by Christopher Bacas
I left a Texas college somewhere between my Sophomore and Junior years. My body and saxophone continued to attend for another year and half. Degree requirements unfulfilled, I eventually packed and left with some South Carolina buddies, padding my stereo and lps with tangled knots of dirty laundry. High on speed, we drove sleepless; taking a stealthy moonlight swim in a motel pool en route. After dumping stuff at my parents' house, we rolled on to New York City, then in its' early 80's menacing, funky glory. Greatness poured out of musicians everywhere, as Steve Wonder says "Jus' like I pitchered it". I was only visiting, though. It was all too scary.
Back home in Pennsylvania, I practiced for the big leagues. A new local eatery, with a Vonnegut-inspired name, featured fine local musicians. I went by to sit in. A trumpet player, mostly legit guy,played as well; having fun after his lawyer day-gig. He noticed the shaggy tenor player blasting away with schoolboy enthusiasm. After talking down our city (as if I didn't know it was backwards), he encouraged me to join the Musician's Union and take advantage of their bookings. They could swear me in at the next meeting.
The Union office sat between a hat shop and barber on the town's western-running main drag.
Its' interior, one large room with beat-up office furniture and framed band photos. Our local hung tough as gigs, dues, and membership declined. Its' crown jewel, a community band, once led by Music Man-monikered Elwood Sprigle, remained strong. I introduced myself to the secretary, who smiled sweetly when told I attended the city high school. As the folding chairs around me filled, I barely looked up. The men, my father's age or older, ignored me. Roberts' Rules brought the meeting to order. After sad, monotone reporting on finances and the many bars and clubs using non-Union bands, the floor went to the business agent.
