{Irruption}: an invasion of birds in unusual places

Tag Archives: Mustang Sally

Artwork by Tara Hufford Walker

Artwork by Tara Hufford Walker

Side One

In 1973, I graduated from Dodge City Senior High, home of the Red Demons. My hometown, viewed through a skewed lens of Hollywood-based thematic structures, was much more than a town filled with Matt Dillon wannabes, girls named Dorothy, and tornadoes. If you haven’t heard, read, or said “get outta Dodge” in your life, well, you aren’t paying attention. Some of us did leave Dodge City when we were younger, but many of us returned for weddings, funerals, and reunions. Since I had never been to a reunion, I recently decided it was time I got outta Michigan, where I have lived since 1977, and join the party. Although I had mixed emotions about returning to Dodge City, I looked forward to spending time with friends and reconnecting. As it turned out, music would play a pivotal role in my reaction to the weekend’s events.

Our reunion, billed as “40 Years of Peace and Love,” promised to be a spectacular party with the main events held at the Dodge House. The reunion committee, Jon Jambor, Jeanne Beilke, Micki Holladay, Rachael Livingston, and Cindy Day, worked tirelessly for over a year to create our three-day event. Along with all of the seventies-style memorabilia as table decorations, the seventies were also artistically represented by classmate Tara Hufford Walker’s 48″ x 48″ acrylic on Masonite reproductions of album covers adorning the walls.

Artwork by Tara Hufford Walker

Artwork by Tara Hufford Walker


Each piece, part of a silent auction during the evening’s festivities, would find a new home before the night’s end. On Friday night, we had a meet-and-greet, and on Saturday, the day started off with a golf outing, followed by a wine-tasting event. Saturday night began with dinner and conversation before Birth, our band from junior high and high school days, hit the stage. What better way for the class of 1973, a product of the seventies and its strong musical influence, to celebrate.

As Birth took the stage and began playing the unmistakable chord progression from “Smoke on the Water,” it seemed as if we had travelled back in time to those angst-filled teenage years. By the end of the first verse, I could hear the crowd singing along: “Smoke on the water…fire in the sky.” People started dancing, but I stayed in my seat near the stage and listened. I had this overwhelming sense of nostalgia and sadness, but I couldn’t figure out why.

To quote Dorothy from The Wizard of Oz, “there’s no place like home.” But what was home for me? Was it the house I grew up in, the neighborhood now run-down and a place that would break my father’s heart if he were alive to see it? Or was my house in Michigan where I now lived, with its display of photographs and memorabilia of growing up in Dodge City, my real home? What exemplifies the concept of home? What role does the town itself play in one’s sense of belonging? Why was a song like “Smoke on the Water,” creating such angst in my rock-n-roll state of mind? My geographical markers seemed as if they had been hit with a flare gun. I felt as if I were returning to family, albeit a symbolic family, but nevertheless, a small part of a larger group of people I hadn’t seen in forty years.

As I began to make this connection, Birth walked off the stage after their first set, and classmate Linda Schnitzler Hungerford stepped up to the microphone. She read a poem dedicated to our deceased classmates. As she said their names, family members of friends stepped up to the microphone and said a few words to honor his or her loved one. Although the memorial, somber and funereal, created an awareness of our own immortality that perhaps had not been felt until that moment, it would be another classmate who would help us move from our sense of loss back towards our celebration.

Judy Neves David had heard Linda discussing the memorial on Friday. Judy, now a resident of Baton Rouge, Louisiana, suggested a “New Orleans tradition,” using a bit of “poetic license” as a way to segue back into Birth’s music as they began their second set. After Judy’s brief introduction, the song “Second Line” erupted from the sound system. Judy, taking the lead with a purple umbrella that would become our talisman for the rest of the evening, led a group of us through the crowd, dancing and tossing Mardi-Gras style beads to classmates seated at their tables. Other classmates jumped up and joined in. By the time the music ended, our “Second Line” had shifted our sadness into joy as we remembered the friends we had lost. And with that, Birth climbed back upon the stage and broke into an old familiar tune: The James Gang’s “Funk 49.” We moved from funk to funky in a short amount of time.

The night went by far too quickly. As the band started its final set, Birth’s guitarist and vocalist, Lewis Mock, strummed his acoustic guitar as he led us into Don McLean’s “American Pie.” According to McLean’s biographer, Alan Howard, “’American Pie’ is partly biographical and partly the story of America during the idealized 1950s and the bleaker 1960s.” Additionally, Howard says that “by 1971, America was deeply troubled. The Vietnam War was out of control.” In 1955, when I and most of my classmates were born into this idealized version of America, we could not have foreseen the changes in America that would take place before our 18th birthday and our graduation from high school. We had to rely on our parents, the nightly news, and, most importantly, our local radio stations to give us a perspective of the world we could only imagine. And it was through these radio stations and local bands that we began to make sense of our lives as we either stayed in Dodge City or left town in search of something else.

And here we were, a group of us on the dance floor singing and dancing to the music of Birth and Don McLean as if 40 years had not gone by. Although it seemed as if no one could remember all of the words to “American Pie,” we filled in the blanks for each other. The song turned into a giant sing along with some dancing thrown in. Many people spread their arms wide at the refrain “this will be the day that I die” as if it just might happen. It was as if this symbolic family had come to pay its respects to the past, the present, and the future. Not only had classmates joined in during other songs as the band played, but we engaged in what Daniel J. Levitin refers to in his book The World in Six Songs as “individuals who could bond into groups for the purpose of collective action” (183). Levitin further suggests that “something special happens when a group starts to sing together—something extraordinary” (182). Birth may have been the vehicle for our “collective action,” but friendship and our love of music seemed to take on a life of its own.

Later, I told a friend that our reunion, billed as “40 years of peace and love,” was so much fun that it should have been illegal. I’m not sure what I really meant by that statement, but I know that when my roommates for the weekend, Gretchen Leonard Steffen and Susan T., and I drove by my old house on our way out of Dodge City, I remembered one warm and windy Kansas day when I was inside that house and used music as way to argue with my mother without actually speaking to each other.

Our war of the stereos consisted of Tom Jones “What’s New Pussycat?” on her stereo in the living room, and in my room, a mere thirty feet away, I dropped the needle down on Led Zeppelin’s “Dancing Days.” As Jones’s and Robert Plant’s voices clashed in midair somewhere in the kitchen, I smiled when my dog, Charlie Brown, barked as if in recognition of the collision of sounds. I turned off my stereo and went outside with Charlie, and as I glanced up at the kitchen window, my mother waved at me. We both knew it would not be long before I would head out of that door one last time and into my future. Indeed, several years later, my mother would watch me pack my most important possessions, some clothing and all of my albums, into a black army trunk as I prepared to move to California. The Kansas wind, relentless as always, blew through my bedroom window that afternoon, creating an almost elegiac symphony for the last day I would ever live in the house I grew up in.

As Gretchen, Susan, and I drove down the dirt road I grew up on and headed out of Dodge City, I realized I was not ready to leave. I felt as if there was something I had left behind or as if I had forgotten to do something essential while I was in Kansas. Perhaps that is why we stopped at my grade school. As I stood in the doorway that led into the gym, I felt as if ghosts were lining the hallways waiting to remind me of the stories that took place in this building where I spent my days from first grade until 8th grade. But I heard nothing, so I stepped back outside where my friends waited patiently for me. I felt the Kansas wind against my skin, and I swear there was music in it if only I would listen.

Side Two

Photo provided by Jon Jambor

Photo provided by Jon Jambor

Birth, comprised of keyboardist Chris Cave, bass player and vocalist Jon Jambor, guitar player and vocalist Lewis Mock, and drummer Bill Warshaw, formed around 1966/1967. According to Lewis, Birth’s name grew out of artwork he had been working on, and “it was more about something being created than the actual birth of a baby. The bloody logo (which [their] mothers hated) symbolized the blood and sweat involved in the creation of something.” Their first posters, based on “artwork and lettering from the Fillmore concert posters,” included the logo along with a ‘drip’ of blood coming down from the bottom of the word ‘Birth.’” Their mothers were charged with the task of taking their posters to the printer and had the drip of blood removed. When Mock confronted his mother, she said, “‘you’ll never understand until you have given birth.” As it turns out, mothers would influence more decisions regarding the band.

In their original formation, Robin Spencer, now deceased, had played guitar with the band. According to Jon, Robin’s mother was responsible for the band getting together, and she even lined up gigs for them. Birth performed at talent shows, birthday parties, and the Elks club, and eventually the band started renting venues. For a birthday party held at the Spencers’ home, the band “borrowed all of the equipment from Friar Tuck and the Monks,” a well-known band in Dodge City.

The dynamics of the band shifted after an event at the VFW. According to Lewis, the “VFW was the end for Robin. Banned from Birth by his mom.” Robin, Jon, and Bill’s older brother Eric, decided to visit Goddard’s Billiards after the band played at the VFW. Jon said that Goddard’s was about to be “razed for ‘urban renewal,’” and it seemed as if “it would be a pretty good idea to empty out its cabinets of the chewing gum and tobacco…since it was unlocked and going to be torn down anyway.” Unfortunately, the police caught on to this, and were waiting outside to greet the young men. According to Bill, Eric’s punishment was to get a job. Eric found a job as a disc jockey at KEDD and eventually moved to KGNO. Eric passed away in 1994.

As Birth forged ahead with its new configuration in the late sixties and early seventies, they played gigs at teen dances held at Fort Dodge, various churches, the Elks Club, Kitty’s Kitchen, the Demon’s Den, the Warehouse, the Bandshell at Wright Park, and the VFW. As Birth’s popularity grew, they continued improving their musical skills although as Jon says, “[they] made three times as much at the concessions stand than they made at the door.” Since they also lacked transportation most of the time, classmate Micki Holladay became their “transportation captain.” The band had a lot of heavy equipment, and Cave remembers when they had to “cut his Hammond Organ copycat in half, leaving the bass pedals intact” so that it could be loaded into a truck with the use of “a refrigerator dolly.” Whatever it took to get to a gig, the members of Birth did it.

Photo provided by Jon Jambor

Photo provided by Jon Jambor

According to Chris, the band members were “the best of friends,” and he says that they were “fans of the Beatles and started a Beatles club.” Jon says that Bill was a “member of the CBS Record Club and got all of the good albums. So many great songs, and [they] wanted to play them all.” Bill remembers “being asked to bring [his] drums over to the Cave’s house to fill in for Rod Mitchell. ‘Midnight Confession’ was the first song” that he learned. Jon says they played “Midnight Hour” and “Mustang Sally” because “they were the tunes that the big kids (e.g. Skip Cave) played and since they needed songs to fill their sets, they went with what they knew. According to Lewis, “Kick out the jams mutha@#%%^^^&&**(*!!!!!” became one of their songs, and Jon says “it was a song [he] sang with an obscene intro, and quite a bit of fun to yell out at dances [they] held at church facilities.” Not only was the band having fun, but Birth’s fans were also enamored of the guys in the band. Jon shares the following perspective from one of the band’s groupies who chooses to remain anonymous.

She states: “From the perspective of the small town girl…Birth was our local, home grown rock stars. All the other community dances had records to play, but there was nothing like having [the] guys up in front playing live. Just thinking about how everything was changing around us as a generation…all we are saying is give peace a chance…if you can’t be with the one you love, love the one you’re with…and then there was Woodstock and Viet Nam, and we all changed except for men like my father. They were the Archie Bunker models that were afraid of the changes. Birth was our glimpse of the world beyond 50 highway. We loved [them] because [they] represented something beyond Boot Hill and wheat fields. I really enjoyed the practice sessions and all the teenage angst. All the girls loved [the members of Birth] and I liked being one of those girls. It made me feel special.”

Anonymous has it right. We loved the music played by our local bands, and Eric Warshaw’s voice on the radio as he played requests from giggly girls calling in from the Kwik Shop. Yes, I was one of those giggly girls. Music fed our souls in a way that parents, teachers, and preachers could not come close to fulfilling. For our 40th high school reunion, it seemed as if we had taken a step back in time, and Birth played songs that mattered to us during our younger years but seemed to matter even more forty years later.

Q and A with the members of Birth:

What is your current job?

Lewis Mock (Colorado Springs, Colorado): I am a full-time musician. I am the bandleader at the Tavern at the Broadmoor. For twenty-two years I was also in private practice as a Doctor of Chiropractic, and for ten years was a professor at the Colorado Springs Conservatory where I taught musicianship to young people of all ages. Throughout all of these years of teaching and practicing Chiropractic, I always was playing music. (Please see the attached Mock Bio.)

Bill Warshaw (Dodge City, Kansas): Right now, I am newly retired. I still haven’t gotten used to it. I sold liquor, beer, and wine for a distributor for the last eleven years.

Chris Cave (Dallas, Texas): I work for myself. (Please see http://www.ccave.tv/ for a full description.)

Jon Jambor (Lawrence, Kansas): President, Kennedy Technology Group. (Contact info: kennedy@cellset.com.)

Are you in a band now?

Mock: As I said above, I’m the leader of the “World Famous Tavern Orchestra” at the Broadmoor Resort in Colorado Springs and have been there for almost 22 years. I have also performed as a sideman to Grammy Award Winner, Suzy Bogguss, and recording and Broadway star, Maureen McGovern, as well as Emmy winner, singer/songwriter, Jim Salestrom, and recording artist Nelson Rangell.

Warshaw: No, just Birth.

Cave: Yes. http://www.jumpbilly.com/

Jambor: No.

What musical moment at the reunion meant the most to you?

Mock: My favorite memory of the reunion was playing again with Birth.

Warshaw: I think it was watching people get up and dance with big smiles on their faces. Also, “American Pie,” even though we had never played it before.

Cave: When it was over. Pressure!

Jambor: Bill’s drum solo on “In-A-Gadda-Da-Vida.”

Will you be playing at our next reunion?

Mock: I don’t know for sure about the next reunion.

Warshaw: Sure thing. Looks like we will be playing next summer at the class of 1974’s reunion. The whole thing was such a blast, and it is just easy for me to play the drums when surrounded by such great musicians.

Cave: I don’t think anyone has committed yet.

Jambor: “You better believe it, baby!”

Photo provided by Jon Jambor

Photo provided by Jon Jambor