Alpha Omega M.D. – Episode #120

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Alpha Omega M.D. – Episode #120

Chapter Seven

END CAREER BEGINNING

…What a relief it is to make it to 1901, the Twentieth Century at last…

What a relief it is to make it to 1901, the Twentieth Century at last. Progress is formally measured and affirmed by the lowness of the last two numbers of the years tracked since the death on a cross by the Savior of the world, Jesus Christ. Just as HE died to save the lost, so does this New Year rescue, in spirit, the United States from the scars of Civil War, deadly disease, horrible storms. Things cannot get worse, right?

The young seem to have the best chance of making the best of their world. For James Ferrell and bride Abigail, the last 12 months provides them with 1 year of marriage and the 2nd year of studies at Harvard University; on what will seem like the eternal road to lawyer-dom. Ergo, 360-some days of married living in an unaccustomed small living space in Cambridge Massachusetts, with not enough money and not enough time together.

“Won’t it be wonderful to see Mother and Father, dear?” offers Abigail in one of those rare shared moments when James does not have class and she is not working in the school library.

Ferrell's Grocery-001

“Summer school really threw our plans for a loop, Abbey. But we could not afford to traipse around Europe like Mom, Dad & Agnes are. That’s more Agnes’ style, though she may regret going after she sees the shape the groceries stores are in.”

By his talk, one can see the focus the 21 year old has. Travel is not an option.

And no sooner than his and Abbey’s shared parents return from the old continent across the Atlantic, they now journey northward to Buffalo, New York on the 12:10 Crescent Limited. It is there they will meet James and Abbey at the Pan-American Exposition.


Alpha Omega M.D.

Episode #120


page 110

Alpha Omega M.D. – Episode #113

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Alpha Omega M.D. – Episode #113

… Residents of Gadsden County will read Harv Pearson’s accounts and count their blessings, realizing that they were merely grazed by a storm…

Image result for close call

Recovering from the Great Storm is an ongoing theme.

The same can be said for the rest of the Leon/Gadsden detachment, having set up a temporary clinic in the gymnasium at Tulane University. From all accounts, local hospitals are beyond capacity, breeding grounds that form germs and bacteria not seen here, ever. Isolating the stranded Tallahassee Women’s Club from these strange strains is seen as the sensible thing to do, as agreed on by Ziggy and Jacques. Young Alfrey is getting field training as a nurse, carrying out orders of the doctor and dispensing the medicines from the apothecary.

Willy Campbell and Jacob Haley have teamed together, joining other squads of men searching for survivors of the consecutive calamities. Sadly they overlap, with combinations of dead and injured commingling.

Quincy Reporter-001Harv Pearson has taken his journalistic independence to the streets, gathering stories of tragedy and heroism to send back to his Quincy Reporter. Residents of Gadsden County will read his accounts and count their blessings, realizing that they were merely grazed by a storm, whose right arm reared back like a boxer, only to deliver a knockout haymaker punch to the west.

But not all that Harv encounters is gloom and doom. As he roams the French Quarter, Bourbon and Royal Streets, sounds of an interesting style of music echoes through the taverns and eateries, melodically resisting the prevailing somber tones. Harv writes, ‘This “Jazz” seems to be a combination of dixielandjazzAfrican and European folk music, with dashes of blues, Dixieland and Ragtime. Improvisation and spontaneity are trademark styles of musicians, who know and live their music; a form of music like none I have ever heard.’

He continues.

‘New Orleans has grown to near 300,000 people, resilient types, who bravely shrug off adversity, all the while embracing the richness of their culture. Some would call it excess, but as I see it, these Orleanians have perfected optimism and made it their own.’


Alpha Omega M.D.

Aftermath-001

Episode #113


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Only the Songwriter Knows For Sure – WIF Music

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Famous Songs

(That Are Widely

Misunderstood)

It’s often been said that songs are largely driven by emotion rather than meaning or complexity of the music. This certainly would explain why a scant three chords and a groovy haircut goes a long way and can help to sell a ton of records. Conversely, sometimes the lyrics can evoke equally powerful feelings — even when a song’s meaning is completely misunderstood.

From The Clash to The Kingsmen, here’s just a fraction of classic tunes that people continue to love, despite completely missing the point of what the songwriters were trying to say.

10. “Train In Vain” (The Clash)

Ever since its release from the seminal London Calling double album, “Train In Vain” arrived at the station shrouded in mystery — largely in part to the track not being listed on the sleeve or back cover. The song name would also become muddled after fans began calling it by its chorus, “Stand By Me,” as well as the actual title never being mentioned in the lyrics; furthermore, the toe-tapping tune has absolutely nothing to do with transportation or working out. Now 40 years later, the heart of the controversy lies in a simple printing snafu and a stubborn girlfriend.

Written by Mick Jones, “Train In Vain” was originally intended to be used as a flexi-disk promotion for the British music magazine, NME. But when the deal fell through at the last minute, the band decided to tack it onto the master of their recently completed album. This, however, resulted in one small problem: the artwork, lyrics, liner notes, etc. had already gone to the printer. As a result, it landed on Side Four as Track 5 with the title crudely scratched on the original vinyl in the needle run-off area. Subsequent pressings would later include the proper title on the album — although in the U.S., it contained the variation, “Train In Vain (Stand By Me).”

The story behind the meaning is rooted in Jones’ ex-girlfriend, Slits guitarist Viv Albertine. Although Jones has remained somewhat tight-lipped about the doomed relationship, the feminist rock icon has been more candid: “I’m really proud to have inspired that but often he won’t admit to it. He used to get the train to my place in Shepherds Bush and I would not let him in. He was bleating on the doorstep. That was cruel.”

The all-female Slits supported The Clash on their White Riot tour — and the alluring Albertine enjoyed a well-earned reputation of breaking many punk hearts, including Sid Vicious, Johnny Thunders, and Joe Strummer.

9. “There She Goes” (The La’s)

An undeniably catchy, jangly ballad, “There She Goes” appears to be a simple tale of unrequited love. However, the lyrics ”Racing through my brain… pulsing through my vein” reveal a not-so-innocent side. Additionally, frontman Lee Mavers’ eccentric and reclusive behavior only furthered drug-fueled speculation that the popular track drew inspiration from poppies. Yep, it’s about heroin.

Released as a single in 1988, the track earned the proto Britpop band from Liverpool earned critical praise before typical band infighting and chaos ensued. Although the song would be re-released two years later on their debut album under the Go! Disc label, The La’s had already been relegated to one-hit wonder status.

Later, the alt Christian-rock outfit Sixpence None The Richer covered the tune and enjoyed a major hit stateside — proving Jesus has a place in his heart for all saints and sinners.

8. “Fire and Rain” (James Taylor)

This one’s also about smack. Sorry. Taylor wrote “Fire and Rain” as a deeply personal reflection of life’s bumpy road, capturing all of its twists and turns and pains and joys. A remarkable feat considering he was only 20 years old at the time. From his second album, Sweet Baby James, the song’s structure unfolds like a three-act play with a beginning, middle, and end. Taylor explains in a 1972 interview with Rolling Stone:

“‘Fire and Rain’ has three verses. The first verse is about my reactions to the death of a friend. The second verse is about my arrival in this country with a monkey on my back, and there Jesus is an expression of my desperation in trying to get through the time when my body was aching and the time was at hand when I had to do it… And the third verse of that song refers to my recuperation in Austin Riggs (psychiatric facility) which lasted about five months.”

The end result earned the young singer/songwriter a multi-platinum record and a career that remains strong today over five decades later. But the “monkey on his back” would become a recurring affliction. Taylor first began using heroin after arriving in New York City in 1966 — a habit that escalated in London while briefly signed to The Beatles’ Apple Records label. Despite his personal and professional setbacks, Taylor has sold over 100 million records, and in 2000 became enshrined in the Rock & Roll Hall of Fame.

7. “Dancing With Myself” (Billy Idol)

In his tell-all memoir, Dancing With Myself, the title is both metaphor and the name of one of his biggest hits. It’s also a cheeky double entendre for spanking the monkey. You know, the five knuckle shuffle. Jackin’ the beanstalk. Badgering the witness. Jerkin’ the gherkin. Okay, enough already — it’s about masturbation.

The song was first recorded in 1979 by Idol’s previous band, Gen X, and then re-released as a single in 1981 for the singer’s solo launch. Written by Idol and Gen X bassist, Tony James, the song was inspired in part during a Gen X tour of Japan in 1979. According to Idol, he and James visited a Tokyo disco, where they were surprised to find most of the crowd there dancing alone in front of a wall of mirrors instead of with each other.

However, when pressed on the subject, Idol later conceded there’s more than one layer: “There’s a masturbatory element to it, too. There’s a masturbatory element in those kids dancing with their own reflections. It’s not too much further to sexual masturbation. The song really is about these people being in a disenfranchised world where they’re left bereft dancing with their own reflections.”

Umm, sure, Billy, whatever you say. The song’s music video (which saw heavy rotation in MTV’s halcyon days) features a half-naked Idol thrusting and grinding with post-apocalyptic zombies. Oddly, there’s no mention of social anxiety, disillusionment or the despair of ennui. But then what do you expect from someone who kicks off his autobiography prologue with sordid tales of “never-ending booze, broads, and bikes, plus a steady diet of pot, cocaine, ecstasy, smack, opium, Quaalude, and reds.”

Long live rock & roll!

6. “Imagine” (John Lennon)

On the surface, this simple piano-driven ballad is a dreamy elixir for the soul, calling for an end to war, borders, religion, greed and hunger. The song would not only become a modern hymn of sorts for world peace and unity, but also helped solidify Lennon’s enduring legacy as a stand-alone rock and roll deity. But the ex-Beatle, who clearly understood the power of celebrity, was also a bit cryptic with the hidden message — one which he later characterized as his way of delivering a “sugarcoated” communist manifesto.

Masterfully arranged and co-produced by pre-felon, Phil Spector, in 1971, “Imagine” remains as relevant today as ever and ranks #3 in Rolling Stone’s 500 Greatest Songs Of All-Time. But the main takeaway that’s often overlooked isn’t just some hippie ode to all love one another — but rather encourages people to use revolutionary methods and ideas to make the world a better place. Does this mean John Lennon spent his free time puffing on cigars with Fidel Castro in Havana or riding on the back of Che Guevara’s motorcycle through Bolivian jungles? Hardly.

Lennon much preferred the company of his wife and co-collaborator, Yoko Ono, at their spectacular estate in Ascot (and location for the song’s music video). Furthermore, Lennon set the record straight regarding party affiliations, stating “I am not particularly a communist and I do not belong to any movement.”

5. “Poker Face” (Lady Gaga)

Anyone who saw Gaga on Season 5 of American Horror Story knows this lady can get down. In fact, her convincing performance even won her a Golden Globe — which shouldn’t have been terribly surprising given her impressive real-life talent for switch-hitting. And no, we’re not talking baseball. As for that little ditty that launched Gaga’s career into another galaxy, “Poker Face” has little to do with playing cards. It’s all about bi-sexuality.

Co-written by Gaga with her longtime collaborator, Red One, the track is said to be a tribute to past conquests in Gaga’s wild ride to fame and fortune. It was first released in 2008 off her debut album (and prophetically named), Fame, and went on to become one of the best selling singles of all time. Featuring more hooks than a Bass Pro Shop, the song also benefits from that over-the-top accompanying music video, a wildly sexy romp that has since been viewed more times than every Kardashian sex tape combined. Well, maybe.

Unlike other songs on this list, the lyrics are fairly transparent and only get lost in the blinding glare cast by the singer’s hyper-radiant star. Nonetheless, it’s doesn’t take much imagination to decipher what she means when she playfully teases, “I’m just bluffin’ with my muffin.” Got it, Gaga. Message received, no distortion.

4. “Every Breath You Take” (The Police)

Ironically, the cops should’ve locked up these guys a long time ago for allowing this unofficial Stalker Anthem to become such a massive hit. Actually, it’s not their fault — but you’d think that someone as smart as Sting (only his name is stupid) would have anticipated that his lyrics would become so widely misinterpreted as both a sappy love song and a license to creep. Unfortunately, the subtext about a possessive lover with an Orwellian zeal for spying never quite registered with fans. Perhaps the band should’ve named the album something other than Synchronicity.

Sting wrote “Every Breath You Take” during a critical juncture in his life — both personally and professionally. Although The Police had enjoyed a mercurial run with sold-out arenas and multiple-platinum records, Sting felt cornered and wanted out. He had also become embroiled in an affair with his future wife,Trudie Styler, while inconveniently still married to her best friend, Frances Tomelty. Awkward. So, like any rock star with lots of money and access to private jets, he took off for the Caribbean, where he found refuge on Ian Fleming’s Goldeneye estate. There, he penned the song that became the band’s biggest hit and won the 1983 Grammy for Song Of The Year.

In a 1993 interview, Sting explains the inspiration: “I woke up in the middle of the night with that line in my head, sat down at the piano and had written it in half an hour. The tune itself is generic an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn’t realize at the time how sinister it is. I think I was thinking of Big Brother, surveillance and control.”

3. “Death Or Glory” (The Clash)

The London-based rockers return with another entry on the list, which shouldn’t be a surprise from the group simply known as “the only band that matters.” Also from their London Callingalbum, “Death or Glory” is a parody about those who talk a big game but fail to back it up or wind up selling out to the man.

An upbeat tempo and satisfying melody accompanies possibly the greatest lyric in rock & roll history: “He who f**** nuns, will later join the church.” The amusing metaphor hammers home the point that those who fight hardest against conformity will eventually become what they vowed to avoid. It was apparently one of the band’s favorite songs on the album, recorded at Wessex Studios in Highbury, London for CBS records. According to legend, their eccentric producer, Guy Stevens, ran around the studio like a madman, throwing chairs and ladders during the session and even dumped a bottle of wine on Joe Strummer’s piano.

Interestingly, the song also reflects the band’s acceptance of change in terms of dealing with their own success while trying to stay loyal to their working class roots. Sadly, Strummer passed away in 2002, but unlike previous generations of rockers who pledged to die before they got old, this frontman actually did it.

2. “Born In The U.S.A.” (Bruce Springsteen)

Although many still believe this 1984 mega-hit reflects America’s ass-kicking greatness, the true meaning tells a much different story. But the confusion is understandable. The easy-to-remember chorus coupled with Springsteen’s trademark gravelly, blue-collar vocals practically screams baseball, hot dogs and apple pie. The Boss, however, wrote it as a scathing indictment of the U.S. military-industrial complex and the debacle of the Vietnam War.

Nonetheless, beginning with Ronald Reagan, politicians continue to misuse the song as a propaganda tool on the campaign trail. Perhaps taking time to actually listen to the lyrics, or better yet, having the words explained to them by the man himself would help to clarify the matter: “when you think about all the young men and women that died in Vietnam, and how many died since they’ve been back — surviving the war and coming back and not surviving — you have to think that, at the time, the country took advantage of their selflessness. There was a moment when they were just really generous with their lives.”

In “Born in the USA,” Springsteen pays a specific homage to the Hell experienced at Khe Sanh, where in 1968, a U.S. Marine garrison bravely withstood 77 days of relentless bombing in one of the longest and bloodiest battles of the war.

Fittingly for our purpose, Springsteen once called “Born in the USA” the “most misunderstood song since ‘Louie, Louie.’”

1. “Louie Louie” (The Kingsmen)

No list about misunderstood songs would be complete without including that 1963 golden oldie,“Louie Louie” by The Kingsmen. Featuring mostly indecipherable lyrics, it would eventually become the most recorded song in history with well over 1,000 versions, ranging from Barry White to Motorhead. But the bizarre, serpentine path that led to the rock n roll pantheon is as murky as the garbled vocals laid down in one take by an obscure, teen-aged garage band from Portland, Oregon.

In an equally strange, ironic twist, golden-voiced Harry Belafonte deserves some credit for the song’s wild odyssey. After all, his 1956 chart-topping album “Calypso” would inspire a doo-wop singer in L.A. named Richard Berry to hastily write down the original “Louie Louie” lyrics on a roll of toilet paper (yes, really) in hopes of cashing in on the popular island sound craze. In 1957, Berry and his band, The Pharaohs, recorded the track about a Jamaican sailor yearning for a girl as he laments to a bartender named Louie.

Although the song enjoyed decent regional airplay, Berry sold the rights a few years later for $750 to help pay for his wedding (he would be justly compensated years later). Then in 1961, a singer in the Pacific Northwest named Rockin’ Robin Roberts covered the tune with his band, The Wailers — and that’s when The Kingsmen finally enter the picture.

Childhood school friends and bandmates Lynn Easton and Jack Fry had heard Roberts’ version playing on local jukeboxes around town and decided to try a recording of their own. And so on April 6, 1963, after coughing up 50 bucks to pay for a quickie studio session, the boys walked into Northwest Inc. Recording and a date with infamy.

The small studio had been set up for an instrumental arrangement only, forcing Ely to get up on his toes to be heard on a microphone dangling from the ceiling. Adding to the difficulty, he also wore braces at the time, producing his soon-to-be-legendary mumbled words. By October that year, the single had raced up the charts, fueled largely by the raw sound and its perceived obscene message.

The single was banned by several radio stations and declared indecent by the Governor of Indiana — and later investigated by the FBI. Eventually, the boys from Bridgetown would only be found guilty of poor enunciation (as well as Fry botching the third verse two bars too soon) but no charges were ever filed. It should be noted, however, Easton can be heard yelling “f***” at the fifty-four second mark after dropping his drumstick.


Only the Songwriter Knows For Sure

WIF Music

Alpha Omega M.D. – Episode #37

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Alpha Omega M.D. – Episode #37

…I do not want my son courting a slave owner’s daughter…

“I find that man more repulsive every time I have to see him!” Harsh words from Phoebe Love, a Godly woman with a good and quiet spirit.

“Maybe that punch is doing his talking,” suggests Martha, “we may have put in too much of the ‘recipe’.”

“Pardon me, no, Mrs. Ferrell, but a man who still keeps slaves garners no sympathy from me.”

Most anyone can tell you that when you want to Martha Ferrell’s lamp lit bring up the subject of slavery. A visitor to their Hillside Estate once made the mistake of referring to her servants as slaves. ‘I beg your pardon, but our people are paid employees and are free to leave any time they choose, though none have. And furthermore we have people of all colors come to our farm and our store seeking work nearly every day, but we cannot hire them all. We keep them on a list and if a position becomes available, the most qualified person gets the job.’ You’ve been warned about getting her started on the subject of slave versus servant. This has been a condensed version on that theme. 

Martha maintains her relative decorum, the time and place not synchronized to withstand her usual ardor, merely stating, “I am going to ask that lout to leave!” decorum with an edge.

“You cannot un-invite people, dear,” insists her husband.

“And I do not want my son courting a slave owner’s daughter!”

“You cannot undo the affairs of the heart,” he reasons.

“I will be his undoing, mark my word!” The flushness of her face is masked by her overly rouged cheeks.

Herbert Love takes the flustered Ferrell aside to confide and comfort her. “You can be assured that there are many folks of like-mind with you.”   

“But I…”

“…of like mind with you, with the will and the power to do something about it.”

      “Are you from that vigilante gang about which I have heard and if so, can I join you?”

“Vigilante is a harsh term, Mrs. Ferrell, but we will be in touch with you. I would keep the night of 4 October and the following morning free.”

Masked by the merriment, secrets, whispers and strategies are discussed as “The Band Played On”.


Alpha Omega M.D.

Episode #37


page 35 (end Ch. 2)

Alpha Omega M.D. – Episode #35

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Alpha Omega M.D. – Episode #35

 The Boston Pops is playing the Summer Cotillion, an eleven year old offshoot of the Boston Symphony, renowned for their diverse repertoire…

Perhaps the most foresight is used in the choice of music for the highbrow occasion. Early opinion is running unanimously boffo, irrespective of age or gender.

 The Boston Pops is an eleven year old offshoot of the Boston Symphony, renowned for their repertoires, of everything from popular songs such as, “A Hot Time in the Old Town” and, “When the Saints Come Marching In”. Partygoers can waltz in 3/4 time to Strauss the Elder or croon: ‘and you look so sweet on the seat of a bicycle built for two’. They are here in Florida to entertain town folk.

One of the late arrivers to the festivities are Herbert Love and his wife, Phoebe. They are most known for their philanthropy, not the socialite scene, but in this case, their presence is necessary nonetheless.

xxx

“Why I do declare, are you not, Mayor Quincy from Love County?” inquires a misguided resident of the planet Florida, whose navigation is clouded by the early influence of Grandma Ferrell’s spiked punch.

“Yes I am,” he confirms. The woman just happens to scramble the particulars inside out.

Martha and John happen to see the Loves make their appearance, with its inauspicious beginning and act to rescue them from further embarrassment.

Love Dairies2-001“Please excuse us, Miss Millie. Mayor Love needs to sign the guestbook.”

“Don’t you mean Mayor Quincy…?”

They whisk the Loves away. Mission accomplished.

“Many thanks, John, Martha. But, I hope you have a tamer variety of punch.”

“Oh my, yes,” assures Martha, whose intention was not to turn the Cotillion into a saloon free-for-all.

“That milk-in-bottles is selling like hot cakes, Herbert. In fact, we would like to raise our order by full case at each store each delivery,” requests John, representing Ferrell Groceries three markets, intending to carefully change the subject.

“I told you that as soon as we could keep it cold enough, milk would be available for purchase at stores.” It is plain to the most casual observer that these two excellent businessmen are on the same page. Integrity and innovation are words that come to mind.


Alpha Omega M.D.

Episode #35


page 33

Constance Caraway P.I. ~ Episode 234

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Constance Caraway P.I. ~ Episode 234

… In Comiskey Park, Billy Graham is on his knees, speaking directly from his throbbing heart…

How could any human being possibly explain (describe) or explain (clarify) what had just transpired. What started as Communion among believers (lots of) concludes with an experience that contains more questions than answers (???).

Present him a lame child, share a tale of terminal disease, bemoan a broken marriage; any of those is a walk in the park. In Comiskey Park, Billy Graham is on his knees, speaking directly from his throbbing heart, “Not everything that happens can be understood by man. What you have experienced tonight has not been staged. I am as stunned as you. But there is one thing you must understand about God; with God, nothing is impossible.

“You are going to go home to your families and tell them about the weird things that happened, on the way to revival. Just know this: you will never see anything like this again… until the Messiah returns to Earth to take us believers home with Him to Heaven.

“IF… if you have not made that critical decision to follow Christ, please come forward tonight; come to the altar of God to claim your eternal salvation! There will someone here to pray with you.”

Just as I Am, a hymn written by William Bradbury – lyrics from Charlotte Elliot, with George Beverly Shea and his bellowing baritones reciting the many verses in song:

Just as I am, without one plea,

But that thy blood was shed for me,

And that thou bid’st me come to thee,

O Lamb of God, I come, I come!

 

Just as I am, Thou will receive,

Will welcome, pardon, cleanse, relieve;

Because Thy promise I believe,

O Lamb of God, I come, I come.

 

Just as I am, Thy love unknown

Has broken every barrier down;

Now, to be Thine, yea, Thine alone,

O Lamb of God, I come, I come.

And so, without fear or compunction, fully one-third of those left standing or able to walk, come forward to the altar call. They have chosen a new path, a path that is lined with A Father’s Love.


Constance Caraway P.I.

Forever Mastadon


page 197 (end Ch. 20)

Constance Caraway P.I. ~ Episode 193

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Constance Caraway P.I. ~ Episode 193

…There is a song that is crying to get out, so sing along or just hum about…

Karaoke-001

For the night of March 12th 1951 and into most of the next day, Pentateuch is reveling in the wickedness done by his bidding. It does an evil heart good to see the suffering that he has extended throughout the newly evangelized faithful, though most damage is superficial; lives made miserable merely because they came to hear what they are told is the way, the truth and the light.

Now, after the night of mayhem, these inspired hopefuls are left wondering if or when the other shoe will drop.

Penty’s true victories are few and transient in nature; just when he thinks he has triumphed over good, some sort of redemption enters the person’s life to spoil it. There is a “ringer” involved in any particular lifetime equation and it is related to salvation. The only chance that the enemy of salvation can win is if a person hears the Word and renounces it and even then a soul can be delivered, right up and until they are taken from this life.

In the meantime, it is ya-ha time for the Dark Deceptor, who is determined to counteract all that Graham nonsense, especially any of anything to do with that deception-busting Libby; that devious on-worlder that pretends to be dead, to the point of faking a funeral for crying out loud.

Penty almost always loses contact with a departing soul that reaches the Great Beyond (in good standing) with the Divine One, so how was he to know that Willard and his sidekick Martin was were still alive?

Agent Daniels/Jesse James/Cephus is another story. He cannot put his finger-out just how and why he can’t put his finger on him.

There is a song that is crying to get out, so sing along or just hum about:

‘Has anybody here seen my old friend Willard? Can you tell me where he’s gone? He’s freeing a lot of people, but it seems the good die young, you know, I just looked around and he is gone…

‘Has anybody here seen my old friend Martin? Can you tell me where he’s gone? He’s freeing a lot of people, but it seems the good die young, you know, I just looked around and he is gone…

‘Has anybody here seen my old friend Jesse? Can you tell me where he’s gone? He’s freeing a lot of people, but it seems the good die young, you know, I just looked around and he is gone…

‘Anybody here seen my old friend Cephus?

Can you tell me where he’s gone?

I thought I saw him walkin’ up over the hill

With Willard, Martin, and Jesse…’ 

All Rights Reserved ®: Dion and the Belmont’s ™.


Constance Caraway P.I.

Abraham Martin John

Forever Mastadon


page 163