Up the Country

By Ed Staskus

   The morning Arunas Petkus and I left for California 2500-some miles from Cleveland, Ohio, the Summer of Love was over. It had been a social phenomenon in 1967 when as many as 100,000 people, mostly young, mostly hippies, converged on the neighborhood of Haight-Ashbury in San Francisco, hanging around, listening to music, dropping out and chasing infinity, and getting as much free love as they could.

   We were both in high school at the time and stumbled into the 1970s having missed the hoopla. 

   The Mamas & the Papas released “San Francisco (Be Sure to Wear Flowers in Your Hair)” that year and it got to number four on the Billboard Hot 100. It stayed there for a month, a golden oldie in the making, while the parade across Golden Gate Bridge went on and on. The vinyl single sold more than 7 million copies worldwide. 

   Arunas found a bucket of bolts, a 1958 VW Karmann Ghia, somehow got it going, brush painted it parakeet green, and was determined to hit the open road to see what all the excitement had been about. He also wanted to visit the spot at Twin Peaks where Chocolate George’s ashes had been scattered.

   George Hendricks was a Hells Angel who was hit by a car while swerving around a street cat on a quiet afternoon in 1967 as the Summer of Love was winding down, dying later that night from his injuries. He was known as Chocolate George because he was rarely seen without a quart of his favorite beverage, which was chocolate milk, usually spiked with whiskey. He was a favorite among the hippies because he was funny and friendly. His goatee was almost as long as his long hair, he wore a pot-shaped helmet when riding his Harley, and his denim vest was dotted with an assortment of round tinny pin badges.

   One of the badges said, “Go Easy on Kesey.”

   The writer Ken Kesey had been the de facto head of the Merry Pranksters. Much of the hippie aesthetic traced back to them and their Magic Bus. Arunas was an art student and liked the way the bus was decked out.

   The Karmann Ghia was a two-door four-speed manual with an air-cooled 36 horsepower engine in the back. The trunk was in the front. Unlike most cars it had curved glass all the way around and frameless one-piece door glass. My friend’s rust bucket barely ran, unlike most of the sporty Karmann Ghia’s on the road, but it ran. There was still some magic left in it.

   When Arunas asked me if I wanted to join him, I signed up on the spot. The two of us had gone to the same Catholic boy’s high school and were both at Cleveland State University. We threw our gear and backpacks in the front trunk of the car, sandwiches apples and pears in what passed for a rear seat, a bag of weed in the glove compartment, and waved goodbye to our friends at the Plaza.

   The Plaza was on Prospect Avenue, on the near east side, near CSU. It was an old but built to last four-story apartment building. Secretaries clerks college students bohemians bikers retirees and musicians lived there. Arunas was still living with his parents in the old neighborhood, while I was a part-time undergraduate part-time manual laborer trying to keep my head above water in a one-bedroom on the second floor.

   We got almost as far as the Indiana border before an Ohio State trooper stopped us.

   “Where do you think you’re going in that thing?” he asked us after Arunas showed him his driver’s license. He wrinkled his nose looking the car’s no-primer paint job up and down.

   “California.”

   “Do you know you’re burning oil, lots of it?”

   We knew full well. That was why we had a case-and-a half of Valvoline with us. We had worked out the loss of motor oil at about a quart every two hundred miles and thought our stockpile would get us there.

   “All right, either get this thing off the road or go back to Cleveland,” the trooper said, waving us away with his ticket book.

   On the way back home, we decided to go to Kelly’s Island, since we had sleeping bags and could more-or-less camp out, staying under a picnic table in case of rain. We took the Challenger ferry out of Sandusky, leaving the VW behind. We landed at East Harbor State Park and stayed here until the end of the week. There were a campground, beach, and trails at the park, all we needed. We bought bags of homemade granola and a couple of gallons of spring water at a small store and settled down on a patch of sunshine. We met a gaggle of high-class girls from Case Western Reserve University and played volleyball with them.

   When we got back to Cleveland everybody marveled at our quick turnaround from the west coast and attractive tans.

   “We didn’t actually make it to California,” we had to explain to one-and-all.  “We didn’t even make it out of Ohio.” We had to endure many snarky remarks. When Virginia Sustarsic, one of my neighbors at the Plaza, said she was going to San Francisco and abruptly invited me to try again, joining her, I jumped at the chance. My feet got tangled up coming down when she said she was hitchhiking there.

   “You’re going to thumb rides across the country?”

   “Yes,” she said, in her detached but friendly way. She was a writer photographer cottage craftsman. Virginia was a raconteur when she wanted to be one. She made a living dabbling in what interested her. She lived alone.

   “How about getting back?”

   She explained she had arranged a ride as far as Colorado Springs. She planned on going knockabout the rest of the way, stay for a week-or-so with friends on the bay, and hitchhike back. When I looked it up on a map, she was planning on hitchhiking four thousand-some miles. I didn’t know much about bumming my way on the highway. When I asked, she confessed to having never tried it.

   Our ride to Colorado Springs was a guy from Parma and his girlfriend in a nearly new VW T2 Microbus. Although it was unremarkable on the outside, the inside was vintage hippie music festival camper. It was comfortable and stocked. We stopped at a lake in Illinois and had lunch and went for a walk. I veered off the path and got lost, but spotted Virginia and our ride, and cut across a field to rejoin them. I tripped while running, fell flat on my face, but was unhurt.

   We got to Colorado Springs in two days. The next day I found out what I had fallen into in Illinois was poison ivy. An itchy rash was all over my calves, forearms, and face. I tried Calamine lotion, but all it accomplished was to give me a pink badge that said, ‘Look at me, I’m suffering.’” Virginia’s friends who lived in ‘The Springs’ let me use their motorcycle to go to a clinic. They prescribed prednisone, a steroid, and by the time we got to San Francisco I was cured.

   In the meantime, leaving the clinic, since it was a warm sunny summer day, I went for a ride on the bike, which was a 1969 Triumph Tiger. I rode to the Pikes Peak Highway, 15 miles west, and about half the way up, until the bike started to dog it. What I didn’t know was at higher altitudes there wasn’t enough air for the carburetor. By that time, anyway, I had gotten cold in my shorts and t-shirt. It felt like the temperature had dropped thirty degrees. I turned around and rode carefully down. There was a lot of grit and gravel on the road. I found out later that Colorado snowplows spread sand, not salt, in the winter. The last thing I wanted to happen was dumping the bike. 

   All the way back to town, as dusk approached, I saw walloping jumbo elk deer and antelope. Even the racoons were enormous. I stayed slow and watchful, not wanting to bang into one of the beasts.

   We stayed a few days and hit the open road when my rash was better. There was no sense in scaring anybody off with my pink goo face. We had a cardboard sign saying “SF” and finally hit the jackpot when a tractor trailer going to Oakland picked us up.

   The Rocky Mountains, left behind when the glaciers went back to where they came from, were zero cool to see, although I wouldn’t want to be a snowplow driver assigned to them. It was fair but cold with a high easterly wind the day we crossed them. Every switchback opened onto a panorama.

   Virginia’s friends in San Francisco lived in Dogpatch, east of the Mission District and adjacent to the bay. It was a working class partly industrial partly residential neighborhood. They lived in a late nineteenth century house they were restoring. They went to work every day while we went exploring.

   We stayed away from downtown where there was an overflow of strip clubs peep shows and sex shops. Skyscrapers were going up, there were restaurants offices department stores, but it looked like the smut capital of the United States. Elsewhere, rock-n-roll, jazz fusion, and bongo-drum players were in the air, especially the Castro District and Haight-Ashbury. Dive bars seemed to be everywhere.

   Virginia went to Golden Gate Park and took pictures of winos, later entering one in a show at Cleveland State University. She had a high-tech 35mm Canon. When her photograph was rejected with the comment that it was blurry, she said, “That was the point.” I went to Twin Peaks and took a picture of the spot where Chocolate George’s ashes had been strewn. When Arunas saw it, he said there wasn’t much to see.

   Twin Peaks is two peaks known as “Eureka” and “Noe.” They are both about a thousand feet high. They form a wall to the summer coastal fog pushed in from the ocean. The west-facing slopes get fog and strong winds while the east-facing slopes get more sun and warmth. The ground is thin and sandy. George was somewhere around.

  I showed Arunas some pictures from the summit facing northeast towards downtown and east towards the bay. “Those are nice,” he said, being polite. My camera was a Kodak Instamatic.

   We stayed for more than a week, riding Muni busses for 25 cents a ride. No matter where we went there seemed to be an anti-Vietnam War protest going on. We rode carousel horses at Playland-at-the-Beach and went to Monkey Island at the zoo. We ducked into Kerry’s Lounge and Restaurant to chow down on French fries. We stayed away from all the Doggie Diners. We listened to buskers singing for tips at Pier 45 on Fisherman’s Wharf. Jewelry makers were all over the place. Virginia was on Cloud 9, being an artisan herself.

   When we saw “The Human Jukebox” we went right over. Grimes Proznikoff kept himself out of sight in a cardboard refrigerator box until somebody gave him a donation and requested a song. Then he would pop out of the front flap and play the song on a trumpet. I asked him to play “Purple Haze,” but he played “Ain’t Misbehavin’” instead.

   “I don’t know nothin’ about Jimi Hendrix,” he said.

   Everywhere we looked almost everybody was wearing groovy clothes made of bright polyester, which looked to be the material of choice. Tie-dye was on the way to the retirement home. Virginia dressed classic hippie style while I dressed classic Cleveland-style, jeans, t-shirt, and sneakers. I didn’t feel out of place in San Francisco, but I didn’t feel like I belonged, either. There were no steel mills and too many causes to worry about.

   When we left, we started at the Bay Bridge and got a ride right away. By the time we got to the other end of the bridge the man at the wheel had already come on to my companion. We asked him to drop us off. When he stopped on the shoulder and I got out of the back seat, he pushed Virginia out the passenger door, grabbed her shoulder bag, and sped away. She didn’t keep her traveling money in it, but what did he know? We saw the bag go sailing out the car window before he disappeared from sight and retrieved it. We smelled a brewery on the breath of the next driver and turned him down. After that a pock-marked man asked us if we were born again, and when I said I had been raised a Catholic, he cursed and drove off.

   We liked talking to the people who gave us rides but avoided talking about race religion and politics. I carried a pocket jackknife but wasn’t sure what I would do with it if the occasion ever arose. We never hitchhiked once it got dark, because that was when creeps lowlifes imbeciles were most likely to come out.

   We went back the way we had come, to Nevada, through Utah Nebraska and Iowa to Chicago and returning in the middle of the day to the south shore of Lake Erie. We thumbed rides at entrances to highways, at pay toll gates, and especially at off-the-ramp gas stations whenever we could. Gas stations were good for approaching people and asking them face-to-face if they were going our way. 

   One of the best things about hitchhiking is you can take any exit that you happen to feel is the right one. One of the worst things is running into somebody who says, “I can tell you’re not from ‘round these parts.” We avoided big cities because getting out of them was time-consuming. We avoided small towns because we didn’t want to be the new counterculture niggers in town. We got lucky when a shabby gent in a big orange Dodge with a cooler full of food and drink in the back seat picked us up outside of Omaha on his way to Kalamazoo. He listened to a border blaster on the radio all the way. We ate the sandwiches he offered us.

   Our last ride was in an unmarked county sheriff’s car. He picked us up near Perrysburg on his way to Cleveland’s Central Police station to pick up a criminal. It was the same joint where Jane “Hanoi Jane” Fonda was put behind bars a couple of years earlier. She wasn’t a real criminal and didn’t stay long.

   “They said they were getting orders from the White House, that would be the Nixon White House,” she said. “I think they hoped the ‘scandal’ would cause my college speeches to be canceled and ruin my respectability. I was handcuffed and put in jail.” When she was arrested at Cleveland Hopkins Airport, she pushed Ed Matuszak, a special agent for the US Customs Bureau, and kicked Patrolman Pieper in a sensitive place.

   The city cop later sued her for $100,000 for the boot that made him “weak and sore.” The federal cop shrugged off the shove. The charges and suit were later dropped.

   The Wood County sheriff was a friendly middle-aged man who warned us about the dangers of hitchhiking and drove us all the way to our hometown. When we got out of the car, he gave us ten dollars. “Get yourselves a square meal,” he said. We walked the half dozen blocks to the Plaza, dropped off our stuff, and walked the block and half to Hatton’s Deli on East 36th St. and Euclid Ave. where Virginia worked part-time. 

   There was an eight-foot by eight-foot neon sign on the side of the three-story building. It said, “Corned Beef Best in Town.” We had waffles and scrambled eggs.

   Our waitress lingered pouring coffee, chatting it up while we dug into apple pie. We split a slice. The butter knife was dull, so I used my jackknife. She asked how our cross-country trip had gone. I gave her the highlights while Virginia went into details. When she asked why we hadn’t gone Greyhound, Virginia smiled like a cat, but I put my cards on the table.

   “I had an itch to go, no matter which way got me there.”

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

Let ‘Er Rip

louise-et-Jonathan

By Ed Staskus

“J’aurais quelque chose a dire.”  Barachois

The Sterling Women’s Institute is the Stanley Bridge Hall on the corner of Route 6 and Rattenbury Road on the north-central coast of Prince Edward Island. The small town of Stanley Bridge spreads out in all directions.

A new traffic circle at the old intersection keeps the traffic moving. On one corner is the Race Trac gas station and farther down is the farmer’s market. Where the road flattens out at the river is the actual bridge that kids spend the summer jumping off down into the channel flowing out to the New London Bay.

The Women’s Institute is a yellow two-story clapboard building with white trim and a fair-sized deck. From the vantage of the front deck is a solitary house across the street, a cropland spread out wide and long, and the Atlantic Ocean. It is a quiet building on rising ground, except when six nights a week ceilidhs fill the hall with Irish Scottish Acadian fiddles guitars pianos and step dancing.

The hall holds close to 150 if every seat and bench along the side is taken. The night the Arsenault Trio – Helene Arsenault Bergeron, Jonathan Arsenault, and his mother Louise Arsenault – joined by Gary Chipman, played their first show of the summer in Stanley Bridge on a Wednesday night, there were upwards of a hundred ready to go.

“It’s great to see you all, thanks for coming,” said Marsha Weeks, the host of the show.

“All set?” asked Gary Chipman.

“All set,” said Louise Arsenault.

Ceilidhs are concerts, but more like musical gatherings, often staged at small halls in the Canadian Maritimes. Not so long ago, and sometimes even today, they were more along the lines of a kitchen party, a kind of jam session at home with the neighbors. Whoever could play a fiddle or a guitar or belt out a song at the top of their lungs would inevitably find themselves in the kitchen with everyone else. In the middle of January a case of beer might be close at hand in the snow just outside one of the windows.

The word itself comes from the Old Irish for companion.

“On long, dark winter nights it is still the custom in small villages for friends to collect in a house,” Donald Mackenzie wrote explaining ceilidhs more than a hundred years ago. “Some sing old songs set to old music or new music composed in the manner of the old.”

The music at Prince Edward Island ceilidhs is alert animate full of life, mainly jigs and reels, with a mix of waltzes and country songs. There are occasional vignettes about life on the island, some island humor, and stories about islanders making the music. Most of the shows are set in community centers, churches, town halls, and Lion’s clubs.

The Arsenault Trio ripped into the ‘Acadian Reel,’ an Evangeline Region tune in the Cape Breton style played in 4/4 time, in other words, on the fast side. From kitchen parties to laser-lit techno dance floors, the same rhythm pattern is part and parcel of the carousing. The signature style of Acadian fiddling is down home rhythmic drive with sawstroke syncopation, sometimes called shuffles.

“When you do the shuffle,” said Louise Arsenault, “it’s like two up bows in a row. That was dad’s style.”

The Evangeline Region of PEI is the land west of Summerside, from Miscouche to Mont Carmel to Abrams Village. Flags in blue, white, and red with a single gold star fly from front porches and front yards. Mailboxes are painted in the Acadian colors. The annual Agricultural Exhibition and Acadian Festival features boot throwing, horse pulling, and a big music and dance party at the end.

The communities are about co-operatives, farming and fishing, vittles and fiddling.

“Where’s everybody from?” Marsha asked the crowd.

Ontario, Quebec, Alberta, Ohio, Florida, and Australia were some of the answers.

“Massachusetts,” a man called out.

“Whatever you said,” said Marsha. “I can’t pronounce that.”

“Wellington,” another man called out.

Several in the audience, probably all from Prince Edward Island, laughed. Wellington is a small town on PEI. It is home to the head office of College Acadie as well as the Bottle Houses, which are three fantasy-like buildings made of approximately 30,000 recycled glass bottles.

Most of the year islanders have the island to themselves. In the summer ten times as many people as live on PEI visit there for a week-or-two.

“They gave it 150% and we could feel it down to our tappin’ toes,” said a man from Amherst, Massachusetts.

The Aussies in the audience thought it was an “all there bonzer” show.

“The energy was amazing,” said a woman from New South Wales, Australia. “We all clapped and stamped our feet.”

Gary Chipman announced he was going to sing a song.

“I’ve been told I have a great voice, but that I’m going to ruin it by singing,” he said. Still and all, he has been singing for many years. He sang ‘Prince Edward Island Is Heaven To Me,’ a country song penned in 1951 by Hal Lone Pine and recorded with his Lone Pine Mountaineers.  

“The air is so pure, and the people so gay, Prince Edward Island, I’m coming to stay, there’s swimming and hunting and fishing galore, the sun shines so bright on its long golden shore, a touch of God’s great hand this island must be, Prince Edward Island is heaven to me.” 

“Yes, sir!” somebody rang out at the end of the song.

Somebody else called out a request for the ‘Arkansas Traveler.’

“It was some hot day today,” said Louise Arsenault. “You can go from your fur coat to your bikini just like that here on this island.” A few days earlier it had rained eighteen hours straight and never reached fifty degrees. The day of the show it was a breezy sunny 74 degrees.

“Arkansas Traveler!”

“Has anybody got a drink in his car?” asked Gary Chipman, to keep his singing voice well-oiled. He told a joke about a young woman in a tight skirt trying to board a bus.

“Arkansas Traveler!”

The ‘Arkansas Traveler’ is a plantation fiddle tune, a quick reel, from the early 19thcentury, one of the most famous of American fiddle tunes. Back in the day it was a barn raiser, meant to tear the audience up. The band tore into it, followed by ‘The Maid Behind the Bar’ and ‘Farmer’s Daughter.’

Jonathan Arsenault played ‘Cottonwood’ on his guitar. In the second half of the show he played ‘Jerry’s Breakdown.’ Written by Jerry Reed, a Nashville guitarist and country singer, the song is played finger-style on guitar in a similar way to the banjo.

“It’s a wicked hard tune to play, but Jonathan makes it look easy,” said Gary.

“When I was a boy, mom bought a little guitar at a flea market,” said Jonathan. “That was her only guitar back then. She sat me at a table, put the fiddle in her lap, and played a set. I learned to flat top pick from my mom, from the fiddle, since she didn’t have a second guitar to show me what a fret was.”

Step dancing is a part of most, if not all, ceilidhs on Prince Edward Island.

“Louise and I are from Acadian backgrounds,” said Helene Arsenault Bergeron. “We grew up with fathers playing the fiddle. In those days they didn’t have a lot of accompaniment, so they accompanied themselves with their feet. That way they always had their accompanists with them.”

She and Louise Arsenault stepped to the front of the stage.

“When you hear that every day, you learn how to play and dance and you don’t even remember learning it. We saw our fathers, aunts and uncles, and grandfathers, and it was just kind of always there, and so we’re going to do a dance for you now.”

The dancing was sparkling high-spirited swashbuckling.

“I was waiting all night for that,” said Jonathan.

Step dancing descends from traditional Irish dancing. Tap dancing is a modern form of it. It is a looser form. The arms move along with the feet. Step dancers keep their upper bodies still with their arms at their sides, except when they don’t, when they’re fiddling at the same time.

Creating your own melody by using your feet is challenging enough, but fiddling a reel at the same time as step dancing like the Arsenault’s do is gnarly, time to sit up and take notice. Louise and Helene do it like a walk in the park, no matter the large front tap on one of Helene’s shoes secured with black electrical tape.

Louise grew up down the road from Helene and Albert Arsenault, who she would later collaborate with in a roots music band. Her father, Alyre Gallant, played music, too. “I grew up in a musical family,” she said. “My father played the fiddle and my mother played the pump organ. I started playing when I was seven. I learned a lot of tunes from my dad.”

At a time in the 1960s when few Prince County girls picked up the fiddle, her father jigged tunes when she was a girl so she could find them on her instrument.

The first half of the show ended with a series of reels. “Whoop, whoop,” someone in the audience shouted. Someone else stamped their feet. It was getting dark on the other side of the windows. It was still fired up inside the hall.

The second half opened the same way as the first half, with the ‘Acadian Reel.’ The song is the work of Eddy Arsenault, a carpenter and fisherman and one of the hands-down best fiddlers on PEI for more than 70 years. Helene Bergeron’s father, he blended local Acadian fiddling with the Scottish approach.

“Is this a new tune,” asked Marie Gallant Arsenault the first time she heard the song a few minutes after its composition. “It is lively.”

“Yes, it is,” said Eddy Arsenault. “What are we going to call it?”

“That sounds right like Acadian music,” said Marie. “Why don’t you call it the Acadian Reel?”

The name stuck.

Even though Eddy Arsenault wrote it, it’s the kind of song that was never new and never gets old.

Gary Chipman strolled into ‘You Are My Sunshine,’ inviting everyone to join in, which many did, some of their voices uncommonly good.

“You are my sunshine, my only sunshine, you make me happy when skies are gray, you’ll never know dear, how much I love you, please don’t take my sunshine away.”

After Gary put his guitar down to the side, Helene stepped around her piano to the front of the stage, and brought some perspective to the sunshine song that had brought a warm glow to the hall.

“Louise and I used to be in a band called Barachois,” she said.

Helene Arsenault Bergeron got her start as a fledgling in a barn putting on step dancing shows set to old records scratching out fiddle tunes. She watched her elders. “The kitchen parties we had at my grandfather’s and at our house, everybody was always jumping up to dance because the fiddling, the music was so lively.” By her 30s she was one of the best step dancers on Prince Edward Island. She took up the piano, taking on the Cape Breton style, with lift, syncopated, marked by step dancing rhythms.

“Jonathan would come on tour with us when he was a small boy, and he just loved this song we’re going to do for you. Some of the older generation, they used to compose songs as a way of keeping track of local events. It’s a song about an old maid, an old girl, whose neighbor, a young girl, asks for advice about getting married, but the old girl is disillusioned, so it’s not a very encouraging song.”

Louise threw her head back and laughed zestfully full-mouthed.

“It’s called ‘The Family Song,’” said Helene.

Later in the summer Gary might tell a joke about a RCMP officer who calls his station from a crime scene.

“I have an interesting case here,” he says. “A woman shot her husband for stepping on the floor she just mopped.”

“Have you arrested her?” asks his sergeant.

“No, not yet, the floor’s still wet.”

After more hoedowning by the band, Helene and Louise brought two chairs to the center front of the stage.

“Helene and I are going to do a sit down dance,” said Louise. “It’s not because we’re lazy. We can dance standing, we can dance sitting, so here we go!”

Their arms at their sides, their hands gripping the sides of their seats, able-bodied, their feet a breakdown blur, seeming to never leave the floor no matter the tapping, they chair danced up a storm.

Marsha Weeks walked out from the wings with her fiddle.

“You know it’s a great show when the host comes back on stage,” said Jonathan.

Gary, who taught Marsha how to play, picked up his fiddle, as did Helene and Louise.

Gary Chipman has been playing the fiddle since he was five-years-old. He says it was “about a hundred years ago.” Later in life he picked up the guitar and vocals, when “Elvis Presley and the boys came along and the fiddle was out.” With the revival of PEI fiddling in the 1990s, he rosined up his bow again. He earned a degree in clinical psychology, but says it “only made me a smarter fiddle player.”

A hundred years later he concedes, “I’m going to keep playing until I can’t play anymore.”

They played an arrangement of the ‘Tennessee Waltz,’ a tune from the 1940s whose lyrics were first written down on the back of a matchbox and whose music by Pee Wee King remains sad and lively to this day, tracing a man and a woman turning around and around a dance floor.

“I was dancing with my darling to the Tennessee Waltz, when an old friend I happened to see, I introduced her to my loved one, and while they were dancing, my friend stole my sweetheart from me.”

They played a pretty arrangement on four fiddles of the pastoral melody ‘The Rosebud of Allenvale.’

Although they had been letting it rip all along, at the last Gary and the Arsenault’s let it rip. “We’re going to end with the fastest tune of the night, I’m pretty sure,” said Marsha. They dove headlong into an instrumental version of the ‘Orange Blossom Special.’

Laisse les aller!

The tune is for raising high the roof beam. It is sometimes just called ‘The Special’ and is known as the fiddle player’s national anthem. For a long time fiddle players needed to know how to play that one song before being able to join any bluegrass band.

“It is a vehicle to exhibit the fiddler’s pyrotechnic virtuosity,” wrote Norm Cohen in his book about railroads in folksongs. “It is guaranteed to bring the blood of all but the most jaded listeners to a quick, rolling boil.”

No one at the Stanley Bridge ceilidh was left jaded as the last notes of the ‘The Special’ steamed away into the night.

“She’s the fastest train on the line, it’s that Orange Blossom Special, rollin’ down the seaboard line.”

The show ended with hootin’ and hollerin’ and a big round of applause.

“If you had a great time, please tell everybody at your cottage and campgrounds,” said Marsha as the lights came up. “If you didn’t have a good time, you can just see Gary in the kitchen after the show.”

It wouldn’t be a kitchen party if something lively wasn’t going on in the kitchen.

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”