Status Updates From Long Time Gone: The Autobio...

Joe Walsh on “Cros”: “ he’s the voice you can’t hear because when he sings harmony, he sings perfect. You can hear Stephen below the Cros. You can hear Graham. You can hear Stephen and Graham. But you can’t hear the Cros. He’s got that middle part and it wouldn’t be CSN without him” (487).

Because Croz can pick a lock, he advances in the prison hierarchy (457).

As far as plotting, Croz comes to a “turning point”
during “Diagnostics” at Huntsville Prison where he realized there was “more of me awake than had been in a long time”; it’s interesting how the lyrics to “Long Time” are true in more than one way (446).

In prison, Croz saw the need of some prisoners for “psychiatric confinement.”

“Lying” is a basic term for “complex” or “half-truth.”

“out of population,” “in population” & “the hole” defined.

“daily drug drain,” not unlike “lacy lilting lyrics….”

Involuntary detentions require medical certification for 72 hours; a judicial hearing for 14 days (392).

Divorced parents teach their children to hate their parents, “normally,” Croz says where I believe he means “often” (356). I couldn’t quite go that route because of my Sunday school education to “love” my enemies, which I came to understand from the second day I met him, my father was.

It’s interesting that Craig Doerge & Judy Henske’s song “You Might As Well Have A Good Time” was going to be the title track for Croz’ second album.

Did Cameron Crowe consider Croz a “friend,” and if so, did his decision not to submit a story about a solo concert at the Great American Music Hall in San Francisco violate journalistic ethics? What would Lester Bangs say? What would Hunter Thompson say?

Reading Croz confirm what others have already said for the last 10 pages about his check-in-out at Scripps is both tedious but ethos-establishing (349).

The line from “Delta” “lately he’s crazy for the deep” takes a vertical view of psychology not unlike the description of his drug addicted mind several pages earlier on 318.

Crosby’s description of overdosing sounds similar to the first verse of “She’s Gotta Be Somewhere”: “Like a frozen angel/falling down from too high,/her wings begin to open/just before she runs out of sky” (Sky Trails).

Perforated septum

Doerge quotes Basie: “They don’t pay me for playing,” the implication being that they pay him for traveling.

Crosby did well not to write songs about the 2nd Amendment. His “facts” have grown less persuasive with each unprovoked shooting.

The co-screenwriter of Jaws gets nautical about Croz (202-203).

The deal that put CSN together (140-143).

A lengthy discussion of Crosby‘s early thoughts about drugs (118-121).

Crosby‘s father worked with many of the greats Flaherty (5), Murnau (6), Zinnemann (13), Rossen, and Welles (14). Floyd Crosby was blacklisted. Through his union Floyd filed an affidavit, revealing he had been on secret orders during World War II and was allowed to return to work without naming names (13).

From Cosby‘s mother, he learned the “cooperative effort” of harmony singing (11).

The type of specificity about harmony Graham Nash neglects in Wild Tales, Crosby delivers in Long Time Gone: “What we did which made me extremely proud, was to sing a lot of nonparallel stuff. I did some of my very best work being subtle, moving the middle part around in internal shifts that kept it happening.” (155).

Jerry Garcia says Croz got “better out of me than I get out of myself “ (197)).