Come To London! (1966)
An original 1966 British Pathe video about some of London’s quirks and the reason people are attracted to the city. Initially called “London” the title has been changed to differentiate it from other clips in the archive. [Edited – 07/06/2012]
A look at various attractions in the Capital – more historical than swinging!
Panning shot down busy market in Berwick St. M/S of a salesman selling china to a crowd in Gravesend Market with cheeky cockney banter (synchronised sound).
High angled shot of Trafalgar Square. M/S of a man and woman feeding pigeons in the Square. C/U of the girl with pigeons landing on her hand. High angled shot of a barge going up a canal, pan to busy London street nearby. Panning shot of smartly dressed people riding through Hyde Park. Two deer are seen feeding from the hand of a fisherman by pond.
M/S of a calm lake, pan to a red double decker riding past. The bus is seen passing the National Gallery with St. Martin’s in the Fields in the background. Low angled shot of St. Martin’s spire. Various shots of Church spires and towers around London. L/S of the exterior of the Law Courts.
Low angled shot of a scaffolding covered dome of St. Paul’s. Various shots of different parts of the cathedral, workmen are seen chipping and sanding off thick crusts of soot from St. Paul’s. Panning shot follows a young couple in an M.G. car driving into the Barbican. Various shots of workmen on scaffolding cleaning old buildings, good views of the Capital from the scaffolding.
M/S of men in Cavalier and Roundhead costumes marching in the Lord Mayor’s show. Low angled shot of children in the crowd waving Union Jacks. M/S of the famous gold carriage passing a platform of dignitaries. M/S of vintage cars passing in the procession.
M/S of the car themed, ‘Two Hoots’ restaurant in Bishopsgate. The couple (seen in the M.G.) are seated at a table, a waiter in driving goggles shows them the menu. Various shots of car related artefacts on the walls. Various shots of diners being served. More shots of the cockney market salesman entertaining the crowd with his banter. Various shots of a Pan American airliner landing at an airport. Passengers are seen coming down aeroplane steps, other planes are seen taking off.
M/S of the M.G. coming under Admiralty arch, point view shot from inside the car as it drives down the Mall. Various shots of Household Cavalry riding into their barracks. M/S of a horse and cart riding by the Thames. M/S of the couple looking over the Thames at the Houses of Parliament. Some shots of a water scooter on the Thames (see note in record c). The couple get back into their M.G. and drive past Parliament.
M/S of an Evening Standard van parking. M/S of press photographers. Various shots of a chef icing a giant cake. Britt Ekland is escorted into shot, she climbs a ladder and cuts into the cake. As she cuts, Peter Sellers bursts out of the cake driving a Mini (her present). More shots of the press, Brit and Peter lean on the car posing for photographs. M/S of Frank Ifield in a pub in Fleet St., he is being interviewed by Pat Doncaster. M/S of journalists around a pub table, pan to Frank’s table. George Casey, sports journalist, eating a pub sandwich. C/U of the back to front sign for the ‘Gentlemen’s’ – a printer’s joke! Various shots of theatrical and historical artefacts on the pub walls.
Various shots of a Sherlock Holmes theme pub in Baker Street that looks like the detective’s study, the landlord wears a deerstalker. Various shots of a pub in Covent Garden where Barrow boys from the market mix with “baritones of the Opera House”. Some shots of vegetable deliveries at Covent Garden.
More shots of the cheeky cockney barrow boy selling china to an eager crowd – he throws a pile of china in the air and catches them. Several ‘plants’ in the audience start the bidding – very ‘Lock Stock and Two Smoking Barrels’!
Note: this story is a bit of an odd mixture – it appears to use material from other Colour Pictorials: the water scooter is in AMPHIBIOUS WATER SCOOTER in CP 574, it also revisits places previously featured – the Sherlock Holmes pub is in SHERLOCK HOLMES PUB in CP 162. Other sequences may also have been reused or revisited.
The White House is plugging President Obama’s visit to Stonehenge in England with this video:
OBAMA AT STONEHENGE
Published on Sep 5, 2014
As the last stop on his three-day trip to Estonia and the NATO Summit in Wales, President Obama visits the prehistoric monument Stonehenge.
His spoken thoughts aren’t exactly profound: “these are some special stones … I love the moss … there’s something here, that’s wonderful, this is very cool, there just something elemental about it, there’s something where you kind of feel like it should always be there, that it comes out of something basic.”
Regardless of his rather pointed lack of curiosity as to the purpose of the megalithic site, no doubt this will massively boost tourism to England. May we suggest, Mr. President, that when you get back you check out the modern-day American Stonehenge, the Georgia Guidestones, and give a similar boost to our stagnant economy?
This song comes from the 1998 album, Mermaid Avenue. The lyrics to all the songs on this
album were written by Woody Guthrie sometime before his death in 1967 and put to music
by Billy Bragg and Wilco about 30 years later. The words to this song paint a picture of
sleeping and dreaming beneath the beautiful California stars.
Billy Bragg & Wilco – Walt Whitman’s Niece (Lyrics)
Way Over Yonder In The Minor Key – Billy Bragg & Wilco
Stephen William Bragg
Finding inspiration in the righteous anger of punk rock and the socially conscious folk tradition of Woody Guthrie and Bob Dylan, Billy Bragg was the leading figure of the anti-folk movement of the ’80s. For most of the decade, Bragg bashed out songs alone on his electric guitar, singing about politics and love. While his lyrics were bitingly intelligent and clever, they were also warm and humane, filled with detail and wit. Even though his lyrics were carefully considered, Bragg never neglected to write melodies for songs that were strong and memorable. Throughout the ’80s, he managed to chart consistently in Britain, yet he only gathered a cult following in America, which could be due to the fact that he sang about distinctly British subject matter, both politically and socially.
Bragg began performing in the late ’70s with the punk group Riff Raff, which lasted only a matter of months. He then joined the British Army, yet he quickly bought himself out of his sojourn with £175. After leaving the Army, he began working at a record store; while he was working, he was writing songs that were firmly in the folk and punk protest tradition. Bragg began a British tour, playing whenever he had the chance to perform. Frequently he would open for bands with only a moment’s notice; soon, he had built a sizable following, as evidenced by his first EP, Life’s a Riot with Spy vs. Spy (1983), hitting number 30 on the U.K. independent charts. Brewing Up with Billy Bragg (1984), his first full-length album, climbed to number 16 in the charts.
During 1984, Bragg became a minor celebrity in Britain, as he appeared at leftist political rallies, strikes, and benefits across the country; he also helped form the “Red Wedge,” a socialist musicians’ collective that also featured Paul Weller. In 1985, Kirsty MacColl took one of his songs, “New England,” to number seven on the British singles chart. Featuring some subtle instrumental additions of piano and horns, 1986’s Talking with the Taxman About Poetry reached the U.K. Top Ten.
Bragg’s version of the Beatles’ “She’s Leaving Home,” taken from the Sgt. Pepper Knew My Father tribute album, became his only number one single in 1988 — as the double A-side with Wet Wet Wet’s “With a Little Help from My Friends.” That year, he also released the EP Help Save the Youth of America and the full-length Workers Playtime, which was produced by Joe Boyd (Fairport Convention, Nick Drake, R.E.M.). Boyd helped expand Bragg’s sound, as the singer recorded with a full band for the first time. The following year, Bragg restarted the Utility record label as a way of featuring non-commercial new artists. The Internationale, released in 1990, was a collection of left-wing anthems, including a handful of Bragg originals. On 1991’s Don’t Try This at Home, he again worked with a full band, recording his most pop-oriented and accessible set of songs; the album featured the hit single, “Sexuality.” Bragg took several years off after Don’t Try This at Home, choosing to concentrate on fatherhood. He returned in 1996 with William Bloke.
In 1998, he teamed with the American alternative country band Wilco to record Mermaid Avenue, a collection of performances based on unreleased songs originally written by Woody Guthrie. Reaching to the Converted, a collection of rarities, followed a year later, and in mid-2000 Bragg and Wilco reunited for a second Mermaid Avenue set. While touring in support of Mermaid Avenue, Vol. 2, Bragg formed the Blokes in 1999 with Small Faces keyboardist Ian McLagan. Lu Edmonds (guitar), Ben Mandelson (lap steel guitar), Martyn Barker (drums), and Simon Edwards (bass) solidified the group while Bragg moved from London to rural Dorset in early 2001. One year later, the Blokes joined Bragg for England, Half English, his first solo effort since William Bloke.
In 2004, Bragg collaborated with Less Than Jake for “The Brightest Bulb Has Burned Out,” a track included on the Rock Against Bush, Vol. 1 compilation. The two-CD Must I Paint You a Picture? The Essential Billy Bragg appeared in 2003 with initial copies featuring a third bonus CD of collectibles and rarities. The Yep Roc label released the box set Volume 1 in 2006. The set included seven CDs and two DVDs of previously unavailable live footage, and the label simultaneously reissued four titles from Bragg’s early back catalog in expanded editions. Billy Bragg spent the next year recording in London, Devon, and Lincolnshire, and 2008 saw the release of Mr. Love & Justice, his first solo effort in six years. Although the Blokes served as Bragg’s backing band on the album, a limited-edition package also included a second disc comprised of intimate solo recordings. The barebones Woody Guthrie-inspired Tooth & Nail arrived in early 2013 and the following year brought the DVD & CD set, Live at the Union Chapel, which included an encore performance of Life’s a Riot with Spy vs. Spy in its entirety as a bonus feature. ~ Stephen Thomas Erlewine, Rovi
Billy Bragg Performs Surprise Set at the Royale For Ferguson: “Liberty and Justice for All!”
|Billy Bragg addresses a crowd of about 100 people on the Royale’s patio. See more photos here.|
Billy Bragg stood at the microphone toward the end of his set at the Royale, thoughtfully looking up into the night sky as he tried to put words to what’s happening in Ferguson.
“The true enemy is our own cynicism,” Bragg finally told the audience. “We have to fight to overcome that cynicism. We have to show the world that St. Louis is not a cynical place, a place where people give in to their worst impulses.”
Bragg, known worldwide for speaking out against human-rights violations and bigotry, performed an hourlong set at the Royale on just a few hours’ notice, deciding to stop in St. Louis as he made his way south to Arkansas on a photography tour of the old Rock Island Line railroad path for Aperture magazine. Several performances over the next week are planned, but Bragg and fellow guitarist Joe Purdy already have made a habit of impulsively playing where they’ve felt moved to do so, such as outside a school in Illinois where teachers were striking for better pay. St. Louis was just such an impulse stop.
“Yesterday, I tweeted from Rock Island [Illinois] about where I should go, and people from here and Britain reminded me that St. Louie wasn’t far,” Bragg said. “It’s not just people here that care [about Ferguson]. We saw a demonstration of a dozen people walk past our hotel in Rock Island.”
Bragg then said that he contacted his friend Karl Haglund, an artist who paints canvases of iconic guitars, about where he might perform. Upon advice from Magnolia Summer’s Chris Grabau, Haglund suggested the Royale and put Bragg into contact with owner Steven Smith. The performance was announced on Twitter and Facebook 30 minutes later, with Smith using the show as a way to rally up bins of toiletries, food, school supplies and first-aid kids from the 100 or so people attending — all donations that would be distributed in Ferguson through St. Stephen’s Episcopal Church.
On the Royale’s patio in front of an orange-red garage, Bragg and Purdy opened their acoustic set with “Rock Island Line,” an old American folk song that Lonnie Donegan famously covered and that initially inspired the journey. Bragg went solo next, delighting the crowd with his song “Sexuality.”
Bragg said that he and Purdy would be switching off to “stay fresh,” giving up the “stage.” Purdy, now solo, joked, “The problem with traveling with Billy Bragg is that you have to follow him.” He performed “Down to the Water” on “this old pawn-shop guitar.” “But I still love you,” he said to the instrument.
Bragg returned for a few train-based songs, saying, “I don’t think there was any invention as transformative in human existence as the railroad.” The duo performed “There Is Power in a Union,” which moved the toe-tapping audience to yip and clap, especially once Bragg finished the song and shouted “Solidarity forever!” with a fist pump.
Playing solo, Bragg reminded the crowd of his love and respect for folk hero Woody Guthrie, sharing that “Guthrie as a young man witnessed the aftermath of lynchings and wrote this song,” before beginning “Hangknot, Slipknot.” The lyrics, “Who makes the laws for that hangknot?” resonated through the rapt audience.
Bragg reminded the crowd again about seeing the Ferguson supporters through his hotel window. “These are difficult times,” he said as the Royale crowd spontaneously began chanting, “Hands up, don’t shoot!” — a now-iconic phrase coined because of reports that Michael Brown had his hands in the air when Ferguson officer Darren Wilson shot him on August 9.
Moved by the night’s emotion, Bragg continued. “I was trying to think of a song I could play for this tonight. There’s an old song I know from the civil-rights days, written in 1968, but it may have some resonance now. You have a great weight to resolve this in a peaceable and transparent way, and you have our support.” Bragg and Purdy then began harmonizing on “Cryin’ in the Streets,” punctuating the line “I see people marching in the streets” with a powerful “Yeah!” and growing louder throughout the song.
At the end of the night, Bragg ceded the floor to Royale owner Smith, who emphasized that showing solidarity with the people of Ferguson was important. Pastor Steve Lawler of St. Stephen’s Episcopal Church in Ferguson then shared a story about a little girl who recently collected food with her family amid the chaos. “She had a cartoon drawing of people getting food in her hand, and she wanted me to say something to the people who had given her this food.”
“What do you want me to tell them?” Lawler had asked the girl.
“Say thanks, and say don’t be afraid.”
The evening closed with the crowd on its feet, clapping and shouting along with Bragg and Purdy to Bob Dylan’s “The Times They Are a-Changin’,” but Bragg had one more thought as he closed the famous tune. “And liberty and justice for all!” he shouted, shaking the Royale patio with force. The audience agreed, erupting into “No justice, no peace,” another chant made famous recently in Ferguson.
Steven Smith surveyed the scene and vowed, “We’re going to create a new normal.”
Watch Bragg perform several songs in this video playlist by Stephen Houldsworth:
COOL TWIGGY FOOTAGE
ALL ABOUT TWIGGY
TWIGGY AND TOMMY TUNE
With her thin build and wide eyes, Twiggy became one of the world’s first supermodels and face of London’s “swinging ’60s” mod scene. She has also made numerous appearances on television, and her films include The Boy Friend (1971), The Blues Brothers (1981) and Madame Sousatzka (1989). More recently, Twiggy appeared as a judge on America’s Next Top Model.
1960s Fashion Icon
Born Lesley Hornby on September 19, 1949 in London, England, Twiggy first rose to fame as a model in the 1960s. She has since established herself as an actress, singer and television personality. Twiggy is the youngest of three sisters. One of her earlier nicknames during her school years was “Sticks.” But the name she is famous for was given to her as a teenager. She dropped out of school around the age of 15.
Before long, Twiggy became one of the world’s top models. She had her career breakthrough when she was named the face of 1966 by the Daily Express newspaper. With her thin build, dramatic eyes and boyish hair style, Twiggy captured the spirit of the “swinging sixties” in London’s Carnaby Street mod scene. She soon appeared on the cover of many leading fashion magazines, including Elle and British Vogue.
Twiggy was one of the first models to parlay her success as a model into other business ventures. In 1967, she came to the United States to promote her own clothing line as well as model. The trip also afforded her a chance to work with famed photographer Richard Avedon. Twiggy became so popular in America that she even inspired her own Barbie doll. More Twiggy merchandise soon followed, including a board game and a lunch box. Fans would even copy her distinctive eye look with their own set of Twiggy fake eyelashes.
Twiggy started acting in the 1970s, making her film debut in Ken Russell’s musical The Boy Friend (1971) with Tommy Tune. More movie roles followed, including appearances in The Blues Brothers (1980) with John Belushi and Madame Sousatzka (1988) with Shirley MacLaine. Twiggy also enjoyed some success on the stage. In 1983, she made her Broadway debut in My One and Only with Tommy Tune.
Over the years, Twiggy has also made numerous television appearances as well. She was briefly co-presenter of ITV’s popular This Morning program in 2001. On American television, Twiggy also served as a judge on Tyra Banks’s popular modeling-competition show America’s Next Top Model.
Twiggy became the face of Marks & Spencer in 2005. In addition to modeling for the company, she sells a line of clothing through its website. Twiggy has also been a model for Olay beauty products in recent years. She also remained a subject of great interest and fascination with several books and documentaries made about her life and career. In 2009, Twiggy: A Life in Photographs was published.
In 1977, Twiggy married actor Michael Witney. The couple had one daughter, Carly, before Witney’s death in 1983. She married her second husband, actor Leigh Lawson, in 1988. Twiggy is an advocate of animal welfare and is recognized for her support of breast cancer research groups.
London in the mid-to late-1960s was as central to the look and feel of that fabled era as any place on earth. The (the Beatles, the Stones, the Who, Cream and countless others) was, in large part, the soundtrack of the Sixties. The street scenes, especially along Carnaby Street in Soho, with the eminently picturesque Mods and hippies hanging out in their utterly distinctive gear, provided youth culture around the world with exemplars of cool that are still embraced today.
Finally, the fashions that emerged from London, as well as the models who made those fashions both hip and famous, still echo through pop culture. Jean Shrimpton, Penelope Tree and, of course, the extraordinary woman known as Twiggy (born Lesley Hornby) were for several years in the mid-1960s the heavily made-up faces of Swinging London itself.
[See TIME.com on Twiggy as an “All-Time 100 Fashion Icon.”]
Today, Twiggy remains not only a fashion touchstone — with any slim young thing who sports short hair and liberal eye shadow inevitably pegged as “Twiggy-like” — but has also, incredibly, managed to stay relevant and productive for decades. Rather than simply and endlessly recycling the elements of her appeal that made her famous in the first place, Hornby went on to act in films and on stage (not just in set pieces, but in classic plays by heavyweights like Shaw and Noel Coward); recorded — and continues to record — as a singer; appeared on TV shows (like all great stars, for example, she took a turn on The Muppets); and wrote several books, including a well-received autobiography.
It sometimes astonishes people — or people outside the UK, at least — to learn that the skinny, blonde, mop-topped, teenaged model who took the fashion world by storm in the Sixties actually survived those crazy years, grew up and, incredibly, is still around.
Here, on Twiggy’s 63rd birthday, LIFE.com celebrates her career and her enduring style with a series of rare pictures — shot in California for a feature that never appeared in the magazine — by long-time LIFE photographer Ralph Crane. Captured at the very height of her fame as one of the first-ever supermodels, and during her first visit to the U.S. when she was all of 18 years old, the Twiggy in most of these pictures seems remarkably cool and sophisticated for one so young. (Perhaps not surprising, considering that she’d been one of the most famous figures — and had one of the most famous figures — in the world for the previous whirlwind year.)
In other shots, meanwhile, she looks refreshingly like a teen who is still thrilled that her life has taken her to these sorts of places, with these sorts of people. There are other Sixties icons here, after all — Sonny and Cher, for example, and Steve McQueen (wearing a shearling coat in the Beverly Hills sun, and somehow looking cool doing it).
Throughout it all, the vibe of all of these photos is distinctly, unmistakably that of the Sixties — specifically, that brief period in 1966 and 1967, before MLK and Bobby Kennedy were assassinated, before Altamont, before the Manson family murders, before the decade died out entirely, when people might have been able to convince themselves that the Age of Aquarius was really just around the corner. Or, if not the Age of Aquarius, then at least a pretty groovy garden party at a mansion in Beverly Hills.
Read more: Twiggy: Rare Photos of a Swinging Sixties Icon | LIFE.com http://life.time.com/culture/twiggy-rare-photos-of-a-sixties-icon/#ixzz34M5BUFHw
JOHN PRINE “A HOBO SONG”
What was the word hobo derived from?
For two centuries, in both England and America, homeless wanderers from place to place had been known as tramps. Then an unknown American came up with a new word for them: hobo. Researcher Barry Popik has found it used in a http://www.answers.com/topic/breezy letter from New York City in the New Orleans Picayune of August 19, 1848: “Well, here I am once more in Gotham, after three years’ absence–three years which have passed as http://www.answers.com/topic/agreeably-2 as time usually passes with people in this digging world. During that period I have floated about and circulated round to some considerable extent…. a year’s bronzing and ‘ho-boying’ about among the mountains of that charming country called Mexico, has given me a slight dash of the Spanish.”
Where this odd word came from nobody knows for sure, but the “slight dash of the Spanish” gives a hint. It could be borrowed from the Spanish hobo, or jobo, a word which appeared in print as far back as 1516. This word, in turn, comes from the Taino Indian language spoken in the West Indies and refers to a tree that grows there. How could a tree become a http://www.answers.com/topic/tramp? Well, over the centuries Spanish jobo acquired other more relevant meanings. In Mexico jobo can refer to a Guatemalan; in Cuba, correr jobos means “to play http://www.answers.com/topic/truant.” So to avoid the http://www.answers.com/topic/taint of the term tramp, an American wanderer might be happy to adopt the exotic hobo.
In American English, it has continued to imply relatively higher status than vagrant or tramp. The exact definition has depended on who was using the word, but hobo has generally meant “a wanderer who is willing to work.”
THE HOBO CODE
An ethical code was created by Tourist Union #63 during its 1889 National Hobo Convention in St. Louis Missouri. This code was voted upon as a concrete set of laws to govern the Nation-wide Hobo Body; it reads this way:
Decide your own life, don’t let another person run or rule you.
When in town, always respect the local law and officials, and try to be a gentleman at all times.
Don’t take advantage of someone who is in a vulnerable situation, locals or other hobos.
Always try to find work, even if temporary, and always seek out jobs nobody wants. By doing so you not only help a business along, but ensure employment should you return to that town again.
When no employment is available, make your own work by using your added talents at crafts.
Do not allow yourself to become a stupid drunk and set a bad example for locals’ treatment of other hobos.
When jungling in town, respect handouts, do not wear them out, another hobo will be coming along who will need them as bad, if not worse than you.
Always respect nature, do not leave garbage where you are jungling.
If in a community jungle, always pitch in and help.
Try to stay clean, and boil up wherever possible.
When traveling, ride your train respectfully, take no personal chances, cause no problems with the operating crew or host railroad, act like an extra crew member.
Do not cause problems in a train yard, another hobo will be coming along who will need passage through that yard.
Do not allow other hobos to molest children, expose all molesters to authorities, they are the worst garbage to infest any society.
Help all runaway children, and try to induce them to return home.
Help your fellow hobos whenever and wherever needed, you may need their help someday.
If present at a hobo court and you have testimony, give it. Whether for or against the accused, your voice counts!
Accommodation car the caboose of a train
Angellina a young inexperienced child
Bad Road a train line rendered useless by some hobo’s bad action or crime
Banjo (1) a small portable frying pan; (2) a short, “D” handled shovel
Barnacle a person who sticks to one job a year or more
Beachcomber a hobo who hangs around docks or seaports
Big House prison
Bindle stick a collection of belongings wrapped in cloth and tied around a stick
Bindlestiff a hobo who carries a bindle
Blowed-in-the-glass a genuine, trustworthy individual
‘Bo the common way one hobo referred to another: “I met that ‘Bo on the way to Bangor last spring.”
Boil Up specifically, to boil one’s clothes to kill lice and their eggs; generally, to get oneself as clean as possible
Bone polisher a mean dog
Bone orchard a graveyard
Bull a railroad officer
Buck a Catholic priest good for a dollar
Burger today’s lunch
C, H, and D indicates an individual is Cold, Hungry, and Dry (thirsty)
California blankets newspapers, intended to be used for bedding on a park bench
Calling in using another’s campfire to warm up or cook
Cannonball a fast train
Carrying the banner keeping in constant motion so as to avoid being picked up for loitering or to keep from freezing
Catch the Westbound to die
Chuck a dummy pretend to faint
Cover with the moon sleep out in the open
Colt Freese one who rummages for discarded food at restaurants before his meal
Cow crate a railroad stock car
Docandoberry anything that grows on the side of a river that’s edible
Doggin’ it traveling by bus, especially on the Greyhound bus line
Easy mark a hobo sign or mark that identifies a person or place where one can get food and a place to stay overnight
Elevated under the influence of drugs or alcohol
Flip to board a moving train
Flop a place to sleep, by extension, “Flophouse”, a cheap hotel
Glad rags one’s best clothes
Grease the track to be run over by a train
Gump a chicken
Honey dipping working with a shovel in the sewer
Hot (1) a fugitive hobo; (2) a decent meal: “I could use three hots and a flop”
Hot Shot a train with priority freight, stops rarely, goes faster; synonym for “Cannonball”
Jungle an area off a railroad where hobos camp and congregate
Jungle buzzard a hobo or tramp who preys on his own
Knowledge bus a school bus used for shelter
Maeve a young hobo usually a girl
Main drag the busiest road in a town
Moniker / Monica a nickname
Mulligan a type of community stew, created by several hobos combining whatever food they have or can collect
Nickel note a five-dollar bill
On the fly jumping a moving train
Padding the hoof to travel by foot
Possum belly to ride on the roof of a passenger car (one must lie flat, on his/her stomach, to avoid being blown off)
Pullman a railroad sleeper car; most were made by George Pullman company
Punk any young kid
Reefer a compression of “refrigerator car”
Road kid a young hobo who apprentices himself to an older hobo in order to learn the ways of the road
Road stake the small amount of money a hobo may have in case of an emergency
Rum dum a drunkard
Sky pilot a preacher or minister
Soup bowl a place to get soup, bread and drinks
Snipes cigarette butts “sniped” (e.g., in ashtrays)
Spare biscuits looking for food in garbage cans (also see “Colt Freese”, above)
Stemming panhandling or begging along the streets
Tokay blanket drinking alcohol to stay warm
Yegg a traveling professional thief, or burglar
Many hobo terms have become part of common language, such as “Big House”, “glad rags”, “main drag”, and others.
PREVIOUS PUZZLER: The Confederate Soldiers Who Left Home
When the Civil War ended, soldiers returned home to find the lives they knew were gone. Many left again in the hopes of rebuilding their lives, and they were carrying something. What was the name for these men?
RAY: Here’s the answer. The Confederate soldiers returning home were called a name that arose out of a tool they were carrying. A hoe.
TOM: Farm hoes!
RAY: Exactly. The soldiers were walking the back roads, riding and jumping on trains, and sleeping out in the countryside hoping to find some kind of work.
They were called hoe boys, which came to be called hobos.
SOME INTERESTING LITERATURE ON HOBOS
English Literature Dissertation: A Study into Hobo Literature
by Nial Anderson, University of Glamorgan, UK
2 – Introduction: Some Background on the Hobo
7 – A Working Life?
10 – Money
12 – To hobo or not to hobo: Choice or Curse?
15 – Rail Life
18 – Hobo: Getting into Character
22 – Writers and Tall Tales
24 – End of the Road: Conclusion
29 – References
“The imaginative young vagabond quickly loses the social instincts that make life bearable for other men. Always he hears voices calling in the night from far-away places where blue waters lap strange shores. He hears birds singing and crickets chirping a luring roundelay. He sees the moon, yellow ghost of a dead planet, haunting the earth.”
Jim Tully – Beggars of Life
“Oh ridin’ on the rattlers, a-ridin’ all the day,
And nuthin’ in yer belly all along the way;
No ‘baccy in yer pocket, and no jack for to spend,
And old John Law a-waitin’ at the next division end.”
GOOD OLD BRITISH RAIL
the old train
yells in his
he clips my
in the wet
THE ENGINE SIGHS
I hurry the
to the red
to the belly
of the earth
I hurry to be