Tag Archives: five easy pieces

HIWAY AMERICA – THE BUDD LAKE DINER, ROUTE 46 N.J. MY FAV. DINER AND THE AMERICAN DINER

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 Original clip of scene in truck stop diner with a very young Jack Nicholson. It just doesn’t get any better than this. A woosieproductions edit is attached to end of clip.One of the most famous scenes in film history.

“FIVE EASY PIECES” SIDE ORDER OF TOAST

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TRAILER FROM “DINER” 1982

diner

http://youtu.be/dGZZ-CLphCI

THE BUDD LAKE DINER,BUDD LAKE N.J.

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I HAVE BEEN TO MANY DINERS IN MY TRAVELS BUT MY FAVORITE OF ALL IS THE

BUDD LAKE DINER,IN BUDD LAKE N.J.

I arrived in America when I just turned 18. I came here to start a new life and get married to my American boyfriend. We lived in New York for seven years, and I never went to a diner. We started a family and moved to rural New Jersey. On weekends we would take the kids to the diner. I was smitten! The Budd Lake diner became our favorite. Eating the Gyro was on the top of my list, following close behind was their Clam Chowder and Corn muffins. When the kids were in school and my husband at work I would take my notebook and pen, slid into my favorite booth order coffee and sit for hours daydreaming and writing poetry.

I was divorced 24 years later and remarried to my poetry publisher. When we went on our many poetry reading gigs on the road we explored diners across the country, we had the best time of our lives driving the cities and small towns of this wonderful country. Many of my “road” poems were inspired by our travels. Many diners were explored, but few equaled the BUDD LAKE DINER!

Nite Owls

This 1956 photograph was taken during the short time that two Nite Owls sat cheek-by-jowl in Fall River, MA. Soon the old lunch wagon was carted away and demolished, replaced by the gleaming diner. (Collection of Richard J.S. Gutman)

A Life Devoted to the American Diner

With a career spent chronicling the best of American diners, curator Richard Gutman

knows what makes a great greasy spoon

SMITHSONIAN.COM
JUNE 14, 2010
What Jane Goodall is to chimpanzees and David McCullough is to John Adams, Richard Gutman is to diners. “I was interviewed for a New Yorker article about diners when I was 23 years old,” he says over a meal at the Modern Diner (est. 1941) in downtown Pawtucket, Rhode Island, one recent sunny Monday. “And now, almost 40 years later, I’m still talking about diners.” He’s gradually grown into the lofty title “important architectural historian of the diner” that George Trow sardonically bestowed on him in that 1972 “Talk of the Town” piece, progressing from graduate of Cornell’s architecture school to movie consultant on Barry Levinson’s Diner and Woody Allen’s Purple Rose of Cairo and author of American Diner: Then and Now and other books. But his enthusiasm for his subject remains as fresh as a slab of virtue (diner lingo for cherry pie).

Gutman leaps out of the booth—he’s compact and spry, surprising in someone who’s spent decades not just talking about diners, but eating in them—to count the number of seats in the Modern (52). Weighing the classic diner conundrum—“should I have breakfast or lunch?” he asks the grease-and-coffee-scented air—he boldly orders one of the more exotic daily specials, a fresh fruit and mascarpone crepe, garnished with a purple orchid. Before taking the first bite, like saying grace, he snaps a photograph of the dish to add to the collection of more than 14,000 diner-related images archived on his computer. He tells me that his own kitchen, at the house in Boston where he’s lived with his family for 30 years, is designed diner-style, with an authentic marble countertop, three stools and a menu board all salvaged from a 1940s Michigan diner, along with a 1930s neon “LUNCH” sign purchased from a local antique store. “Nobody has a kitchen like this,” Gutman half-confesses, half-boasts over the midday clatter of dishes and silverware. “Nobody.”

We finish our breakfast/lunch—I highly recommend the Modern’s raisin challah French toast with a side of crispy bacon—and head to Johnson & Wales University’s Culinary Arts Museum in Providence, where Gutman has been the director and curator since 2005. The museum hosts more than 300,000 items, a library of 60,000 volumes and a 25,000-square-foot gallery, featuring a reconstructed 1800s stagecoach tavern, a country fair display, a chronology of the stove, memorabilia from White House dinners and more. But it’s the 4,000-square-foot exhibit, “Diners: Still Cookin’ in the 21st Century,” that is Gutman’s labor of love. Indeed, 250 items come from his own personal collection—archival photographs of streamlined stainless steel diners and the visionaries who designed them, their handwritten notes and floor plans, classic heavy white mugs from the Depression-era Hotel Diner in Worcester, Massachusetts, 77-year-old lunch wagon wheels, a 1946 cashier’s booth. “It’s just one slice of the food service business that we interpret here,” Gutman likes to say, but the diner exhibit is clearly the museum’s highlight.

This is fitting, since the history of the diner began, after all, right here in Providence—with a horse-drawn wagon, a menu and, as they say, a dream. In 1872, an enterprising man named Walter Scott introduced the first “night lunch wagon.” Coming out at dusk, the lunch wagons would pick up business after restaurants closed, serving workers on the late shift, newspapermen, theatergoers, anyone out and about after dark and hungry for an inexpensive hot meal. A fellow would get his food from the wagon’s window and eat sitting on the curb. Gaining popularity, the lunch wagons evolved into “rolling restaurants,” with a few seats added within, first by Samuel Jones in 1887. Folks soon started referring to them as “lunch cars,” which then became the more genteel-sounding “dining cars,” which was then, around 1924, shortened to the moniker “diner.”

One distinction between a diner and a coffee shop is that the former is traditionally factory-built and transported to its location, rather than constructed on-site. The first stationary lunch car, circa 1913, was made by Jerry O’Mahony, founder of one of the first of a dozen factories in New Jersey, New York and Massachusetts that manufactured and shipped all the diners in the United States. At their peak in the 1950s, there were 6,000 across the country, as far-flung as Lakewood, Colorado and San Diego, though the highest concentration remained in the Northeast; today, there are only about 2,000, with New Jersey holding the title for most “diner-supplied” state, at 600-plus. New ones are still made occasionally, though, by the three remaining factories, and old ones are painstakingly restored by people like Gutman, who has worked on some 80 diners and currently has a couple of projects going, like the Owl Diner in Lowell, Massachusetts, in the alley (on the side).

While Gutman is diplomatically reluctant to identify his favorite diner, one of his mainstays is Casey’s of Natick, Massachusetts, the country’s oldest operating diner. “They’ve supported five generations of a family on ten stools,” he says, gesturing to a photograph of the 10-by-20 ½ -half-foot, all oak-interior dining car, constructed as a horse-drawn lunch wagon in 1922, and bought secondhand five years later by Fred Casey and moved from Framingham to its current location four miles away. In the 1980s, when Gutman’s daughter Lucy was little, no sooner had they pulled up to the counter at Casey’s but Fred’s great-grandson Patrick would automatically slide a package of chocolate chip cookies down to Lucy, pour her a chocolate milk, and get her grilled cheese sandwich going on the grill. “If you go to a diner, yes, it’s a quick experience,” Gutman explains “But it’s not an anonymous experience.”

That intangible, yet distinctive sense of community captures what Gutman calls the ordinary person’s story. “Without ordinary people, how would the world run? Politicians have to go to diners to connect. What’s the word on the street? In diners, you get people from all walks of life, a real cross-section.” And while any menu around the country can be counted on for staples like ham and eggs and meatloaf—and, back in the day, pickled tongue and asparagus on toast—a region’s local flavor is also represented by its diners’ cuisine: scrod in New England, crab cakes in Maryland, grits down South.

The changing times are reflected on the diner menu, too: the Washington, D.C. chain Silver Diner introduced “heart-healthy” items in 1989 and recently announced that it would supply its kitchens with locally grown foods; the Capitol Diner, serving the working-class residents of Lynn, Massachusetts, since 1928, added quesadillas to its menu five years ago; today there are all-vegetarian diners and restored early 20th-century diners that serve exclusively Thai food.

If the essential diner ethos is maintained in the midst of such innovations, Gutman approves. But, purist that he is, he’ll gladly call out changes that don’t pass muster. Diners with kitsch, games, gumball machines or other “junk” frustrate him. “You don’t need that kind of stuff in a diner! You don’t go there to be transported into an arcade! You go there to be served some food, and to eat.”

And there you have the simplest definition of what, exactly, this iconic American eatery is. “It’s a friendly place, usually mom-and-pop with a sole proprietor, that serves basic, home-cooked, fresh food, for good value,” Gutman explains. “In my old age, I’ve become less of a diner snob”—itself a seeming contradiction in terms—“which, I think, is probably a good thing.”

Read more: http://www.smithsonianmag.com/arts-culture/a-life-devoted-to-the-american-diner-472278/#USef6V5otEpPimIO.99
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ABOUT PETER FONDA FIGURE FROM THE COUNTERCULTURE IN 60’S

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http://www.biography.com/people/peter-fonda-9542050?page=2

KAREN BLACK TRAILER FOR FIVE EASY PIECES & JACK NICHOLSON DINER SCENE

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Check out this video on YouTube:

http://youtu.be/mjmtICe384U.       KAREN BLACK IN FIVE EASY PIECES

Check out this video on YouTube:

http://youtu.be/5JLr0XUrEF0.      THE DINER SCENE IN FIVE EASY PIECES

KAREN BLACK DEAD AT AGE 74

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‘Five Easy Pieces’ Star Karen Black Dead At 74

by THE ASSOCIATED PRESS

August 09, 2013 1:49 AM

Actress Karen Black arriving for a reception celebrating the release of the limited edition fine art photography of Alan Cumming in Los Angeles in 2012.

Valerie Macon/Getty Images

Karen Black, the prolific actress who appeared in more than 100 movies and was featured in such counterculture favorites as Easy RiderFive Easy Pieces and Nashville, has died in Los Angeles.

Black’s husband, Stephen Eckelberry, says the actress died Wednesday from complications from cancer. She was 74.

Known for her full lips and thick, wavy hair that seemed to change color from film to film, Black often portrayed women who were quirky, troubled or threatened. Her breakthrough was as a prostitute who takes LSD with Dennis Hopper and Peter Fonda in 1969’s Easy Rider, the hippie classic that helped get her the role of Rayette Dipesto, a waitress who dates — and is mistreated by — an upper-class dropout played by Jack Nicholson in 1970’sFive Easy Pieces.

Cited by The New York Times as a “pathetically appealing vulgarian,” Black’s performance won her an Oscar nomination and Golden Globe Award. She would recall that playing Rayette really was acting: The well-read, cerebral Black, raised in a comfortable Chicago suburb, had little in common with her relatively simple-minded character.

“If you look through the eyes of Rayette, it looks nice, really beautiful, light, not heavy, not serious. A very affectionate woman who would look upon things with love, and longing,” Black told Venice Magazine in 2007. “A completely uncritical person, and in that sense, a beautiful person. When (director) Bob Rafelson called me to his office to discuss the part he said, ‘Karen, I’m worried you can’t play this role because you’re too smart.’ I said ‘Bob, when you call “action,” I will stop thinking,’ because that’s how Rayette is.'”

In 1971, Black starred with Nicholson again in Drive, He Said, which Nicholson also directed. Over the next few years, she worked with such top actors and directors as Richard Benjamin (Portnoy’s Complaint), Robert Redford and Mia Farrow (The Great Gatsby) and Charlton Heston (Airport 1975). She was nominated for a Grammy Award after writing and performing songs for Nashville, in which she played a country singer in Robert Altman’s 1975 ensemble epic. Black also starred as a jewel thief in Alfred Hitchcock’s last movie, Family Plot, released in 1976.

“We used to read each other poems and limericks and tried to catch me on my vocabulary,” she later said of Hitchcock. “He once said, ‘You seem very perspicacious today, Miss Black.’ I said, ‘Oh, you mean “keenly perceptive?” ‘Yes.’ So I got him this huge, gold-embossed dictionary that said ‘Diction-Harry,’ at the end of the shoot.”

The actress would claim that her career as an A-list actress was ruined by The Day of the Locust, a troubled 1975 production of the Nathanael West novel that brought her a Golden Globe nomination but left Black struggling to find quality roles. By the end of the ’70s, she was appearing in television and in low-budget productions. Black received strong reviews in 1982 as a transsexual in Altman’s Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. But despite working constantly over the next 30 years, she was more a cult idol than a major Hollywood star. Her credits included guest appearances on such TV series as Law & Order and Party of Five and enough horror movies, notably Trilogy of Terror, that a punk band named itself “The Voluptuous Horror of Karen Black.”

Black was also a screenwriter and a playwright whose credits included the musicalMissouri Waltz and A View of the Heart, a one-woman show in which she starred.

Black was born Karen Ziegler and grew up in Park Ridge, Ill. Her father was a sales executive and violinist, her mother the children’s novelist Elsie Reif Zeigler. By grade school, she already knew she wanted to be an actress and at age 15, she enrolled in Northwestern University to study drama. By the early 1960s, she had moved to New York; made her film debut, in The Prime Time; and had married Charles Black, whose last name she kept even though they were together only for a short time.

She studied acting under Lee Strasberg and through the ’60s worked off-Broadway and in television, including Mannix and Adam-12. Her first Broadway show, The Playroom, lasted less than a month, but brought her to the attention of a young director-screenwriter, Francis Ford Coppola, who cast her in the 1966 release You’re a Big Boy Now.

Black was married four times. She is survived by Eckelberry, a son and a daugter.

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