Steve Mork, vocals, jug, bass, in the PH PHactor Jug Band. Photo taken by Herb Greene at the wall in Herb’s studio. This photo is part of the band’s archive.

Girl magnet, musician, farm boy, literature major, veteran of the US Army, vagabond, taxi driver, gregarious, well-loved, divorced, re-married twice, at least three kids and many g-kids. My friend, lover, playmate, housemate, funny, easy-going, hard-working. I was lucky to have reunited with him via email the last four years of his life, twenty-five years after our parting words that hadn’t been unfriendly. I simply had to slip out from under his shadow to find myself.

Our youngest daughters are the same age—we traded parenting tips. We learned about each other’s families, lives, and what was right and what went wrong with our together time which lasted four years 1964-68. Though we couldn’t be a family, Steve went on after me to find religion (Yogananda) and love. He was his same old self at the end, but secure in his faith, happily reunited with children and family.

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For Lois Who Read Me The Li-Young Lee Poem

photo by Merimee

by Merimee Moffitt

That bright day toronjas not lemonade

fifty cents each, large and lumpy

picked from a Grandpa’s yard in Arizona

bursting with sweetness out of this world.

Remember the Hood River peaches hanging over the fence?

We rollicked in juice and hungry luck that day.

Ran across the fifty-years-ago highway and jumped into the Columbia

bobbing like fruit in a wash barrel.

And the day you parked your truck under the Bings

in that old filling station lot on the back road to Eugene?

I climbed atop the cab filling the looseness of my blouse

or was it my full skirt, with cherries so ripe,

so imperially rich, you sat fidgeting, beautiful you,

your chambray sleeves rolled up

afraid it wasn’t fair to get so much so easily,

you who grew up on a farm, knowing the cops hated

your hair and face and perfect body, hated my attitude

that we could take what we wanted as if the fruit gave permission.

The cherries were all we’d eat that day, living entirely outside the law.

 

And fifty years later, it’s grapefruits from Arizona

sold by darling girls, their brothers standing with toy swords

to protect them should la Migra happen by.

We can barely believe our good luck at these

golden globes of champagne-colored fruit, sold by

the children who believe in and practice protecting

their rights.

“For Lois . . .” was recently published in the Summer  2017 issue of Persimmon Tree, an online mag for, by, and about women 60 and older, in the Short Takes section.

 

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Barefoot John Hendricks in Bearskin Coat

John Hendricks, for some reason, met us on the stoop that morning. Maybe he hadn’t yet moved into the little efficiency on the second floor. John Browne’s pad, also on the second floor, was spacious. The attic even more so, as it happened to have an almost complete hardwood floor, making it possible for two other members of the PH PHactor Jug Band to room just above us, all part of the same rent.  Steve and I had the second bedroom, and gratefully, the pad had one an extra water closet off the entry hall. The place was plain jane fare, but it had a good kitchen and living room and it was home. Eventually, little Greggory Stockert would knock on our door, and we voted him in on the spot as chief kitchen boy, which he suggested, in order to apprentice  to the masters Nick Ogilvie and John Browne.

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Posted in The 60s | 3 Comments

Ben Klein’s book creates a link between the then and the now.

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David Hoffman is the first photo in Ben Klein’s beautiful book Irwin Klein and the New Settlers, photos taken by Ben’s uncle Irwin Klein. The negatives were rescued by Irwin’s brother Alan Klein and recently published in a photo documentary of Counter Culture types tucked away in the hills and valleys of Northern New Mexico circa 1970.

David took a nostalgia tour a few weeks ago with his daughter Iris, and as we’ve been in contact since Ben’s book was released, I invited him to visit on his way back to the airport. We spent a delightful evening and morning comparing notes of our mutual friends and acquaintances, many of them pictured in the Kleins’ photo book. I hadn’t seen David for fifty years! The conversation revealed truths I’d never known about because hippies most often didn’t delve into the past. We were about being in the Now. The tao of hippie-ism was living life fully in the moment.

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Zero Degrees of Certainty

empty swing syndrome

I try to put a lid

on happiness. Someone

said Don’t bank on this

period of sobriety.

Yesterday, you put a good

tire on your daughter’s car

for her to get to

work three hours away.

You notice three

missing lug nuts, and she

follows you to Auto Zone.

The groceries I’d bought

on ice in the trunk. We shopped

so she’d have food because

I could and you

take her

shoe shopping

for work shoes

as a way to be with her.

At goodbyes in the 103 degree

parking lot, you waved to me

two fingers to your lips

a sharp look in your eye

a thank you, and I love you, and

for all this I  knock on wood.

Might as well be building a porch

around the structure of our

family, where we all  hang

out, me with a cane for tap, tap, tapping,

the babies in swimsuits, and hope

tunneling through the whole mess

like an army of angels.

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No Job, No Pay, No Way

photo for La Palabra.a book of poems and photos about our bodies

photo for La Palabra.a book of poems and photos about our bodies

No job, no pay, no way

In spite of

he can’t read in spite of

Roe v Wade

in spite and spit

on his feet,

in spite of feel retreat or kill

in spite of Gloria’s smile

gone south

in spite of we’ve been had

again, the ceiling low enough

to knock in spite of dancing

in high heels

it’s how we’ve been sad

again in spite of her no smile’s

the work’s begun

again and Susan B.

re fracking fucking and getting

bashed, again, in spite of spit

or shit this president

this fakeyumpalous, pretentious man

is not my pres

I choose decline

in spite of elves’ unholy

Never mine. Not now. Not ever.

Not mine.

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I Saw a Tiny Woman

I saw a tiny woman on page one of the Times.

A turquoise scarf holds her flowing hair off the sticky resin she gathers.

Where are her sons? For the magenta-poppies sunset in Mayanmar,

a sole reporter treks to see her.

She stands without a man, without a son.

Her hand grips the bag, the other plucks pods to stuff into her sack.

 

Her joyous clothing belies the effect on our side of the globe.

As the poppies disrobe, they drip their amber juices.

Stripes on her bag tie tightly to her waist, the colors

of the earth and orange-gold poppies, her open-necked shirt

reveals burnished skin.

 

Her family used to grow for medicine: stomach aches, accidents,

but they too, have sons smitten to shards of themselves,

laid waste by the needle, the smoke of the resin, powder defiling the nose,

love shrinks back to the size of a seed.

The flowers open and propagate medicine that banishes pain.

Grown on hilltops, one small , qne tiny packet inside a pillowcase will feed her family for a year.

.

The tree-dotted fairy-land rolls to the edge of the earth.

The hills are quiet as men come for bribes pushed into fists.

Trades are made. High stakes for high grade dope from

the Golden Triangle into which our children disappear.

“Heroin,” you said, “is the drug I’m afraid of.”

And your anger rose and swept you away in a stream. I miss your smile.

Your son asks if I’ve seen you; we are partners in missing you.

 

Your small notebook sits by the phone.

Neat entries of names, numbers, and debts

You protected us from your compelling

need to use, took your business elsewhere.

You have covered your power with rags,

laid siege to your sanity. The pretty girlfriend,

one or both of you may wake up alive.

Which cruel world are you hiding from or in?

And your son? And your daughter?

 

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Expecting Him Home That Day in Some Kind of Recovery

I resorted to hippie-ism and all that

morning I baked bread.

The dough puffed up like a big pliant sponge,

alive and rising in the warm kitchen sun.

 

I let my hands guide me through shaping loaves

then rolling out and up into crescents,

sprinkled and smeared with butter and

sugar and raisins, sliced thick

and laid loosely in buttered pans;

they baked to a worthy product,

doubled again in size and lightly browned.

 

When cooled, the glaze would be drizzled

into ribboned hieroglyphics, the DNA-looped

swirls of mother love.

Secret messages from ancient bakers

coded the delicate rolls.

 

The scent of their baking filled the house for

hours and hours. When he arrived, my little dog and I

cried; and he, happy to be so missed, commented

on how good it smelled. Both of us dismissed

the memories that might have haunted us, the times when

the dog did not do flips of joy, when

I had nothing beautiful I could do or say.

 

 

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Oregon Beach Town 2016

At 13, I smoked in the California sweet shoppe bathroom with the older girls.

My sister’s friends called me Volup Bear, and mother loaned them her car.

Pebbles spun as two boys raced down the dark hill, wet night glittering

up the other side. I knew enough to get the car driven home.

Nothing to prevent these rites of passage, even stealing beer

from my father’s men’s club pool, even guzzling a fifth of whiskey.

 

At the beaches and rivers on my belly in hot sand, I tested the power of cleavage.

Ecstacy a set of doors, beckoning.

In the forest at home, my brother was selling smoke by smoke

Mommy’s Marlboros; his leukemia came when we moved to Oregon.

The tumbling of this scaffolding surprised me when I awoke;

friends gone, house gone, just sooty skies and snotty, Oregonian kids.

 

Still like that; my son can’t quit smoking, his girlfriend too.

The grandson swears he’ll never start, but addictions lurk like fish.

Next time I visit Oregon, winter months will rule the tsunami zone;

waves big as apartments, in my dreams my father’s hand reaching out.

My sister assures me I am welcome in her toy town with one of everything.

We could die together; it’s heavenly in the zone; we never turn our backs on the sea.

Then there are the feral people in forests on the hills wherein lie houses with hydrangeas.

The ferals descend and nod, just like everyone else. Every day a beach holiday, she says.

None of us, she says, go far into the forest alone. Their home is our escape from the zone.

The towns’ people smile and talk and greet as if long-time students of Mr. Roger’s.

I return to a thoroughfare designated mine, tumbling waterfall days.

My people, watermelon sunsets, my luckeee oasis in the city.

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Back-cover info on Free Love, Free Fall: Scenes from the West Coast Sixties

Stephen, Merimee and Paul at Panhandle ParkMerimee’s stories slip readers into the times that were “a changing,” the time between beatniks and hippies and then some. The settings follow a winding path from San Francisco to New York City and back to the farm factories in eastern Oregon. The young couple, vagabonds on the road, give a glimpse into pre-women’s lib society and the musicians and sadhus looking for love and life beyond the inelegant, patriarchal norm of the fifties. Free Love, Free Fall is a must for those who are curious about how it really was, at least for this author, and for anyone who also was there, in that time, living through social upheaval and creating it on a day to day basis.

A trip to the Red Dog Saloon in 1965 starts a journey of music and musicians in the Haight Ashbury and life without an instruction book. Merimee’s stories embody the themes of the times: Make Love Not War, No Hope without Dope, Be Here Now, and—surprise!—Peace and Love. The PH Phactor Jug Band makes a not-so-profitable career move to Portland in the Summer of Love, resulting in an end to the relationship that had become too entangled with the detritus of the music scene lifestyle.

Eventually, Merimée flees Portland following friends to New Mexico where she falls in love with the land and the culture. The loosely linked stories don’t tell it all and readers may wish for more where these came from. Lets hope she keeps producing the sketches that piece together an era and a lifetime. Dealing with instability and a child, the young mother begins to let go of her free-spiriting and takes on the serious task of sole breadwinner in the beautiful town of Taos, New Mexico. The stories create a coming-of-age tale in the counter culture, an awakening, and a readiness to move on.

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