South Dakota is full of roadside attractions, advertised with tempting billboards that tout the wonders of the Prairie Dog Town, Wall Drug, The Dinosaur Park…it goes on. As children, the three of us were whisked past one after another, with a parent issuing the dismissive, “It’s a tourist trap,” whenever one of us begged to stop.
This did not stop us from begging.
Both my mother and my birth father were born in South Dakota in the 1930s. No doubt they were repeating the highway mantras of their own childhoods. I doubt it would ever have occurred to my grandparents to stop at some dusty place on the prairie. The Depression and wartime budgets of the Odlands and the Zwebers didn’t include spending good money to see tunnels full of crop-eating pests. They had neither time nor cash to waste in an old storefront full of cheaply made souvenirs that would fall apart on the way home.
Still, from the backseat of whatever large American car we were riding in, these places looked like meccas of wonder to my sister, my brother and me. Wall Drug, with its endless roadside couplet signs offering free ice water and nickel coffee, especially beckoned. But the parents would roar past, shaking their heads. No time, no patience, no way.
Divorce is a strange thing. It might be a source of lifelong trauma in the long run, but in the short run, it can be an enormous liberation. When my mother left an unhappy marriage after nine years, she entered a personal renaissance. She stood prouder, got a little slimmer, raised her hair to beehive heights, and traded in her glasses for something more fashionable. She moved us from Claremont (population 50) to Aberdeen (population 20,000). This was a considerable change. She re-enrolled at Northern and finished her degree. And she decided to take us on a vacation.
Mom would rent a trailer large enough to accommodate her, our babysitter Maryanne, and us three kids. We would tow the trailer behind our current car, a tank of a ’57 Buick (sky blue, white top, and chrome trim).
We would stay in a different KOA campground each night, and we would would stop at every single roadside attraction, except one. By group vote, we skipped the Bible park–as good little Christian Scientists, that would have been an overload of graven images, which were verboten to us. Aside from that, we would leave no billboard ignored on our quest to visit every tourist trap in the Dakotas. And each one of us received five dollars spending money.
In 1968, that was a LOT of money.
My impressions of most places are fleeting. The Reptile Gardens? That place smelled terrible. We walked on wooden paths through a swampy enclosure. I found most of the animals repellant and yet…interesting. Snakes and gators have never been my thing, but there were plenty of them. The Prairie Dog Town? With my love of small furred critters, you’d have thought this would have made an impression, but I have none. I don’t even remember seeing the gigantic cement prairie dog that still stands there today.
The biggest let down was the Petrified Forest. In my eight year-old mind, I expected, you know, a forest. We didn’t have those in the part of South Dakota where I lived, so I leaned on children’s literature. I was expecting something like the talking trees in The Wizard of Oz, but turned to stone, with stone branches and stone leaves. I didn’t expect them to talk, but I did expect the to be standing. But the “forest” was nothing more than a large expanse of dirt and gravel, upon which were scattered fragments and chunks of petrified wood.
The dinosaur park in Rapid City was fun and free. We have a few photos of us kids there, and we’re smiling. The dinosaurs were smooth and green, like the Sinclair dinosaur, so of course we assumed they were scientifically accurate. I have pictures of us somewhere and might add them, but not today.
In 1968, there was a gravel parking lot, a gift shop with a panoramic view of the memorial, and that was about it. That was plenty for me. I looked out the window for a while, recognizing and admiring three of the four presidents. Then I found a little naked souvenir doll more suited to Hawaii than South Dakota, and took her right up to the cash register.
On the way home, we finally stopped at Wall Drug. Back then, it was just a short stretch of Old West-appearing storefronts. To get your free ice water, you went behind the store to a little pump and helped yourself. I’m not sure where the nickel coffee was dispensed, but it was somewhere. You could smell it. I don’t recall any actual drugstore merchandise, as in home remedies or a pharmacist’s counter, but apparently they have always been there, too.
What I do remember is touristy crap galore. The store was a wonder. I wish I had photos from back in the day, but I took a few in 2015 when I went back. Taxidermy dominated the walls, hung with every dead animal you could imagine and a few you couldn’t, like the jackalope.
It even had animatronic tableau. I stood for too long in front of some weird looking robot cowboys doing rope tricks while their eyes spun. When I went back in 2015, these were still there and operational. Sadly I don’t have a video, but here are some stills.
I also remember putting a nickel in a slot so a robotic cowboy would say “Draw, Pardner!” and fire his gun at me. I couldn’t find him, but here is General George Custer.
Thrilling stuff. But not as thrilling as what I bought with the money that remained to me. I wanted a beaded necklace with a tiny Native American on it, but that was rich, and I’d already spent part of the five so I had to be discriminating. I selected an onyx egg, an onyx “worry stone,” a vial of agate crumbs, and a pure white rabbit pelt. That was the end of my five dollars.
I kept that pelt long after I let the rocks go. I knew it was the skin of some poor rabbit. Somehow that didn’t bother me. I loved how soft it was, how white. And then, in the eighth grade, I made it into a purse that eventually disappeared. But for years, it was my comfort. I would take it out and stroke it, soothing as petting a cat, and remember that trip.
It was our first family vacation, and our last. And it was perfect.
I have a few regrets in this life, and not recording some songs in harmony with my siblings is absolutely one of them. I’m speaking of the original three siblings: myself (youngest), my sister (middle) and my Brother Steve (oldest). At my mother’s parties in Aberdeen, South Dakota, my sister and I used to bring down the house with our childish rendition of “Those Were the Days, My Friend.” The three of us together graduated from car-trip singalongs to rousing a crowd with “The Night They Drove Old Dixie Down” in 1971 at a political rally in Booneville, Arkansas. Despite the heights of our harmonic glory during the refrain, we remained staunchly liberal, like our parents, and we did not become the next Von Trapps, though my sister and brother were in a band together in the 80s (it wasn’t particularly harmonious).
Harmony came easier to my brother and me. We dueted constantly from about 1974 on, at home and at parties. It was our thing. Somehow, we never got a moment of it on tape. I regret that.
The way sibling voices blend moves me. Even when the voices are very different from each other, there’s alchemy in how they come together, constant infinitesimal adjustments to smooth the harmonies. I believe this is done by instinct rather than decision. Here are a few of my favorites, almost all of which fall into the country category. And please note, even though these are sister acts, I sang far more with my older brother than with anyone else. I miss you, Brother Steve.
I’m all for the rename. But in the Dixie days, the harmonies of sisters Martie and Emily provided a soft grounding for Natalie Maines’ forceful lead vocals. This band has been through the wringer both professionally and personally, andthey are still together. Gaslighter is a BRILLIANT record/song/video, but I like these earlier songs. Also, that fiddle, and the banjo. I mean…
Talk about country! I first learned about the Browns while reading Nashville Chrome by Rick Bass. I had no memory of the Browns, and thought I was reading a not-so-good novel with real characters like Elvis Presley dropped in. At some point I began to understand that, yes, this was a not-so-good novel, but the Browns were real. At one time, they were one of the most popular musical acts in the country world. Bass described how they twanged and arced and hung in the air, blending and bending together like the tones of a bandsaw. I wanted to hear their voices. I ordered a CD, which took months to reach me. When it finally arrived, I played it obsessively.
These sisters have intense, rich voices. Shelby’s is full of emotional punch and power, and Allison’s is low and heartfelt, as big as the sky. I couldn’t prefer one over the other. Each sister has a record that sits on my all-time favorites list (Shelby’s Temptation, Allison’s The Hardest Part). They join each other onstage now and then, and have one joint project, Not Dark Yet. Individually, they are powerhouses. Together, they are sublime. The video below gives me constant shivers from beginning to end.
That’s pretty much perfection, in my book. Lest you think these sisters do not rock, here you go:
I have one CD by SheDAISY, their debut “The Whole SheBang”, and that appears to be enough. I have never bought or even listened to another. I’ve been playing this record on car trips since the year 2000 and still love it. It’s straightforward commercial country done right. I have no idea if they’re still performing together, but the harmonies these three sisters create are grand, swooping, impossible to tease apart. I’m going to post two examples and I hope you listen more than watch.
The first one, “Little Goodbyes” is such a funny song, very country pop, but the video is of the “beautiful women make sultry faces while singing” variety. It distracts, then gets old.
“This Woman Needs” is a HEARTBREAKER ballad and has hair-raising shivery harmonies. It’s also an oddly crappy video with too many jump cuts. But it’s a gorgeous song.
Okay, finally, a sister act that is not country at all. My kids told me about these three sisters long before I actually heard them. “Mom, you’d love Haim.” “Mom, have you ever heard Haim?” “Mom, I think you’d like Haim.” I finally encountered them as actors in Licorice Pizza. This led to watching the video below and while watching it, I fell hard. Este, Danielle, and Alana (who starred in the movie) are so…talented, striking, odd, fascinating. They have quite different voices but listen to them blend into something special! And watch the whole thing because it builds in a wonderfully strange and subtle way. When did they film this, and how did they do it, and could they be any more cool?
I played this for my five year-old grandson and he was transfixed. He remarked, “They all have the same shoes.” He’s right. They sure do.
Did I miss anyone besides the Jacksons (can’t/won’t talk about them, it makes me too sad)? Because I’m sure I missed some people. Let me know in comments.
Our bedroom was an attic, probably 32 feet in length, and seven or eight feet wide. A chimney neatly bisected the space, so our dad installed a plywood panel next to it, just wide enough for the heads of our twin beds. There was no door between us. We each had our own room, but slept with heads only inches apart. I waited for my sister to ask, “Do you want to play?” I always said yes. We would lay in the dark and spin out our fantastical imaginary worlds for hours.
Sometimes I wondered. Would we ever stop our childhood play?
When we were younger in Claremont and then Aberdeen, we mostly played with toys, but purely imaginative play was on the roster quite early. My brother and sister started by pretending to be the Beatles. I joined in as soon as I was allowed to. I couldn’t wait to be Ringo. My brother was John, my sister was George, and no one wanted to be Paul.
This game was straightforward. While the 45 played, so did we, lip-syncing along to the lyrics and pretending to play instruments. When the song was over, so was the play. This evolved into playing at being The Monkees. I immediately claimed Davy. My sister was Mickey, and my brother was Mike. No one wanted to be Peter.
Then, the summer I was nine, we discovered “Tommy.” When you hand three musical, imaginative, socially awkward kids a record like “Tommy,” it will eventually change everything. First, laying the groundwork I guess, we learned every note of this rock opera, every single note. We even sang all the instruments. The plot was weird as hell, and none of us saw character potential in the deaf, dumb, and blind boy. But we loved the work itself, and it went to work in us.
We lived in Rapid City for less than a year. Mom had moved us there to start her teaching career, and to finish it, as it turned out. She met a young Air Force captain and married him six weeks after their first date. We all moved to Edina. There, in our first Edina house, my sister met a charismatic girl named Sue. And did Sue ever have an imagination.
Sue wanted us to play Star Trek. We divvied up the characters and played plots from the show itself, or made up our own. When Sue wasn’t around, we let my brother in on the game. Steve was Spock, my sister was Doctor McCoy, and I kept up my run of short brunette men with accents by playing Ensign Chekhov. No one wanted to be Kirk.
Then, Sue and my sister saw the movie Oliver! They dragged me to it, and that was that. We entered the seamy London underground of Dickensian London and barely came up for air. We all wanted to be Jack Wild’s Artful Dodger, but there were three of us and only one of him. I didn’t ever get to be him, but there was this other pickpocket kid with reddish hair and a green cap who seemed acceptable. I could handle being him when we played. No one wanted to be Oliver.
I hate to admit it, but a big part of this game was going to the Southdale Mall and shoplifting. We were Fagin’s crew, and we had to steal. Thankfully, before any of us were apprehended, Sue’s family moved to Bellevue and we moved to another neighborhood in Edina.
This was a posh neighborhood, especially for South Dakota kids. My sister made friends, I made frenemies. My brother suffered initially, but he joined a track-car racing club where he made friends with a boy named Dave and a British kid named Chris (who would go on to lead Prince’s Paisley Park studio). My brother had real friends, he didn’t want to play. So it was my sister and I, escaping to Dickensian London and stealing at the mall on the regular.
We were never going to make a go of it in Edina, so it was time to re-invent our lives. My stepdad joined the Forest Service and adopted us so we could all have the same last name, and health benefits. A newly united family, we moved to Arkansas.
As I’ve written about before, the only rental we could find was a wretched little house on an abandoned farm, miles outside Booneville on red dirt roads. That isolation drove all three of us kids back to “Tommy.” We couldn’t leave that record alone. Inspired by our deep love of music and the intensity of imaginative play we’d experienced with Sue, the three of us morphed our previous endeavors into a game called “Band.”
“Band” was the best. We could literally be any musicians. Cat and I were deeply into our teen idols, and our brother had more mature musical taste. This led to some strange musical bedfellows, like John Lennon and David Cassidy. Disparities of style didn’t matter, because we were always lip-syncing to either Jefferson Airplane or The Who.
I remember one night when my parents had gone out for coffee (quite a trek, in Arkansas), and we were engrossed in our play. My sister was rolling around on the coffee table, mouthing the words to “Somebody to Love” while Steve and I backed her up on our air instruments. My parents came in quietly—or maybe not so quietly, the stereo was loud—and watched us for a moment before I saw them. The looks on their faces. I let my sister continue her bit before I broke out laughing, and then we were all roaring.
I imagine my parents were proud.
A move into Booneville proper lessened our isolation. In this tiny town, which probably had a sundown law, our young lives were full of friends, school, parties, and more. Our older brother (who had outgrown our play once we left the farm) excelled academically and musically. Despite the weight that had inspired so much mockery when he arrived, he was accepted, even celebrated at Booneville High. The year I started seventh grade, he left for art school in Minneapolis.
My younger brother was a few months old at this time. My sister and I were both in high school, which started in 7th grade in Booneville. I loved changing classes, flirting with senior boys in the hallways, having an actual study hall, and singing in the high school choir. My sister was kind enough to absorb me into her friend group. We were very happy.
Even with all we had going on, my sister and I found time to spin out our worlds.
Glam rock had entered the pop culture consciousness. We might have pinned up photos of David Bowie in drag and Mick Jagger in eyeliner, but we weren’t going to use those men as characters. They were far too combustible.
We stuck to the Partridge Family and (for me) teen Jack Wild, still short with a Cockney accent, but mature. I added a new character based on Rick Springfield—the “Speak to the Sky” Rick, young, brunette, with sky-high hair and (you guessed it) an Aussie accent.
No matter how happy my sister and I were, my parents hated Booneville. I do not blame them. They only had two couples as friends; Anne and Tom, and this extremely cool couple, Wayne and Mag. My parents were liberals, and educated, and they were claustrophobic.
So it was time for the rest of us to move again, this time to Montana. This move, toward the end of my seventh grade year, was wrenching and harsh. I transformed from a happy, active star student to a social outcast on my first day at Gallatin Gateway Elementary, by the simple act of my teacher giving me a more advanced English workbook. It wasn’t just a higher level than the other seventh graders were using. It was a higher level than the eighth graders were using.
That bit of seventh grade was over swiftly. I turned thirteen, school let out, and summer started. We were living on a ranger station, which remains the most isolated place I have ever lived. Aside from Ranger Dick and his wife Jane (who was always after us to babysit), we had no neighbors, no friends, no way to get anywhere to do anything at all. What else was there to do but play?
Since we were older, the games became sneakier. There were times we played during the day on weekends or in the summer, but mostly, we saved our imaginary world for night. There, in the dark, hidden away from the realities of daily life, our peculiar recombinations made sense.
Rich material arrived in the early 1970s, just begging to be incorporated. Cat Stevens transported us with his tortured, gorgeous voice. We kept the orphan thieves from Oliver! and added Cat Stevens as a grown-up version of the Artful Dodger, valiantly trying to overcome his childhood as a pickpocket.
This play had two versions, because sometimes Dodger was young and still picking pockets, and sometimes, he was a stunning troubadour pouring out his tortured soul in music. We wrote down a lot of it with Susan’s help. She still lived in Bellevue, and she and my sister traded pages all the time in the mail. One summer, Sue came out to visit us, and that was incredible. Sue brought us a present.
She brought us Jesus.
You know, the musical.
Jesus Christ Superstar landed like manna from heaven. It was kind of mature for us, seeing as how it was based on works that were thousands of years old. We were not Jesus and Judas when we played, we were the actors working on the production.
We learned this soundtrack by heart, too, and saw the movie at least a dozen times so we could learn every twitch and scowl of the actors. Neither of us knew a thing about how a movie was made, but this didn’t stop us from imagining ourselves into the Israeli desert in our dusty cotton costumes, being temperamental and difficult while the director raged.
Sadly, no one had an accent in this movie. I was Ted Neely and my sister was Carl Anderson. No one wanted to be Yvonne Elliman.
Trying to describe our play at this point starts to sound like trying to recount a dream. It all made perfect sense to us, but you’re going to have to bear with me.
Even with the bearded hippy boys of Superstar, and the rich vein of masculine suffering offered by Cat Stevens, our favored game was called “PF on ST.” This stood for Partridge Family on Star Trek (I cracked up typing that). But we loved Star Trek, and we loved The Partridge Family, so we came up with the idea of the “Teen Academy” boarding school on board the Starship Enterprise.
We spent hours going through magazines, choosing what our characters looked like and what they would wear. Well, my sister did. She was either Keith Partridge or a character named Ceci. Ceci had an amazing teen girl wardrobe culled from the pages of Seventeen. I preferred being a boy, so I was generally either Jack Wild or Rick Springfield.
We both played independently during the day. When I felt insecure or unsafe, I would slip into character in school, as would my sister when she felt alone. I suppose if we’d had cell phones back then, we’d have texted in character, but we were reduced to writing notes.
If we wanted to play together at the dinner table, we used verbal shorthand to suggest the idea to each other. Speaking in code words, we could pick our game, announce our characters, and assign roles to our family members. Our baby brother even had roles to play.
When he came home from art school, our older brother sat at the table and knew we were playing. It drove him nuts, and we risked discovery, or even worse, mockery. So we tried to keep our play in the dark, as in, we played at night.
We would lie there, inventing romances, assigning talents, changing appearances, having long conversations and arguments in the voices of our characters. These were the happiest hours of our troubled young lives.
I wish I could remember more of the plots we spun, but in truth, they were pretty standard high school plotlines. The students would have trouble with a teacher. The students would have trouble with a Star Fleet officer. The students would have trouble with each other. We liked drama.
We both despised Bobby Sherman (I have no idea why), so once in a while, he’d show up on deck and throw everyone into a dither. Occasionally, a new student would arrive at the academy via shuttlecraft. Then everyone would have trouble with everyone else. It didn’t matter if the new arrival was male or female, because anyone could be problematic to a group of teenagers trapped on the Enterprise.
A concert was often in the works, because of course Keith Partridge had to sing. For the record, Cat Stevens was far too mature to be a student at the Teen Academy of PF on ST, but he might have made a concert appearance now and then. I’m also remembering that the Enterprise transported a movie crew to a dusty planet for the filming of Jesus Christ Superstar more than once.
It’s been fifty years. The specifics are a little misty. But I do remember how absurdly chaste most of these imaginings were. Occasionally there was a romance, but rarely. That was too much for our young psyches to handle.
Today, there is a vocabulary for activities similar to what we were doing. There is fan fiction, with all its shipping. Also, LARPing (though we never costumed ourselves, we were certainly out and about in character). The problem with naming something is that it creates parameters. We had no parameters. We had no name besides “play,” so our freedom was complete. It was our private world, created from anything and everything, and hidden because we knew how strange it was, and we were way too old for what we were doing.
But we needed to play. We were two girls in our early teens, living on a ranger station in the middle of a national forest. The entire family was jammed into a one-bedroom log cabin, from which we’d carved extra bedrooms from the attic and a storage pantry. There was never any money, and our parents’ marriage was always precarious. We had to babysit our baby brother all the time while they drove off to have coffee and work on it. Everyone in the family was miserable. None of that mattered while we played.
Yes, we lived in a verdant paradise, I recognize that. I climbed the mountain behind our house several times, and explored the riverbanks, and sat on a cold cement bridge over the icy foam of the Gallatin River, and sang my heart out. But when it was winter—and this was Montana, so it was often winter—there was nothing to do and nowhere to go.
So my sister and I made up a different paradise. We invented characters that were nothing like us, and brought them to life in an outer space world. We made up the teenaged lives we longed for, there on the ranger station in western Montana. No wonder we couldn’t leave our play behind.
Time, space, and basic logic were ours to manipulate. We sometimes played all night, only stopping when it was light out. When one of us (usually me) got too tired and began falling asleep, the other would ask, “Should we keep this?” Because that was a key part of playing. We could spin out an extreme plot, with someone getting lost on a planet or even dying, but we didn’t have to keep it. We reserved the right to discard the night’s play. It was a joint decision. We might keep part of the play, all of it, or none of it. It was all up to us.
I don’t know how long we would have kept it up, but at some point, our “real lives” began to take shape. We still didn’t have any money, we still lived in a remote and beautiful location, but we had some friends. My sister got her license, and my parents bought a second car (a tiny red slug bug) so we started having misadventures in Bozeman. It was terrifying and exhilarating.
She was sixteen and I was fourteen. We drank, smoked pot, gained boyfriends, lost virginities. Breakups. Pregnancy scares. Car accidents. We had plenty of drama. There was no need to lay there in the dark and imagine more.
Life was complicated when you weren’t allowed to decide whether or not to keep what had happened to you. But I remember one last night when I sheepishly asked my sister to play. We had one last session, one last trip to the galaxies. Then we gave it up forever. Real life had taken over.
When I was thirty-seven, I quit my job and decided to go back to school and finish my degree. A friend showed up at my house with an ancient Mac. “You’ll need this for papers,” she told me, as she and her husband set up the whole hateful thing. I’d never owned a computer, in fact I loathed computers, and had only used one when I worked in a B2B telemarketing agency. But hey, she was probably right. I was going back to school, and I probably needed to have a computer. So I sat down and opened up a document and entered a state of magical creative flow.
I wrote a screenplay first. It was based on a dream I had at age nineteen that had haunted me ever since about a woman with two daughters at the Oregon coast, and a teacher she rented to. It had been the most cinematic dream of my life, and I’d tried and failed to make something out of it all through my twenties and thirties.
At 37, that finally changed. It wasn’t hard to imagine all the conversations and settings and drama. But 115 pages? That wasn’t enough time to spend with these characters who had become so real to me. I wasn’t done with them. I started typing out notes in each character’s voice. And more and more came, and the plot changed, and deepened. It took hold and grew.
I sat up later and later each night, typing in my darkened home. This was my only time to write, because I was a single mother with three kids and two dogs and a house to keep and a divorce to recover from. The demands on my life were constant from before the sun rose to after it went down. During these late night hours of quiet and dark, I found the peace and solitude I needed to get it all out of me.
Before I knew it, I had the draft of a novel. I was so proud of this messy first draft, and absolutely sure it was perfect. Of course it wasn’t even close to finished. But I printed it out and sent it to my sister, who lived in South Dakota at the time. She loved it. How could she not? A tortured, beautiful man. An icy, withholding older woman. And teen drama galore.
She called me to rave. “I can’t believe you did this.” She kept questioning me as to where I’d gotten this idea, “This isn’t you is it? This isn’t me?” I explained to her that this was truly fiction. Everyone was made up. “Well I love it. I’m so proud of you.” And she hung up.
She called me back within the half hour. “I figured it out,” she said. “I figured out how you did it.” I waited. I could hear the smile in her voice. “You’re playing.”
I hope she could hear the smile in mine when I told her she was absolutely right.