On Christmas Eve, TBS will again present its annual 24-hour marathon of Bob Clark's modern classic, A Christmas Story. Wrapping presents while watching Ralphie pine for a Red Riding BB gun has become a holiday tradition as beloved and durable as candy canes and eggnog. Yet the author and narrator of A Christmas Story, Jean Shepherd, had a deeper legacy of enchanting, subtly barbed storytelling as a longtime voice on nightly radio. In this piece from December 2008, Steely Dan co-founder Donald Fagen recounts growing up in suburban New Jersey enthralled by Shepherd's radio show.
Because Shep made it clear he was just as dazed, enraged, and amused as you were, that he noticed what you noticed, he established himself as one of a handful of adults you could trust. (Others were Mailer, Ginsberg, Vonnegut, and Realist publisher Paul Krassner.) Night after night, Shepherd forged the inchoate thoughts and feelings of a whole generation of fans into an axiom that went something like: "The language of our culture no longer describes real life and, pretty soon, something's gonna blow."
Toward the beginning of the show, Shepherd frequently read news clippings that listeners, his "spies," had sent in. These were mostly odd little fillers he called "straws in the wind," indicators of the prevailing mood. Once I mailed Shep an article from our local Central Jersey paper about a guy who, after being fired for some petty infraction, got loaded and tossed a Coke bottle through every store window in the local shopping mall. A couple of nights later, I'm listening to the show and Shep does his usual bit: "So, this kid sent me a piece ..." and ACTUALLY READ MY CLIP ON THE AIR! Wham: I had connected. My life as an independent consciousness had begun. I remember scurrying down to the "TV room" and announcing this amazing event to my parents. Having always considered both Shepherd and my uncle Dave to be half-cracked, they were greatly underwhelmed.
As grateful as I am that Shep was there for me during those crucial years, my idealization of Shepherd the Man was not to survive much longer. In December of 1965, I came home from my first year of college for Christmas break and noticed that Shepherd was going to be appearing at nearby Rutgers University. On a frosty night, I drove my used Ford Galaxy to New Brunswick, where I sat on the floor with a congregation of Rutgers students and watched Shep walk into the spotlight to enthusiastic applause. He had neat but stylishly long hair and was wearing a green corduroy sports coat with the collar up over a black turtleneck T.
Onstage for almost two hours, he had the young audience in his pocket from the downbeat. But, for me, something wasn't right. On the radio, speaking close to the mic, he was able to use vocal nuances and changes in intensity to communicate the most intimate shadings of thought and feeling, not unlike what Miles Davis could achieve in a recording studio. Live onstage, he spoke as though he'd never seen a microphone in his life, trying to project to the back of the room. Moreover, he blared and blustered like a carnival barker, as if he had the scent of failure in his nostrils and was ready to do anything to get the crowd on his side. It was obvious that the guy I thought was so cool had a desperate need to impress all these people, whom I assumed to be casual listeners at best.
In truth, even at home, listening on the radio, I'd noticed a strain of grandiosity creeping into Shepherd's routines. Apparently, he'd originally come to New York with the idea of being a stage actor or making it big on network TV. But it's easy to imagine mainstream producers and network execs being put off by Shepherd's contrariness and intrinsic marginality. Supposedly, when Steve Allen retired as host of The Tonight Show, he'd suggested Shepherd as a replacement. NBC ended up giving the job to the eccentric but more cuddly Jack Paar. In any case, as the years rolled by, Shepherd rankled at being confined to the ghetto of radio and must have come to see his crown as King of the Hipsters as a crown of thorns.
What I saw that night at Rutgers wasn't pretty. In the studio, his occasional abuse of the lone engineer on the other side of the glass could be seen as the petulance of an artist trying to make things work on the fly. But, incandescent under the gaze of all those kids, his self-indulgences looked more like straight-up narcissism and his "hipness" was revealed as something closer to contempt. By the end of the show, he'd crossed the line between artist and showman and then some. No longer wanting to meet the great man, I left before the reception, scraped the ice off my windshield, and drove home. Anyway, the cool early '60s were over and the boiling, psychedelic late '60s had begun. Shepherd was no longer part of my world.
Not long ago, in the absence of any books, films, music, etc., that seemed to give off any light, I started looking back at some of the things that used to inspire me as a kid, including some of Shep's old shows, now available on the Internet. Hearing them almost a half-century down the line has been a trip. Despite the tendencies I've already mentioned (plus the gaffes one might expect from a wild man like Shep ad-libbing before the age of political correctness), much of the stuff is simply amazing: The guy is a dynamo, brimming with curiosity and ideas and fun. Working from a few written notes at most, Shepherd is intense, manic, alive, the first and only true practitioner of spontaneous word jazz.
I've done a little catch-up research: Shepherd stayed on at WOR until 1977, when the station did a makeover. His books, collections of stories based on the same material he used on the air, sold well. He had a successful career on public television and continued to do his bit on stage into the '90s. And, of course, there was the collaboration with director Bob Clark on A Christmas Story. But I'm sorry to report that the narcissism thing kept getting worse as he got older.
Like a lot of fine-tuned performing artists, Shepherd increasingly exhibited the whole range of symptoms common to the aging diva. He became paranoid and resentful of imagined rivals, whether they were old ones like Mort Sahl or upstarts like Garrison Keillor. At the same time, he disavowed all his radio work, claiming that it was just a temporary gig on his way to some fanciful glory on the stage and screen. He even seemed to want to kill off his childhood, insisting that all those stories and characters were pulled clean out of his imagination. Old fans, for whom he had been almost like a surrogate father or big brother, were often met with derision when they approached him.
He didn't drink himself to death like his pal Jack Kerouac or OD like Lenny Bruce but gradually succumbed to that very real disease of self-loathing and its accompanying defenses. Disappointed in the way the world had treated him, he retired to Florida's west coast and died in 1999.
Although Shepherd almost never divulged details about his private life, he wasn't shy about giving us a bit of unflattering self-analysis, as this fragment of a show from 1957 attests:
Protective coloration is extremely important in our lives. ... [W]e are in the weeds all the time because we find it better down here in the weeds. ...
Look at me. ... I am not at all what I appear to be. ... [T]his is merely a mask ... that more or less covers up the real me that's underneath. The real me is a saber-toothed tiger. I couldn't dare go down the street the way I really am. I'd get shot in five minutes. They'd have me in a wagon with a bunch of Doberman pinschers.
To an adolescent back then, long before a therapeutic vernacular had entered the language, this was reassuring news. It's possible that Shep's greatest lesson to the gang wasn't just "things are not what they seem" but rather "things are not what they seem—including me."