Clyde Beatty's cat tunnel is seen under a bandstand extension that was not set up this way when I first joined out in '64. There was walking space between the tunnel and the bandstand. Every single show, the cats would relieve their business in copious amounts in the sections adjacent to the bandstand. They usually would add to these deposits while fighting in the tunnel on their return. As cat people know, and any Beatty show musician can affirm, this heavy black manure turned the hot summer air into a sordid atmosphere of suffocation. The brass section couldn't draw a breath to play, and loudly proclaimed their plight. The tunnel bars, as you see, were so narrow that I couldn't work a cage rake to remove the extensive piles, so the only remedy left was to bring a sprinkle can of full-strength Pine Sol to drench the leavings where they lay. At once, I saw an opportunity to score tips. Ramon Escorcia, as 3rd trumpet, sat next to the tunnel, and turned in blazing anger when I delayed the Pine Sol can. His three dollars brought mild relief until word came to me from Frank Orman that this was not a tip position, and the show-owned Pine Sol was to be applied for free.
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Clyde Beatty's cat tunnel is seen under a bandstand extension that was not set up this way when I first joined out in '64. There was walking space between the tunnel and the bandstand. Every single show, the cats would relieve their business in copious amounts in the sections adjacent to the bandstand. They usually would add to these deposits while fighting in the tunnel on their return. As cat people know, and any Beatty show musician can affirm, this heavy black manure turned the hot summer air into a sordid atmosphere of suffocation. The brass section couldn't draw a breath to play, and loudly proclaimed their plight. The tunnel bars, as you see, were so narrow that I couldn't work a cage rake to remove the extensive piles, so the only remedy left was to bring a sprinkle can of full-strength Pine Sol to drench the leavings where they lay. At once, I saw an opportunity to score tips. Ramon Escorcia, as 3rd trumpet, sat next to the tunnel, and turned in blazing anger when I delayed the Pine Sol can. His three dollars brought mild relief until word came to me from Frank Orman that this was not a tip position, and the show-owned Pine Sol was to be applied for free.
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