
It is was our Saturday ritual, and it always occurred the week before a gig. Tom's band Luna Madidus is playing next weekend at the Portland club Blue - we were headed down to the city to poster. I loaded the 8x10s, thumb tacks, staple gun and a roll of tape into a canvas tote. Tom drained the dregs of the coffee pot into his travel mug and took the helm.
One minor adrenaline rush occurred a few miles into the trip when we realized the dashboard "Gas!!!" light was on. Neither of us could remember when it had popped on - was it pulling out of the driveway, or yesterday during the 50 mile work commute? We swung into the first gas station we saw. While Tom gave the car a much-need drink, I squeegeed a week's worth of insect road kill from the windshield and front headlights. Washed and fed, the Subaru made good time down the interstate and we pulled into the Portland's Old Port in about 90 minutes.
We traversed the city blocks between Commercial and Congress streets like a pair of blood hounds, sniffing out prime poster locations on light posts, store windows and community bulletin boards. There is an unwritten rule about postering. NEVER stick your poster over another poster with an upcoming gig. Bad mojo will ensue. However, posters of gigs dead & gone, and ads, even highly-descriptive escort ads, are fair game.
There is a visceral joy in the loud chunking sound a staple gun makes when driving a thick staple into a well-upholstered piece of plywood. I hogged the staple gun, and left Tom the thumb tacks.
Ninety minutes of walking, scouting, sniffing and chunking had me weary and on the raggedy edge of cranky. We finished our trek outside of Blue where Tom slid an envelope containing additional posters under the locked club door.
Looking up, Tom spotted it - Enterprise Records. Walking into this small store with cream colored walls, we were greeted by Rita Moreno teasing her way through the lyrics of "America".
As if pulled by an invisible bungee, Tom immediately strode to the Jazz bin. He then became non-vocal, staring and flipping. Soon, two other men strolled in and also began to wordlessly flip. Standing alone in the Ethnic music section I looked over and noticed that all three had assumed the same position. They each stood squarely in front of their bin, shoulders rolled forward, eyebrows furrowed, fingers rapidly flicking through albums. Their heads were held slightly down and forward, in the exact position as if each were holding an unseen apple under his chin.
I rifled through the Ethnic albums but found no Lomax. I turned to peruse the shelves of classical when I saw it. In the library-esque hush of the record store, I shrieked. Three heads heads jerked up, apples soundlessly thumping to the floor. Grinning, I held my prize aloft.
"If I wasn't allowed to buy the Nimoy, you do not get the Monkees".
"But I just helped you poster!"
"For that, I buy you lunch. But not the Monkees".
And he did buy me lunch, at our favorite pizza place by the water in Old Port. Sitting side by side on tall stools at the bar, we split a large carmelized onion and calamata flat bread while watching the ferries maneuver in and out of the pier.
Records purchased:
Charles Mingus "Live", 1960
Ahmad Jamal "Happy Moods", 1960
The Charles Lloyd Quartet "Journey Within", 1967
The Charles Lloyd Quarter "Love-In", 1967