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JEAN SHEPHERD–Playboy/The Beatles–In 3 Fits (1)

FIT 1

One might think it surprising to find Jean Shepherd’s childhood stories and Army stories in Playboy, but such an apparent dichotomy has its rationale.  Publisher Hugh Hefner commented to me that Playboy is steeped in nostalgia and he considered Shepherd to be a “part of Americana.”  Playboy tagged Shepherd’s first kid stories in the magazine as “nostalgia,” and “memoir.”

PLAYBOY Hairy Gertz1964-06-First Shep story in Playboy, June, 1964

(Yes, black-and-white illustration.)

Shepherd and Hefner had known each other for some time before Playboy published its first story by Shepherd in the June 1964 issue.  In fact, three years before that, a three-page typed and hand-signed letter from Hef to Shep dated June 8, 1961, complains that Jean on his program had issued a “verbal blast at Playboy,” in which he’d said that the magazine was “nonresponsible.”  Indicating a relationship that preceded that 1961 letter, Hefner writes, “I always believed that you rather identified with Playboy, and its editorial view of the world, as well as its editors.”

hefner to shep letter

[I’d have loved to buy this letter from ebay, but its price exceeded my means.]

This letter seems a noteworthy foreshadowing of the extensive series of essays Hefner would soon write and publish under the title “The Playboy Philosophy.”

playboy philosophy page 1PLAYBOY PHILOSOPHY”

opening page

Surely in part as a defense against widespread criticism, but also couched in the most forthright, positive attitude toward life as he saw it.   Hefner admits in the letter to Shepherd that the magazine’s editorial matter and attitude toward women is indeed “relatively light and frothy stuff,” but he contends that this “exists only in the cartoons and jokes,” and that the magazine has published some of the best serious articles and short fiction by some of the country’s best writers, and that Shepherd is certainly aware of this.

Hefner also comments that “there is a real crying need for an antidote to the female-dominated, castrated society in which we live.”  (Even though Hef wrote this in a private letter, the politically incorrect statement makes one cringe to read it.)  He says that many publications try to divest women of all womanly charm and make them almost indistinguishable from men.  He points out that Playboy believes in a society in which the roles of men and women aren’t the same, but complement each other.  In the early-to-mid 1960s, Shepherd on his show would sometimes complain of what he saw as a trend in our society toward what he referred to as “role reversal,” especially of what he saw as women trying to act like men.

Hefner writes to Jean of some of the philosophy of the magazine, including “the inherent importance of the individual,…”  and “…the wonderful opportunities that exist in this country if a person is willing to work to achieve something.…”  He says, in a way similar to what Shepherd has said on his program, that “…the world is a wonderful place; enjoy it, live it to the hilt, work hard and play hard, and you will make this a better world for yourself and for those around you.”  Hefner concludes that Playboy “is a thought-provoking, excellently edited, intelligent, liberal, highly readable and entertaining publication.  I expect superficial reactions like this from those who do not understand, but I didn’t expect it from you.”  Indeed, maybe the philosophy of Shepherd and the philosophy of Playboy were similar in more ways than Shepherd suggested in his occasional anti-Playboy comments over the years.

Considering this strongly worded letter, one wishes that we had counter-responses from ol’ Shep that would distinguish what he felt were similarities and differences between himself and Hefner.  Yes, Shepherd had some strong, politically incorrect attitudes toward women, but never in public did he surround his more seriously considered content with the kind of “relatively light and frothy stuff” one finds in Playboy’s lascivious displays of flesh and humor.  In addition, Shepherd would likely have insisted that rather than a Playboy lifestyle focused on stylish and extravagant material possessions, emphasis on his program had always been concerned with issues regarding human foibles and interactions as well as with more intellectual and literary matters.  What we do know, however, is that despite the hard feelings, Hefner admired Shepherd’s work and they remained on good enough terms for him to publish in the next two decades, twenty-three of Shepherd’s short stories, a humor piece, and the Playboy interview with The Beatles.  Also of note regarding the differences in outlook and style, is that the aggregate effect of Shepherd’s radio work in the late 1950s and early 1960s gained for him an increasingly large audience of younger males who could listen to him at conveniently earlier hours than previously; and Playboy, fostered by whatever intellectual content and other diverse enticements, garnered an even much larger audience of men of more widely diverse ages.

1964-06 playboy_cover

Cover of issue with first

Shep story in Playboy, June, 1964

Stay tuned for Fit 2

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JEAN SHEPHERD–Fred W. McDarrah

The Fred W. McDarrah iconic photo of Jean Shepherd represents the way I–and probably  most Shepherd enthusiasts–imagine him to be. Despite all the varied photos of Shep over the years, it’s the one as I always imagine him–the once and future Shep. It’s why that photo adorns the cover of my Excelsior, You Fathead!

classic shep imagePhoto by McDarrah, un-posed (he told me), but cropped here,

taken while Shep was broadcasting 11/30/1966.

It would be interesting to hear the broadcast

of that date, but I’m not aware of an audio.

The Sunday New York Times of January 26, 2014 has  most of a page devoted to a feature, “Album,” with photos by McDarrah. The occasion is an exhibit of 130 images at the Steven Kasher Gallery in Chelsea from 1/30 to 3/8/2014. The short text by John Leland, accompanying the captioned images, says in part:

If we had known that the scrawny guy at that Greenwich Village folk club might some day amount to something, we’d have all been there, cameras in hand, to document the event. But we didn’t so we weren’t. Fred W. McDarrah, on the other hand, made it a point to be there. When Bob Dylan first performed in New York; when Jack Kerouac and Allen Ginsberg held court at house parties in Greenwich Village, or Andy Warhol at his studio, the Factory; when hippies or the gay liberation movement found their voices; when downtown New York was the incubator for the cultural movements that shook the world. Mr. McDarrah, who died in 2007, was the first photo editor and for decades the only staff photographer of The Village Voice. He had a front-row seat for multiple revolutions….

Probably not known to most, but of significant importance for the historical record of Jean Shepherd, McDarrah took the finest image of Shepherd (at work on the radio, no less!)  Also of interest is the photo he took of Shepherd on his opening night broadcasting from the Limelight, February 15, 1964. When I saw this image (inexplicably for the first time) being sent back from my publisher to McDarrah with me as the intermediary, I immediately called McDarrah and offered a hundred dollars for the right to use it in my book. He accepted–here it is:mcd. limelight.2

Of possible interest to some, other than the cover image, all images within a book are paid for by the book’s author. Which is one reason why a couple of photos I’d have liked to include did not make it–because of the multiple-hundreds required by the photo-rights owners. (My publisher had told me that one shouldn’t have to pay more than $50 per image.) The multiple image of Shep from Playboy almost didn’t make it–the four-page contract for its use prescribed a fee of hundreds of dollars. I responded that it was a shame that I couldn’t afford it–Playboy was such an important part of Shepherd’s writing career and Playboy might indeed, reap benefit by readers encountering the credit line for it in the book. The response I got was that, if money was the only problem, I could use the image for free. Yes, money had been the only problem. I found that although the multi-portrait of Shep  had originally included five portraits melded together (See image in my book), the photo as published in Playboy cropped the far right images out.

Many provided images for the book for free, and I credited them in the book’s acknowledgements. But several organizations denied use for any amount and several wanted hundreds. (See in my acknowledgements, for them, my group-disacknowledgement.) I’d have liked to have used the smiling-Shep image in front of a CBS microphone, but not for their outrageous fee–especially as I find it absurd that one encounters that image’s use in numerous locations on the internet (I wonder if all the users paid or have been sued), with its ignorantly implied suggestion that CBS was Shep’s home base. I’d have liked to have used it as it’s such a good shot of him, and my caption would have explained that in his broadcast career, CBS was such an extremely minor, side issue.

cbs photosDo not even peek at these images!

(CBS photos: Not by Fred W. McDarrah)

Besides, “CBS was such an extremely minor, side issue.”

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A few years ago I bid for and won on ebay, a good photo print of Shep by McDarrah dated November 30, 1966 but, as his heirs might object. I won’t reproduce it here.

Below is a scan of the signature on the back of that print:mcdarrah signature______________________

Addendum

I’m pleased to receive this email from McDarrah’s son, Timothy:

”Loved this. As part of the Kasher show, there is a

display case of books that had my dad’s photos on the cover.

Your Shepherd opus is front and center.”

get-attached

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JEAN SHEPHERD Chart career revise part 4

I’ve encountered that the 4th of the 5 parts of the NYC career chart does not enlarge when clicked on and is not sharp (at least on  my computer), so it cannot be read. I’d done it exactly the same as the other parts! Here I re-do the whole operation–scan, import to blog media, and input it into this post. I trust it works now for those who want to read and maybe copy it:

career part 4 redo

Part 4 revise

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And why not add the details of where the story parts of A CHRISTMAS STORY and Shepherd’s three long-form TV dramas originated (Most of the following info is derived from Jim Clavin’s http://www.flicklives.com) —

A CHRISTMAS STORY

(1983)

Story Lines:

The Red Ryder BB Gun–  “Red Ryder Nails the Hammond Kid,” Playboy, 12/1965, then in IN GOD WE TRUST 1966 titled “Duel in the Snow or Red Ryder Nails the Cleveland Street Kid.”

Wax Teeth, Flick’s Tongue, Writing A Theme

The Leg Lamp– “My Old Man and the Lascivious Special Award that Heralded the Birth of Pop Art,” in IN GOD WE TRUST 1966. (See PHANTOM OF THE OPEN HEARTH below.)

“How Does the Little Piggy Eat?” —   in “Ollie Hopnoodle’s Haven of Bliss” Playboy July 1968.

Little Orphan Annie Secret Circle Decoder–“The Counterfeit Secret Circle Member Gets the Message, or The Asp Strikes Again,” in IN GOD WE TRUST 1966.

Changing the Flat Tire – “Oh Fuuudddggge”

Blinded by Soap–“Lost at ‘C’ ” Playboy May 1973

Visiting Santa, The Bunny Pajamas,

The Bumpus Hounds–“The Grand Stand Passion Play of Delbert and the Bumpus Hounds,” Playboy 4/69, then in WANDA HICKEY’S NIGHT OF GOLDEN MEMORIES–AND OTHER DISASTERS 1971.

Christmas Dinner Chinese Style

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PHANTOM OF THE OPEN HEARTH

(1976 television long-form drama)

Story Lines:

Gravy Boat Riot–“Leopold Doppler and the Orpheum Gravy Boat Riot,” Playboy  10/65 then in IN GOD WE TRUST 1966.

Sears Pre-fab House

The Leg Lamp– “My Old Man and the Lascivious Special Award that Heralded the Birth of Pop Art,” in IN GOD WE TRUST 1966. (Major component of A CHRISTMAS STORY)

Going to the Prom With Wanda Hickey–“Wanda Hickey’s Night of Golden Memories”  Playboy 6/69 then in WANDA HICKEY’S NIGHT OF GOLDEN MEMORIES–AND OTHER DISASTERS 1971.

Baseball for the United Brethern

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GREAT AMERICAN FOURTH OF JULY AND OTHER DISASTERS

(1982 television long-form drama)

Story lines:

Sears Radio

Wilbur Duckworth and His Magic Baton–Playboy 12/64“Waldo Grebb and His Electric Baton”  and as “Wilber Duckworth and His Magic Baton” in IN GOD WE TRUST 1966.

The Blind Date–“The Endless Streetcar Ride into the Night, and the Tinfoil Noose” IN GOD WE TRUST 1966.

Scragging

The Wash Rag Pyramid Scheme

Uncle Carl’s Fireworks Stand

The Old Man’s Fireworks Display

Ludlow Kissel and the Dago Bomb IN GOD WE TRUST 1966.

Fireworks on the roof of Roosevelt High

Sack races at the picnic

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THE STAR-CROSSED ROMANCE OF JOSEPHINE COSNOWSKI

(1985)

Story lines:

Going to a Polish Wedding–“The Star-crossed Romance of Josephine Cosnowski and Her Friendly Neighborhood Sex Maniac” Playboy 1970 and titled “The Star-crossed Romance of Josephine Cosnowski” in WANDA HICKEY’S NIGHT OF GOLDEN MEMORIES 1971.

Friendly Fred’s used car lot

Randy plays a turkey in the school Thanksgiving Day play

The boys eat at John’s hamburger joint

Scragging for Polish girls*

[*At least one story that never made it into  a published Shepherd story he told on the air: On March 23, 1968 he told a tale of Scragging and Bolus’ wedding.]  Scragging is what some male teenagers do in a car in summer–they drive by one or more attractive young girls and make adolescent remarks such as “Hey baby! Oh Wow! Holy Smokes!”]

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Please report errors and omissions, including exact references if known. –eb

JEAN SHEPHERD–Chart–his career beginning in NYC

Jean Shepherd’s artistic career is far more elaborate and varied than most of us ever imagined. When I began working on my Excelsior, You Fathead! The Art and Enigma of Jean Shepherd in early 2000, I felt that, in order to comprehend the complexities, I had to visualize it all chronologically. This way I could more easily see how parts related to the whole.  The long, horizontal chart I produced and printed out on several 11″ X 17″ paper sheets, was done in 2002, and served to assist me in “seeing” his career more clearly. In my personal reference copy of the published book, I have a small, taped-together, folded version glued to the inside back cover.

I had wanted this, plus a CD–a representative sampling of Shep’s radio bits–to be included in the book, but I was informed by the publisher that the cover price would have been raised too high.

CHART–Here it is in 5 parts to be visualized as a continuity.

JS career chart 1JS career chart 2

JS career chart 3career part 4 redo

JS career chart 5These five images need to be visualized one after the other and butted against each other. The above is what I could do in the post. Remember that each can be enlarged by clicking on it one or even more than one time. In preview form, before being posted, they enlarged sufficiently for me to be able to read them.

Despite this having been designed and printed over a decade ago, nothing major, and only some minor additions would have been required to update it. (Some additional work in jazz is now known, and other information and material continue to appear.)

One of the aspects of Shepherd’s career that the chart confirmed

for me is that much of his original creative work

occurred in the earlier NYC years,

and that much of his later work

on television and in film consisted of

his re-working and re-creating his earlier material.

The major exceptions to this are his WOR radio broadcasting,

that continued until April, 1977, and the

two-part television series of

JEAN   SHEPHERD’S   AMERICA

(made in 1971 and 1985)

which I consider to be

a major, incomplete,

Great American 

Television

Creation.

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JEAN SHEPHERD–Charts–my first book about him

Here’s what I’m going to do intermittently for some opening

posts of the new year.

It’s a series charts I created a number of years ago

and also my thoughts about Shep’s work in 

refutation of a couple of essays by others.

It’s sort of an interrelated gallimaufry. 

Starting now:

Regarding my EXCELSIOR, YOU FATHEAD! THE ART AND ENIGMA OF JEAN SHEPHERD,  on occasion I encounter a comment that indicates that the person is not sure how I organized it. Some might think it’s disorganized.

Others find the methods and organization I used in the book to be appropriate to the subject–I’d like to think they’re right, especially the reviewer who commented that the book seems inspired by Shepherd’s style itself (it was not consciously). The book does have a specific organization from beginning to end, and to clue the reader in, the last paragraph of each chapter indicates how the next chapter is a logical continuation of the theme. I also explain in the book that there is a very loose chronology of the PARTS (The formative years from childhood through early radio years; followed by what I call “The Great Burgeoning” in New York; followed at the end by the finale–a back-and-forth summing up of life and art). Interspersed between some of the chronology are THEMATIC CHAPTERS that describe and reflect on Shep’s various creative endeavors as these seem to emerge from the rough chronology.

While working this out, I made a chart to help show myself (and then interested others) how all this goes together.  The chart was done in a rather large format for ease of viewing–one that could not be scanned or imported into this blog in one piece, so here it is in two pieces. The originals of all my charts were only meant to be printed out on paper–not miniaturized into a blog and viewed on a screen. Remember that one can click on images in the post to significantly enlarge them for ease of reading (I hope!).

I’ve put together a number of charts over the years to help me get a better sense of Shepherd’s life and work. I’ll be posting them one at a time over the next month or so.

                 EYF chart of chapters 1

 chart EYF! redo rt half

Either through my ignorance or the inbuilt limitations of this blog program, I can’t control some visual aspects. So one has to see in one’s mind, the single, continuous artwork broken here into the two-part chart above. Obviously the relative scale of the two is slightly different as it was imported here, and can’t be reconciled. It’s impossible for me to position images just where I want them–the program just resists my attempts at subtle adjustments. In fact, as I draft the post, the two halves show side by side, not one over the other. The title with Shep’s name, obviously should continue on the same level.

The various charts I’ve made, first for my eyes alone and my pleasure, then available to help explain some material to others, were all done about a decade ago in the Adobe Illustrator program and printed out on a large-format Epson 11″ x 17″ -capable-printer. As I no longer have the printer, I rely on old print-outs to scan and awkwardly import them here.

Creating the charts and somehow managing to post them–

all other parts of my enjoyment of working on Shep projects.

—-eb

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I just opened this post as though I were an average viewer and found that although the first half of the chart, when clicked opens larger (It has a blue outline when cursor is over it), the second part does not–I don’t know why this might be–damn computers!  To enlarge, copy this part and paste into a word processing document–one can then enlarge that. Very annoying having to attempt to outwit an electronic servant!  –eb

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