wind clattering branches. The heart beating harder, faster; the feel of the pulse behind his eyeballs.

It was at the crossroads that Bob fell down on his knees. Rumor at the last juke house he'd played was some poor fool got run down like a rabbit by a couple of big rednecks and strung up in a poplar tree.

Long fingers squeezing each other, head bowed. "Save poor Bob," he muttered. "If you please, Lord, save poor Bob." The rush of blood and panic made the whispered prayer feel like a cry through the fissures of his neck bones, lungs, liver, spleen.

The trust to stand and wait, to try and flag a ride out of this dark spot, was a gutsy thing for poor Bob. And when the first flume of gravelroad dust kicked up at the edge of the land, he held his ground, put his thumb out, and waited.

The first car appeared as dawn broke. It was an old Pierce-Arrow with two dumb-looking white men in it; they blazed by without even glancing at him. So did the family in the Terraplane that passed some twenty minutes later. And the Essex a half-hour after that. It was like nobody saw him. Didn't take long before Bob hefted his Gibson and got a wiggle on.

Next car that smoked by him, he shouted after: "Tell Willie Brown I'm down to the crossroads!" Then he barked a laugh that sounded almost like a sob, startling a bobolink from the ditch into the morning air. Bob crossed into the neighboring field.

As he settled into the shade of a magnolia, drawing the weary L-1 Gibson into his lap, Bob was already humming. No woman up ahead, Estella left behind beating her walls, no ride, almost like he was invisible, and no doubt his friend Willie Brown all poised on his barstool and ready to laugh.

He taught it to me, by the way, the song he wrote on the edge of that gravel road, Bob did – the last time he passed this way through Mount Revere.

King Kong versus Denny

Denny Kristlopher's break from his family was all King Kong's fault. Of course, the family wasn't aware that he'd made this break, because Denny was no fool.

If there's anything you want to know about King Kong here in Mount Revere, the one to ask is Dennis Kristlopher of the Kristlopher Clan – just don't let his mother know he's the resident expert of the big ape or she'll no doubt tear his room apart to find any evidence, and even if she doesn't, he'll still probably be grounded to his bedroom for a month.

Sixteen years old now, Denny's been an expert on all things King Kong since he was seven: the monsters Kong fought and the order he fought them, beginning with Cooper's original through the ape's stint on Godzilla's bandwagon; the relationship Jessica Lange developed with the men who operated the giant ape-hands for the DeLaurentiis remake; the inside jokes in Jackson's grandiose take; the methods of Willis O'Brien's stop-motion animation; Toho Studios miniaturization techniques; and the robotics used in the 1976 remake.

But, if you can keep it on the down-low – he's your boy.

The secret break with his family didn't happen because he was spending more time studying King Kong than he was on his Bible studies. He made sure to stay on top of those.

When he was younger, Denny Kristlopher was fascinated by the potential reality of such a creature. The awe that would transpire when faced with such a being would be life-changing. Although, he played as King Kong with his buddy, Gary (always over in Gary's yard), his secret desire was to become friends with Kong, to be the only one in the world capable of effectively communicating with, and on behalf, of this ancient beast. Denny would fall asleep in his room, looking at the eyes in the knotty pine ceiling overhead and imagine being carried gently through a steamy jungle held comfortably in the warm paw of the great ape.

The secret break with his family was due to straightforward physical science. When Denny was ten he read in a new nonfiction monster book in the school library, that a gorilla the size of King Kong would be physically impossible. Kong would, as some killjoy scientist explained, collapse under his own weight.

Rather than come to terms with this reality immediately, Denny began constructing in his mind some scientifically-sounding answer to this conundrum. Obviously, King Kong's skeleton was much more powerful than a normal gorilla's; his heart was ten times stronger, his blood moved faster – the scientists were wrong! Denny carried this conviction through his sophomore year of high school.

But like the god of Skull Island meeting his doom through the advanced, scientifically-sound engineering of aviation and weaponry, Denny's hope was eventually taken down. Once Mr. Uccisione, his physics teacher, explained Galileo's square-cube law to where he actually understood it, Denny Kristlopher could no longer hold up the absurd notion that King Kong could ever, truly, exist.

The stash of old Famous Monsters magazines and books of movie monsters that he had hidden in his band locker were in his hands and being held over the Dumpster in the back parking lot when Denny realized that he didn't have to give up his love for the big gorilla just because Kong only existed in the movies! Denny loved the idea of Kong. The potency of the image remained thrilling: the dedication and powerful love this ancient, noble god had for beauty, so great that he could break his bonds and touch the highest point of civilization before being overwhelmed by an unimaginative, small-minded race – wasn't this a worthy idea?

The break happened due to the fact that it didn't take much for Denny to start examining other stories, comparing the power of their ideas against the power of their physical reality. Sunday School, he realized, was an exercise in literary analysis, after all. The stories from the Bible his mother made his father read every night to Denny and his brothers and sisters – did they really need to happen historically for them to be powerful?

But Denny's mother was a small, curly-haired force of unimaginative strength, and Denny knew there was no way for him to ever voice his thoughts without being brought down.

So the break was quiet. Denny's new beliefs were a secret he would never reveal. Well, not until the woman who would become his wife appeared before him one fated evening.

But that's another tale for another time.

On Questions and Conflict and Virtue

Nancy Sherman, in her book The Fabric of Character: Aristotle's Theory of Virtue explains, "The agent [of virtue] comes to learn different ways of reading a situation and different questions to pose in order to see the picture with increased insight and clarity. How to see becomes as much a matter of inquiry as what to do."

Questioning, actively seeking understanding, is the only way to see truly.

Seeing or perceiving rightly is as much a virtuous act as the act of doing.

She also explains that Aristotle tells us: "Through ... friendships [of virtue] we gain transparency before ourselves, see ourselves ... as if in a mirror. We see our foibles and expose what we keep hidden from others. ... We need 'to live together with friends and share in argument and thought' in order to be fully conscious of the sorts of lives we are leading."

In essence, we understand better who we are in relationship with others--in argument and in the sharing of thought.

But only with those committed to the virtues. A liar, for example, who cannot admit to his or her own falsehoods, who claims--perhaps almost believes--the lies to be true, has the capacity to do great damage.

Seek out the virtuous friendship and shake off those who dangerously exhibit profligacy, uncontrol, unrighteousness, small-mindedness, and cowardice.