Jean Shepherd loved
to hate New Jersey.
“New Jersey–the most American of all states. It has everything from the wilderness to the mafia. All the great things and all the worst, for example Route 22.” –Jean Shepherd
Most everybody who lives in New York City and vicinity loves to hate that country-bumkin-and-gas-refinery-state. We all hate “Jersey drivers” and disparage those gigantic summer insects we refer to as “Jersey Mosquitoes.” (Yes, I know that Jersey-ites call ’em “Brooklyn Mosquitoes.”) As Shepherd prided himself on being a cosmopolitan, sophisticated city-guy, this may have been part of why he disparaged New Jersey frequently on his broadcasts. When he was doing his faux-run-for-emperor, he promised to set up gigantic fans along the Manhattan side of the Hudson River in order to blow the Jersey odor away from The City. He said that, while in the army, he spent some time in Fort Monmouth, NJ.
When Shepherd first moved to New York and began broadcasting on WOR from 1 to 5:30 AM,WOR, to save money, the station kept the 1440 Broadway studios closed and had him broadcast from their transmitter in Cartaret, NJ. He claimed on the air that he would race his Porsche down the Jersey Turnpike to get to work and once said that he’d accidentally driven the Porsche into the transmitter’s cooling pool there.
1955 to 19?? New Milford, NJ. This was the period when he had just moved to the New York City area. Dates may or may not represent his actual, continuous residence.
1977-1984? Lived on a three-acre farm in Washington, NJ. It’s said that, when their apartment in the Village was ransacked, the police suggested that Shep and Leigh Brown move away, so this may have been when they moved to Jersey. Leigh was brought up in Jersey and had ridden horses on a farm there, so this may have been at or near where they lived for a time.
PASSING THROUGH AMERICAN CLUTTER
Jim Clavin’s www.flicklives.com describes a Jean Shepherd television special this way: “On October 19, 1984 ‘Jean Shepherd on Route 1’ premiered on New Jersey Public Television. Shep sits in the back seat of a limo and discusses such things as drive-in theaters, the George Washington Bridge, traffic circles, diners, road signs, junkyards, bars, Route 22, and the art of shaving.”
Shepherd in limo discussing Jersey.
Shepherd: “This is the road that is truly the road of American clutter. We have right now, for your edification and your artistic enjoyment, a picture of American grubble at its most beautiful development, its fullest. The vines are rich and growing along this stretch of road. Everybody in his soul—at least in his American soul, has a Route 22—that extends right out of New York City into New Jersey. It’s the true bastion of the slob road in America in full-flower. And it’s got it all goin’.”
Shepherd delights in making fun of Jersey’s Leaning Tower of Pizza and the Margate Elephant:
“Creation of Pizza” mural at Leaning Tower of Pizza Restaurant.
Lucy, Jersey’s most famous hotel.
Shepherd did a program featuring the Margate Elephant.
Shepherd performed at Princeton University 30 times, giving New Jersey a yearly thrill. Gatherings of Shep-enthusiasts, called “Shepfests,” occur from time to time. Shepfest #4, 11/9/03 took place in the Triumph Brewing Company micro-brewery in Princeton:
Some Shepfest participants in Jersey.
Shepherd appeared several times at New Jersey’s Clinton Museum, giving live performances.
NEW JERSEY RESTAURANTS
Jean Shepherd loved food and sometimes talked about it on his show. Lois Nettleton, his wife from 1960 to about 1967, said that he was a gourmet cook and that after one of his great meals, she was happy to clean up and do the dishes. In the late 1980s, Shepherd wrote the intro/foreword to a book. One wonders if he delighted in or disparaged New Jersey restaurants. As of now, here is all we know about it:The New Jersey Restaurant Guide w/ Ruth Alden, 1989. Hdl Pub Co. ISBN #10: 0937359459
Further Shepherd commentaries on the great state of Jersey will be welcomed.
(Actually, I’m from Queens–eb.)
The Venus de Milo and the Mona Lisa are probably the best-known artworks in the world. And they are thus, probably the most cliché images of what art is in the world. I suppose they represent, to many people, “the beautiful.” A recent column by a very intelligent and learned and witty fellow who writes for the Wall Street Journal commented that people go to museums to look at beautiful things. Considering the nature of much modern art, isn’t that idea strange? Isn’t it strange that an ancient statue with its arms busted off is so glorified?
I believe that in part this is because its silhouette is so compact—and thus has such visual strength, and a sense of primitive elegance. (In my attraction to the tiny Japanese traditional sculpture called netsuke, I almost exclusively prefer the pieces that don’t have parts sticking out of them—much better are pieces that are compact and powerful in their essence. Besides, considering their traditional use as part of one’s apparel, parts sticking out would easily break off.) Imagine the Venus de Milo with its original arms, as some have done:
I doubt that I’d give it even a second look. It certainly would not be glorified as it is today–armless. It would still be “classic” historically, but would not be as highly regarded. We’d pay it little if any attention. What is “classic” anyway? As classic as is a classic portrait of Santa Claus. Having spent most of my life as a lapsed Lutheran, I still much enjoy the Christmas season, and I much prefer the traditional, classic Santa Claus. At home we always have a classic Christmas tree (I insist on a real one) and set out the nativity crèche my wife loves so much.
But sometimes I like to fool around designing a card.
Decades ago, when I made the card, the surround was white.
Santa de Milo card closed Santa de Milo card when open
with round cutout showing Santa’s head. showing entire image.
SANTA DE MILO
by Gene B. 19??
Maybe such universally admired images we think are so classic deserve to be played with once in a while so that we are shocked into a new/fresh way of thinking about how much we adore their classicism.
MONA LISA WITH MOUSTACHE
by Marcel Duchamp
“One fun way of exposing students to famous works of art and studying the essential identifying features of the piece (style, subject matter, art material, technique, use of art elements/principles) is through remixing. An art parody, a type of remixing, often takes a famous artwork, recreates many of its elements, but through changes and additions, results in a comic effect or mocking of the original. Sometimes the parody is meant to send a political statement; other times it’s purely for entertainment.” –Melissa Enderle