Jukebox Hero 1: Queens of Noise

In 2011, I started working on a memoir about some of my crazy stories with rock musicians and the songs that saved me, called Jukebox Hero. I was deep in the drama and writing was an outlet, so I wrote about my relationship with Bono and how I ended up on an Eminem song, and a bunch of other crazy tales. I thought this blog might be a good place to publish some of the chapters. The first one is about being a punk fan in rural Georgia and discovering The Runaways. I’ve already written about this revolutionary band and am now proud to include bassist Jackie Fox in my circle of social media friends. Since memoirs are all the rage (I’m reading Hillbilly Elegy right now), here’s where mine starts. (I should note that I wrote this piece before the disturbing allegations surfaced about the rape culture surrounding the young band,)

Chapter 1: The Runaways – Queens of Noise

Soundtrack song: “Neon Angels on the Road To Ruin”

Being a young rock fan in a rural southern town, like Stone Mountain, Georgia, in the 1970s pretty much sucked. The drinking age was 18, but that might as well have been 30 when you were 13. Besides, there were no rock clubs, let alone all-ages ones. There was no satellite radio, no iTunes, no MTV, nothing. If it weren’t for 96 Rock on the FM dial and some older kid’s copy of Circus magazine, you might as well have been living behind the Iron Curtain. You were stuck on Hee Haw Island with a bunch of rednecks who thought radical fashion was clogging with tap shoes on. You know the movie Deliverance? These people were not cheering for Ned Beatty. They were cheering for the other guys.

553236_10151251324134307_1946912651_n

Stone Mountain was about 10 miles away from Atlanta, but it felt like a thousand miles from the exciting metropolis, whose motto was and is, “The city too busy to hate.” We had moved into one of the new subdivisions in 1972, when I was 8. Housing developments, like Woodridge, were popping up all over the whispering pine forests outside Atlanta. Each one would have about four or five styles of homes that would just repeat. Along with them came strip malls anchored with Eckerd’s drug stores and Big Star grocers. There was no suburban planning that envisioned places for young people to go or venues for musicians to play in. My house on Birch Ridge Trail was only near other houses exactly like it. The only good news was that they hadn’t invented video games yet, so we ran wild in the streets, the woods, and the half-built houses.

There were also really no ethnic or youth subcultures of any sort, other than the jocks and freaks of Redan High School. It was a time when if you didn’t listen to Ted Nugent or Waylon Jennings, you were branded a “pussy.” I remember in 1978 wearing a T-shirt by a new Australian band I had been getting into. I learned about them in Creem magazine. I was coming out of Spanish class and some longhaired redneck cornered me in the hall and said, “AC/DC, what is that? Are you some kind of a fag?” In those days, “AC/DC “ was slang for “going either way.” David Bowie was AC/DC. It’s not slang anymore. A year later I saw that same asshole in an AC/DC shirt. “OK, Blazak, you were right on that one.” Actually, I think he called me “Gayzak.”

600053_10151251324614307_1714067610_n

There was plenty of rock to find if you were willing to look. I got into The Who and the old mod bands I read about in rock history books and dreamed of Vespa scooters. The Beatles were my fantasy band. I was a sergeant in the Kiss Army. You couldn’t really see any of this music, up close at least. I went to my first concert when I was 9-years-old. My parents had the wisdom to take me to see Elvis Presley at the Omni Coliseum. I was hooked. My first real rock concert was when I was 12; Queen with Thin Lizzy opening. 1976. Brilliant. For my 13th birthday in 1977, my mom took me and some friends to see Kiss. It was the Love Gun tour and my head exploded. I pretty much went to every single concert after that.

creem-magazine-1976-kiss-patti-smith-debbie-harry-ramones-lou-reed-aerosmith-boc-5dfc3efd2be4f64fb949ac99aa3e9bb7

But at those shows, you were always a million miles from the stage. And this is long before Jumbotrons. Now you can go to a big concert and watch it on TV for only 150 bucks. In 1977, you paid $10 for a ticket and watched in through a cloud of pot smoke and firecrackers. Around that year, I began reading about this thing in Creem called “punk rock.” There was an article about a club called CBGBs in New York. The band on the low stage was called The Ramones and the guitarist’s Converse sneakers were hanging over the edge of the stage. People in the crowd were touching him. I didn’t know what it sounded like, but this was what I wanted, an end to the barrier between the musician and the fan.

There was really no way to find this music in Podunk Town in 1977. The radio was blasting big anthems for big arenas. Boston, Yes, ELO. And disco was creeping in, threatening to destroy every electric guitar in sight. I didn’t know that there were hipster record stores in Atlanta, like Wax N Facts and Wuxtry, that my mom or dad might’ve taken me to. I just knew that there were bands with names like The Dead Boys, The Jam, and The Sex Pistols that were playing music that I needed to hear. Some of it slipped through on Dr. Demento’s comedy radio show (I can still remember his playing of the Tuff Dart’s “Your Love is Like Nuclear Waste”). Some of it popped up on TV shows like Rock Concert and Midnight Special, where you might catch Mink Deville or Blondie. Hugh Hefner’s girlfriend, Barbie Benton, had a show called Sugar Time! That had an episode called “Punk Rock.” Her singing group, Sugar, decided to “go punk” and dress in trash bags but didn’t like people throwing trash at them (which is what punks did, according to the network).

A local UHF show called The Entertainment Page (live five days a week!) was a lifeline from Atlanta. They interviewed local and touring bands and showed videos long before there was an MTV. Groups like The Motors and Generation X blasted out of the TV in the family room. What I could hear was exhilarating! The guitars were loud, jagged and up front. The vocals were snotty. The songs were short and desperate. No endless guitar solos. In 1977, with some fellow eighth graders, I went to see Led Zeppelin at the Omni and fell sleep during “Moby Dick.” Boring.

Suddenly, salvation fell out of a magazine. I was reading Rolling Stone and an insert ad fell out on to the floor. The deal was this; you taped a penny to the card, mailed it in, and you could get twelve albums! There was something about buying a certain number of records over the next few years. Who cares? The albums listed in the ad were OK, some I already had. I needed to find another member of the Columbia House Record Club and get access to the database (again, music websites were almost twenty years off). My friend David Coston (and fellow Kiss Army member) had some of the monthly catalogs. I was ready to find 12 punk rock albums. Unfortunately, there were no punk rock albums. No Television. No Sex Pistols. But “punk” in those days was much broader. It included Patti Smith, Blondie, and The Talking Heads, all of whom would make it to the record clubs.

Punk Rockers

So I used my 12 spots to fill out my record collection. A few Kiss albums, A Rock N Roll Alternative by the Atlanta Rhythm Section, Cat Scratch Fever by Ted Nugent (I didn’t want to my ass kicked). I had 11 and needed one more. There was an album called Queens of Noise by The Runaways. I had read about them in Creem or Hit Parader. They were all girls but they looked serious. It seemed pretty punk to me so I put the catalog number (271338) in box #12.  All the music I had listened to had been boy bands who liked to wack off on endless solos. Maybe an all girl-band would be my ultimate punk weapon against Nugent bully masculinity.

Unknown-1

When the twelve albums arrived, I quickly forgot about the other eleven. The snarling teen chicks from the Sunset Strip were my ticket into the subterranean world of underground rock. Loud, fast, rules. The booming bass of “Neon Angels on the Road to Ruin” drove my neighbors in the Woodridge subdivision to drink (or crank up their Waylon Jennings). I stared at the picture of Joan Jett, Jackie Fox, Cherie Currie, Lita Ford, and Sandy West, on the cover of Queens of Noise, and dreamt of escaping with them into the backstreets of Hollywood. I would never again feel the need to listen to what everyone else was listening to. I was on my own.

I continued to follow The Runaways as my identity as the lone punk fan at Redan High School evolved. David lent me his import copy of The Runaways Live in Japan and I leant him Waitin’ for the Night. Soon I got my hands on those Ramones records. I talked to Debbie Harry and Chris Stein of Blondie on The Entertainment Page and they gave me tickets to the Parallel Lines show at the Fox Theater (with Rockpile opening). I started dressing more “new wave” (which caused endless taunts). I would sneak a safety pin on to my Blue Oyster Cult concert shirt; peg my flaired Levi’s from The Gap with mom’s sewing kit.  I found import singles at record stores by bands with funny haircuts. I told people I went to the Sex Pistols show in Atlanta, but you had to be 18 to get in and I was only 14. I did see The Runaways with The Ramones that year and lots of people (including myself) trying to be “punk.” I was sad when singer Cherie Currie left the band and then The Runaways split up. But when Joan Jett’s first solo album came out in 1980, all was forgiven.

Screen Shot 2017-04-12 at 10.50.43 PM

By 1980, I had become a bit like Mike Damone in Fast Times At Ridgemont High. I wasn’t making out with girls to side one of Led Zeppelin IV (or any other music). But I was the guy with the great concert tickets. For whatever reason, my parents seemed perfectly OK with letting their teenage son camp out just about anywhere for concert tickets. In 1979, I dragged a sleeping bag and a lawn chair outside a Rich’s department store in the blackest part of Dekalb County (to insure a smaller line because all the white kids were at Lenox Mall) for the Kiss Dynasty tour (2nd row). In 1980, I camped out downtown in the freezing winter for Springsteen’s The River tour (20th row). That summer, I was back downtown camping out for Who tickets, for three days (8th row). Good seats meant I could usually find a date. I had front row center for AC/DC’s historic Back In Black concert at the Fox Theater and took the first girl who said she wanted to go.

Bad_reputation_-_joan_jett,_1981

Joan Jett’s Bad Reputation was one of the first cross-over records from the underground. The Talking Heads and Blondie were on mainstream radio but they did it by sounding more commercial (even, gasp, disco). But Joan did it by sounding more like Suzi Quatro. Bad Reputation rocked hard. Even better, the girls who ignored me (unless I had front row tickets to see The Kinks) dug the female voice blasting out of the speakers in my 1973 Gran Torino. It was actually cooler to listen to Joan Jett than Christoper Cross! 16 was going to be my year. When I landed the job at Turtles Records on Memorial Drive, the geeky kid who liked “fag rock” suddenly was on the inside. I would be selling tickets to concerts I used to camp out for. I could sell cool music to the indbred, Nugent-loving rednecks to blast out of their Trans Ams. And I sold a shit-load of Joan Jett.

One of best parts of record stores in those days was the in-store appearance. Artists promoting their latest release would hang out in record stores and sign autographs. There’s a great scene in the film FM of a young Tom Petty doing an in-store at the Tower Records on Sunset.  I skipped school in 1980 with a few other new wavers to meet the B-52s at an in-store at Oz Records in Stone Mountain. Before that I stood line for an hour to meet the Ramones at an in-store at Peaches. Turtles had plenty of in-stores. I got to organize appearances by Missing Persons and Iron Maiden. When Joan Jett released I Love Rock N Roll in 1981 I prayed we’d get the in-store.

I Love Rock N Roll became a smash hit pretty quickly. It had the same Gary Glitter-turned up to 11 sound as Bad Reputation, but by 1981, rock radio was tired of Nugent and Styx and all that wanking. The kids just wanted to rock. So they began to play more of the gritty new sounds from “independent” artists. Joan had been turned down by 23 record labels for the Bad Reputation album and just decided to create her own record label, Blackheart Records. By 1982, Joan Jett and the Blackhearts were all over the airwaves and featured regularly on the new craze, MTV. I got to do a lot of the “I knew her when,” thing. Like tales of when I saw Joan with The Runaways play with The Ramones in a wrestling hall in 1978.

10398622_75491704306_3805351_n

My store didn’t get the in-store. Instead it went to the Turtles #12 at Northlake Mall. But I was there with an armful of Runaways albums to prove that I knew her before MTV. I wore my green satin Turtles jacket and yellow Turtles T-shirt. I didn’t want to be confused with the screaming fans that hadn’t heard of Joan before 1981. I was an insider. An industry person. An 18-year-old fanatic. I tried to be super-cool with her but in the photo of our encounter you can see a big streak of Clearasil on my jaw that I forgot to wipe off. So I wasn’t that cool, but Joan seemed impressed that I was a big Runaways fan in Podunk. And she had the coolest leather jacket.

thewho_ticket

My fandom of Joan hardly waned over the years. I was excited to see her on the bill with The Who later in 1982. There was no stop in Atlanta so a fellow dorm-mate from Oxford College named Chris Jones and I drove down to Orlando to see the November 27th massive concert at the Tangerine Bowl. The Blackhearts were on the bill between The B-52s and The Who. When the Florida rednecks saw me in my mod gear (similar to what The Who themselves wore in 1965), I got shit like “Faggot!” and “You must be here to see the B-52s, you faggot.” But nobody asked me if I was AC/DC. Chris and I got as close to the stage as possible. It was an open field even though 11 fans had been crushed to death at an open-seating Who concert in 1979. It didn’t matter, I had to be as close to the action as I could.

When Georgia’s B-52s (who recorded “Rock Lobster” at Stone Mountain Studios!) hit the stage, the few hip kids cheered but the Florida rednecks were having none of it. The booed and shouted homophobic slurs, but that Athens party band partied on. Then some geniuses began taking their shoes off and hurling them at the group, ignorant to the fact that their beloved Who were viewed with the same curiosity less than twenty years earlier. Shoes began raining down on the new wave combo and the B-52’s began to look nervous, like they were going to be devoured by an angry mob of backwater zombies. Then this biker momma to the left of me reached into her purse and pulled out a rather large dildo and flung it towards the stage. It hit keyboardist Kate Pierson straight in the face. The rednecks howled in approval and the B-52s walked off the stage.

When Joan Jett and the Blackhearts took the stage, the hillbillies started up again. They paid full-price for their tickets and didn’t want to see any “faggy” bands. They wanted The Who. When the first pair of sneakers hit the stage, Joan stopped mid-song, gave an intense glare, and shouted out, “Fuck you, asshole!” Then she walked back and turned up her guitar amp. The band launched into “I Love Rock n’ Roll” and the crowd went nuts. She tamed the savage redneck with a black eye-liner stare and power chord.

fd1075cc3a8fe5e0c4d2c38d163833ac

I saw Joan again in 1995 after I moved to Portland. After the brutal 1993 Seattle murder of Mia Zapata of The Gits (seriously, one of the most balls out rock bands unknown to the masses), Joan jumped into the effort to find the killer. She formed a band with the surviving Gits called Evil Stig (Gits Live backwards) and did an album and tour to help fund the investigation. When they played at LaLuna, Joan was bald and as mean as ever. Evil Stig played the best of The Gits and The Blackhearts, including “Crimson and Clover.” I’ve always been impressed with Joan commitment to supporting the issues of women and sexual minorities through kick ass rock. Her 1993 song, “Activity Grrrl,” about the Riot Grrrl scene is required listening in my Youth Subcultures class. She’s a true hero and I have her autograph.

The other members of the Runaways have had a more challenging time. Lita Ford was on top for a while in the MTV days, thanks to Sharon Osborne. Her hair was massive, and, for a brief moment in rock history, she beat the headbangers at their own game. Jackie Fox went to Harvard and got her law degree. I was in L.A. in the late 1980s with Drivin’ N’ Cryin’, the band I managed, and we caught Redd Kross doing a show at the Ford Amphitheater and they brought Cherie Currie out on stage. She had appeared on their crazy Tater Totz album (a vanity project rooted in Yoko Ono absurdism). They brought the house down with The Runaways’ “Cherie Bomb.”

19sandy

In 1998, I was in LA for a sociology conference or something, and staying with my friend Jim Barber. He became Drivin’ N’ Cryin’s manager after I was fired, and later he was Courtney Love’s boyfriend (which means he’s in this book). I noticed in the LA Weekly that the Runaways’ drummer, Sandy West, was playing at The Coconut Teaszer on Sunset and had to go. I was with Christina, my first wife, who was about to learn about my Runaways obsession. The show in the tiny club was great. Sandy wasn’t the teenager I saw 20-years earlier in the wrestling hall, but she rocked full on, banging the drums like a construction worker (which she was at that point). And the night took off when her old vocalist, Cherie Currie, joined the band for a run through of some Runaways classics. I was back in my bedroom in Stone Mountain, staring at the cover of Queens of Noise. Amazing.

After the show, the members of the band, including Sandy and Cherie, hung out on the patio in the warm West Hollywood night. I talked to Sandy about how much I enjoyed the show and how great her drumming was. Then I told her the story about how Queens of Noise was the random 12th pick for the Columbia House Record Club in 1977 and it changed my life. Sandy loved the story so much she dragged me over to Cherie and made me repeat the whole tale. I added that it was that record that gave me the confidence to stop listening to Ted Nugent and start finding other underground music.

I’m so glad I had that moment because Sandy was diagnosed with cancer in 2005 and died the following year. And now, thanks to the Dakota Fanning/Kristen Stewart film, everyone knows about The Runaways.

Unknown-1

I attended the Portland premiere of The Runways on April 5, 2010. It was a benefit for one of my favorite Portland organizations, The Rock N Roll Camp For Girls. (My 40th birthday party was a fundraiser for the camp.) Sandy West’s sister was there and so was Cherie Curie. During the Q&A, I mentioned that I saw The Runaways with The Ramones in 1978 and it was a big punk rock event. I asked Cherie if she thought they were a part of the punk rock phenomenon and she just made a face. “I didn’t know what punk rock was until we went to London and saw all these people with pierced faces and spitting on each other. It was disgusting! No, we were just a pure rock and roll band. We just wanted to rock.”

25511_422458714306_6137419_n

As she made her way out of the Hollywood Theater, I cornered her with my Queens of Noise album, the one I got from the record club in 1977 that Joan Jett signed in 1982. I tried to tell her about meeting her with Sandy in Hollywood in 1998, but the other fans began to move in. I was happy to get her to add her signature and pose for a picture. Even if it meant missing out on free tickets to see Joan Jett and the Blackhearts because I missed my raffle ticket being called. The fact that the film brought a whole bunch of kids the music of The Runaways is good enough.

Screen Shot 2017-04-12 at 11.39.49 PM

2011 Postscript: After the 2010 meeting, Cherie Currie accepted my friend request on Facebook. I love that your childhood heroes can now share your random thoughts and vica versa. However, Cherie’s random thoughts tended toward ragging on President Obama and generally trying to be the female Ted Nugent. I found it strange that the woman who still brags about having sex with Joan Jett would turn out to be a right-wing asshole.

In June, Cherie reposted a YouTube video I had linked to my page of nutjob Arizona governor Jan Brewer claiming that illegal immigrants were coming to America just to have babies (Brewer later claimed that they were all drug mules and beheading people). Cherie’s comment on my video read:

It amazes me that a woman doing her job and protecting her citizens give her the title a right-wing bigot. I give her the title of ‘Stronger and more American then the man we made President’.

When I tried to engage her and her teabag army in some civilized debate about the Arizona immigration law, she defreinded and blocked me. Sometimes it stings to find out your rock idols are true douchebags.

2017 Postscript: I put on Queens of Noise when I posted this. (I streamed it on Spotify because my autographed vinyl copy is framed.) Christ, it sounds as good did 40 years ago. “Born to Bad” is a monster anthem, Jackie’s zooming bass on “Neon Angels,” and Lita Ford shredding on “Johnny Guitar,” lordy. Why isn’t this album in there with the rest of classic albums? Oh, yeah, chicks. Now excuse me while I play some air bass in my kitchen. 1977 = 2017 FTW!

QON

 

 

Chuck Berry told Jim Crow to roll over

March 18, 2017

Many times over the last several years I’ve reminded my friends that we live in the same world as Chuck Berry. Like people who lived in the time of Beethoven, we lived in a world where Berry still walked among us. Now some kid will have to sing, “Roll over, Chuck Berry.”

0810_FEA_WATN_Dorothy-682e4d25

There are people (and one President) who think America was great in 1954. We call these people “racists.” America was in the wicked grip of Jim Crow, slavery’s bastard offspring. Then on May 17, 1954, the Supreme Court decided the Brown v. Board of Education of Topeka case and institutional racism of “great” America lost one important pillar. And three years later, skinny Dorothy Counts would be escorted into a high school in North Carolina while white students spit on her. But the writing was on the wall.

The summer of 1955 Chess Records released a single by an R&B singer from St. Louis named Chuck Berry who played guitar and wrote his own songs. He sang confidently and black legs spread wide. “Mayballene” hit #1 on the R&B charts and was the #3 song for the year on the Billboard chart. The world BCB (before Chuck Berry) was over. White kids were buying “race” records like there was no caucasian tomorrow. The children of the Baby Boom were smashing the wall of American segregation and “Johnny B. Goode” was their battle cry. I bet even some of those kids in the “White Citzen Council” who spit on Dorothy Counts would, sooner or later, own some Berry records.

f26-1

And it it wasn’t just American kids. The lads in the Beatles and the Rolling Stones sold their Anglican souls to become like Chuck, so much more than Elvis. Both played sets heavy in Berry-penned songs, including his B-sides. Listen to the Beatles’ version of Chuck’s “Rock and Roll Music.” John Lennon slyly changes the line, “It’s got a backbeat” to “It’s got a black beat” as they played in places where promoters wanted their audience to be racially segregated. (They refused to play segregated shows. They were playing a black beat, after all.)

Without Chuck Berry, there would be no Beatles or Stones, and perhaps no 1960s as we know it. Those 1950s white teenyboppers who snuck copies of “Sweet Little Sixteen” on to their parents’ hi-fi became the countercultural rebels of the 1960s, listening to John Coltrane albums and heading to Mississippi to register black voters that “Freedom Summer” of 1964, and then on to join SNCC and the whole movement to deconstruct the immoral order. You don’t have Lennon singing “Give Peace a Chance” in 1969 without “Mayballene” in 1955. And you don’t have anything that comes after. It would be 60 more years of the same, Truman to Trump.

Unknown-1

I was reflecting on this shortly after I heard the news today that Chuck has left us. As I am sometimes compelled to do, I scratched out some words as his first 1957 album, After School Session, blasted on from my turntable.

Earth BCB

There was a wall

Created by slave traders and Indian killers

One drop plus

The world was black and white

White against black

There was a wall

A partition between the waltz,

even the hillbilly one

and the boogie woogie

and a midnight rendezvous out back

One nation

Two halves of a whole

One race

Two people trapped

Walled off in a divided land

Then a back beat came

and the wall cracked

It had a black beat

and the white kids saw him

A brown-eyed handsome man

Out of a St. Louis shack

Give me Memphis Tennessee

Down to the delta

Then across the nation

A sound as black as coal

The wall fell

There would be no more before

The century turned on a dime

dropped right into the slot

Hail, hail rock and roll

CLd1OAaWwAAmn1i

Chuck Berry goes back as far as I can remember.  My dad had a copy of “Johnny B. Goode” and I would visualize this strange character who could play a guitar just like ringing a bell. When I was 8, Chuck was back on the radio with his novelty hit, “My Ding-a-Ling,” but I already preferred his back catalog. I watched Chuck on the Mike Douglas Show with John Lennon, who said, “If you tried to give rock and roll another name, you might call it ‘Chuck Berry’.” When NASA launched Voyager 1 into deep space forty years ago, I remember how smart they were to include a Chuck Berry record to demonstrate to some alien race that were an evolved species because we had Chuck Berry. (Leading to the hilarious Saturday Night Live Weekend Update tagline, “Send more Chuck Berry.) By the late seventies, Chuck’s music was rediscovered by punk rockers. His “School Days” was a favorite moment in the Ramones’ movie, Rock n Roll High School. And then in the 80s, thanks to Back to the Future, we learned that Chuck was first inspired my Michael J. Fox. Chuck Berry is the eternal time loop, up in the morning and off to school.

17352144_10155082556103480_2155155902282122597_n

It seems like he’s always been there. I was born in 1964 (shortly after his release from prison) so I guess he was. Anyone born after today will will have never shared the planet with Chuck Berry. How will they know that this wasn’t just a guy with a guitar? How will they know that his black beat changed a nation still chained in Jim Crow apartheid? How will they learn about the jukebox jumping with records back in the USA?

It’s not a tragedy to die at 90, especially if some of those years were spent locked up. There will be plenty of salacious details rehashed. Maybe they’re relevant. I just know this world would not be as it is if not for one brown-eyed handsome man named Charles Edward Anderson Berry. Hail, hail.

(Photo:  Jazz Fest, New Orleans 1994 by BP Fallon)

Note: This isn’t meant to a feminist analysis of Chuck Berry’s life or his music. That can come another day. The father of rock and roll is dead and the mother was never even named.

Father Randy’s Top 20 LPs for 2016: Back to Vinyl

December 27, 2016

Near the end of my tenure at Portland State University, the provost instituted her “challenge,” called reTHINK PSU, designed to encourage the growth of the use of technology to expand the university . She invited a speaker to get the faculty onboard the move to online education. He repeated the Nathan Harden line, that in fifty years half the brick and mortar colleges and universities in the country would be history, replaced by websites (probably run by some kid in India). The message was get on the train or get left at the station. He tried to make the point by claiming that CD technology had replaced vinyl records, so get ready for college professors to go the way of the Foghat album.

taylorswiftvinyl

Ironically I was listening to this talk sitting in my office in Cramer Hall as it streamed on the university server. If I had been in the room, I would have jumped up to say that CDs sales were tanking, but vinyl was making a massive comeback, growing even faster than downloads and streaming music. Fortune magazine reported in April that vinyl album sales were at a 28-year high. Turns our kids want their Taylor Swift on wax (and their teachers in the goddamn classroom). Sometimes the old way is the best.

I say this because I really fell off my hipness high horse this year. The arrival of the baby in 2014 got me out of the cavalcade of live shows and endless hours in record stores. In 2016, between a rampaging toddler, the effort to return to work, busting Trump’s tiny balls, and finishing my new novel, The Dream Police, I just abdicated my staples for side-lined music aficionadodom. My favorite podcasts,  All Songs Considered, Sound Opinions, and Alt Latino, went un-downloaded. Our local weeklies, Willamette Week and The Portland Mercury, remained in their boxes on NE Alberta Street. An occasional breeze or hip kid would blow in to let me know what was up, but I missed so much. Did you know that Radiohead put out an awesome album in 2016? Of course you did.

blonde

Where I kept things real was on the vinyl front. A large chunk of the new releases I bought this year were on vinyl (including a bootleg vinyl release of Frank Ocean’s long-awaited follow up to the brilliant 2012 release, Orange). I couldn’t stop buying vinyl, at Amoeba Music in LA and Peaches in New Orleans, and a dozen record stores in Portland. Old, new, kids’ records, 45’s, and even Herb Albert and the Tijuana Brass from the 50 cent bin at Everyday Music. Solange just sounded better on vinyl and Bowie had to be experienced deep in the ruts. The ghost is the grooves, not the machine.

Andrea and I took our love of LPs into the sharing economy. Our basement just became an AirBNB called the Alberta Vinyl Den. Each guest lets me know his or her music tastes when they make a booking and I stock the room with a dozen albums from my massive collection. So guests get to feel like they are staying in the record store of their dreams, complete with a turntable and a refrigerator full of beer.

14332937_10155219233869307_4536520220130914375_n

2016 was a still a great year for music. With the blessing of babysitters we did manage to see some great shows, including some true classics; Patti Smith, Paul McCartney, Brian Wilson, Bruce Springsteen, and the Electric Light Orchestra at the Hollywood Bowl (a double bucket list item). We saw some good world music, like Bomba Estereo and Bombino. We saw a wildly drunken gig by Greasy Alice in New Orleans and caught a show by old friend Chris Robinson that took us down a rabbit hole. I just caught Georgia underground pioneers Pylon at Mississippi Studios. (Last time I saw them was at the Agora Ballroom in 1983.) Earlier in the year we caught a barely attended show there by Sir Paul’s son, James McCartney and got to chat after the gig. Other than the Cuban band we saw every Sunday during our summer on Isla Mujeres, I think my favorite show of 2016 was Father John Misty at Edgefield in the pouring rain surrounded by a thousand other dudes with beards. It was perfectly Portland.

61w4yt5jonl-_sl1500_

So here is my Top 20 favorite albums of 2016, recognizing that I’m surely missing a ton I will discover in 2017 or 2027. (Nick Cave’s new one? Someone said it was killer.) I really think we’ll be talking about the Beyoncé and Solange albums 50 years from now.  A serious thanks to the gang at Music Millennium for pointing me in the right direction on some good stuff.

  1. David Bowie – Blackstar
  2. Beyoncé – Lemonade
  3. Y La Bamba – Ojos del Sol
  4. Solange – A Seat at the Table
  5. Drive-By-Truckers – American Band
  6. Miranda Lambert – The Weight of These Wings
  7. Michael Kiwanuka – Love & Hate
  8. Frank Ocean – blond
  9. Rolling Stones – Blue & Lonesome
  10. Bombino – Azel
  11. Patti Smith – Horses: Live at Electric Ladyland Studios
  12. The Beatles – Live at Hollywood Bowl
  13. Bob Dylan – Fallen Angels
  14. Carla Morrison – Amor Supremo
  15. The Bangles – Ladies and Gentlemen…
  16. A Tribe Called Quest  – We got it from Here… Thank You 4 Your Service
  17. Sturgill Simpson – A Sailor’s Guide To Earth
  18. Chris Robley – The Great Make Believe
  19. Ages and Ages – Something to Ruin
  20. Cheap Trick – Bang, Zoom, Crazy… Hello

Here’s to more music on vinyl in 2017. And more professors in classrooms.

Writing to Live: The birth of the “rock novel”

December 14, 2016

The second edition of my 2011 novel, The Mission of the Sacred Heart, just came out so I thought I’d write a little about the hell of writing it just in case you had a tortured artist on your gift-giving list.

The twentieth century ended not with a bang but a whimper. I was in the throes of a classic Randy heartbreak. (I hadn’t yet accurately identified the pattern or the appropriate response.) I was going through a divorce with a woman I had met in a poetry reading in Augusta, Georgia. We got married after the Atlanta Olympics and I brought her to Portland, mistakenly thinking that I was ready to be in a partnership and that she was ready to settle down.

I tried to comfort myself with the idea that it was just a “starter marriage” (A Gen X hot topic at the time), but there was a trip to Cannon Beach with the thought of hurling myself off an appropriately dramatic cliff. Long story short, I didn’t, but got into therapy and got on an anti-depressant called Zoloft. There was other suicidal behavior in my family so I began to wonder what that impulse was about and, more importantly, what was it that stopped most of us from actually doing it.

screen-shot-2016-12-14-at-2-21-09-pm

Since I had been pretty successful as a spoken word artist in Atlanta, I thought it was time to write something longer than a poem. It was musician Susanna Hoffs of the Bangles who had given me a copy of Sophie’s Choice to encourage me to follow my fantasy of becoming a writer. Now I had the start of an idea for what might be an important book – Why is it so hard to kill yourself?

It’s not a rock opera

20161205170950elo_a_new_world_record

Someday I’ll write a whole thing about the joys of locking yourself in the room in the days before the internet and even MTV and listening to record albums. Suffice it to say, I did it a lot in the 1970s. When I was 13, one of my favorite albums was A New World Record by the Electric Light Orchestra. For those out of the loop, ELO’s schtick was that they played rock music with a string section (like how Chicago had a brass section). Very Beatle-inspired pop that infected the airwaves. This album had songs with compelling characters, like opera singers and a guy on a telephone and an alien, and a mother on a corner with a baby.

My teenage brain, alone in my room, strung all the songs together into one long narrative. Maybe I was listening to The Who’s Tommy too much but I believed I was listening to a “rock opera.” It all seemed to fit together to well.

When I got a CD version of the album 20 years later I realized it was just a bunch of songs, not a concept album. But then I thought, “What if someone were to write the story I first heard all those years ago? It could be a rock novel!” Adding a few contemporary themes, like homeless youth and turn-of-the century-depression, and you have a new genre!

Late night on the iMac

bondi-imac

Between preparing lectures, going to shows, occasionally sobbing, and inhabiting Portland dive bars like I was Sinatra with an ungodly thirst for Jack Daniels, I’d write away. I was translating my funk and the world it existed in, trying to find the answer to this question. The ELO album played over and over as I used it as a template for my story about a small group of Portland creatives, a gutter punk with a baby and a dude who may or may not be an alien. I’d bash away at my aqua iMac as I lived with these people; Zak, Lenny, Cozy, Telly, and Lucinda.

By the last chapter, I had the answer. Why we hold on. And a wonderful story about the power of music to move us through the tar pits of our lives. On December 31, 1999, I took a draft of the manuscript into the desert at the Warm Springs reservation and read it as the sun set on the century. I burned the pages to keep warm and hoped my hard drive back in Portland was safe from the Y2K bug.

It was really the writing of it that saved me. During that period I also co-authored a great book on suburban delinquency, bought a house, weened myself off the Zoloft, and took a visiting professorship at Emory University. I suddenly didn’t need the book, until I did again. That’s when I self-published it in 2011. It’s done pretty well, getting some amazing attention, and now it’s been optioned by a screenwriter in Hollywood for a future film project. And it all came out of a moment when I thought there might be something better to do than throw myself into the sea because my heart got beat up.

Why we stick around

The answer that I reached on the last page of The Mission of the Sacred Heart is that we stick around to see how things turn out. In our deepest moments of sorrow, sometimes it’s hard to see the countless moments of joy and lay ahead of us. If I had jumped I would have missed so many blissful moments; drives across the country, being inches away from Patti Smith as she sang “Gloria,” seeing Andrea walk into a room for the first time, hearing Cozy say, “I need to poop,” and more to come. Why walk out before the movie ends? Even Speed 2 had a pretty cool ending.

The sequel to Mission, The Dream Police, is now out and getting a positive response. I thought it was time to clean Mission up a bit, fix the cover, and take out a few less evolved terms in the story. (Sorry history, “retarded weathermen” and “big boobed Asians,” as funny as they sounded, have been revised.) Mission had an important impact on some folks who were going through the same thing I was, so it has served its purpose, but it’s still a timeless story about those moments and how we survive them with the power of a good song.

I’m not intending to write a trilogy. The Dream Police may be the last time we see Lenny, Zak, and Cozy. But who knows? I just want to get these books to people so they can be as good friends to them as they were to me.

The Mission of the Sacred Heart is available here on Amazon and Amazon Kindle.

screen-shot-2016-12-14-at-2-24-21-pm

The Dream Police Are Inside My Head

October 6, 2016

How do you go back in time and fix a mistake to change the course of your life? How do you channel all the things you are passionate about into one story of redemption or escape?

41adhf4m9gl

These were the questions I faced when I sat down to write The Dream Police early last year. The follow up to The Mission of the Sacred Heart was published this week and the Kindle version is available today. Like Mission, it is rooted in the true events of my life. Like Mission, it is a “rock novel,” a work of musical fiction, inspired by a classic rock album from my youth. And like Mission, it is a complex piece of literature that can’t easy be described in a quick elevator speech. But I think it is an important work that emerged from the plasma in my veins and the neurons in my synapses. So let me try to share with you why you might be interested in this story.

10001313_10152654051049307_1156545696_n

First and foremost, anyone who reads this will probably be able to understand why I had to leave my tenured position at Portland State University last year. There is a sexual paranoia that has invaded college campuses. Disguised as the important and real work that is earnestly meant to stop sexual harassment and aggression in an institution that often turns a blind eye, it is a form of fake feminism that undermines actual feminism. It sees all women as victims and all men as aggressors and ignores the agency of women and the complexity of the sexual dance between consulting adults.

As a male feminist, I’ve wanted to write about this sticky swamp for years. Then it happened to me. I was the subject of a witch hunt that stopped cold the important work I was doing at the university, including raising awareness of the importance of dismantling patriarchal power. The question was what to do with my anger at the real villains in this true-life tale. I didn’t want to go on a workplace shooting spree (Who would the local media ask to comment on it?), so I chose to write this story.

sdp-page-lawn-sign-site

Second, as a Portland sociologist, there are a host of sociological issues I confront on a regular basis. Portland has been named the most gentrified city in America. My neighborhood tienda is being turned into an artisan salt shop as I write this. My first academic  publication in 1991 dealt with issue (although I called it “yupification”). Gentrification is changing the face of urban America and I feel like I’m in a good position to write about it. It becomes a metaphor for how are lives change around us in ways we both love and hate.

45499785-cached

My research on white supremacist groups began moving into prisons about ten years ago. White prison gangs, like the Aryan Brotherhood and European Kindred, have become a growing problem outside prisons, including a recent murder just outside of Portland. A former racist skinhead incarcerated in an Oregon prison instigated my nightmare at PSU, so it was a perfect opportunity to bring a bit of light to the issue.

There are plenty of other issues floating around, including how your favorite rock song becomes your least favorite commercial, the backlash against unionization, the grieving process following the death of loved ones, and the dangers of spending too much time online scrolling through your social media. All this gets folded into The Dream Police.

unknown

Then there is the unifying theme of lucid dreaming. If you could be conscious in your dreams, what would you do? My first thought is that I’d go see The Beatles play. Maybe I’d revisit the woods I played in as a child. How about a beer with Karl Marx and Halle Berry? It’s wide open. Some people lucid dream every night. Andrea and I practiced it while I was writing the book and had some cool experiences. Zak and Lenny, the central characters of The Dream Police, use lucid dreaming to visit some musical landmarks, but also revisit moments in their own lives to explore alternative paths. Zak’s pregnant wife was killed in a car crash, so he’s fixated on going back in time to change just one small thing.

cheap_trick_dream_police

Finally, this book is about music and how music moves us forward in life. When I was teenager, I spent a lot of time in my room listening to albums. This included Cheap Trick’s 1979 Dream Police LP. The record was a whole world to me and I constructed this book around that themes in that album and dozens of Cheap Trick songs. The book also deals with the growing voice of women in rock and the shrinking opportunities for musicians to capitalize on their own music.

I think it’s important to tackle the minefield of gender politics. I was honored to do it in the classroom for over twenty years. Social research and punditry are also forums for it and fiction is another. I was thrilled to be listed as one of the representatives of the new genre of musical fiction in Wikipedia. It’s a great opportunity to be like my teenage heroes, The Clash, and use a good backbeat to get people to think about big issues.

In the end, I just want to tell a good story and maybe take readers to some unexpected places. Author Brian Paone, in his review, wrote, “Blazak pushes the reader through an endless web of a chess game that every time you think you have checkmate, a pawn appears out of nowhere, sending everything you thought was real into a tailspin.” In the last few years I’ve been through a lot. I’ve also thought a lot and grown a lot. It all goes into a story that reflects the complexity and dream-like state of my own journey. It feels good to have created a piece of literary fiction that my daughter could read some day. I hope you will read it now.

NOTE: Because, as a parent I feel I have to do something about the children of Aleppo, 10% of all book sales are going to UNICEF’s Syrian relief fund.

dreaming

Ode to a Gay Bar

June 15, 2016

DC

On Monday afternoon I was walking along the Mall in Washington, DC, looking at all the flags at half mast in remembrance of the massacre in Orlando. It was powerful to see our nation’s capital honoring 49 people killed in a gay club. But I don’t think the weight of the thing really hit me until the following day. I was listening to a story on NPR about how the city had hired Spanish translators to explain to the parents of some of the victims, who had been killed at “Latin Night” at Pulse, the city’s biggest gay club, what had happened to their children. Many of the parents were confused at why their “straight” child had been at a gay bar. The fact that the victims had to come out after their murder was like an emotional sledgehammer. Such a common story.

I could talk all day about the shooter and the reactions from the bitterly gun-obsessed, Islam-hating right-wing narrative inventors. But I want to talk about the crime scene. More specifically, the importance of the gay bar in America.

150618191852-12-charleston-reax-0818-super-169

Friday will be the one year anniversary of the mass shooting in Charleston, South Carolina where another hate-filled man killed nine black worshipers. A black writer that admire (I can’t remember who), penned a piece about the meaning of the racist killer invading a space that was sacred to many African Americans in more ways than one. The black church is historically a sanctuary from the racism outside the church doors, a place to be in the majority and bond over common struggles. Dylan Roof invaded a safe space that had been invaded many times before.

Omar Mateen did the same thing.

As a kid in rural Georgia, there were stories about gay bars in places like San Francisco and New York City. (We didn’t know about the Stonewall Inn, just Lou Reed’s “Walk on the Wild Side.”) It wasn’t until, at age 16,  I started going into downtown Atlanta to hang out in punk rock clubs, like 688, that I discovered the thriving underground world of Atlanta’s gay bars. When the rock clubs closed at around 2 am we had a few options; Krispy Kreme on Ponce de Leon Avenue (“Hot Doughnuts Now”), the Majestic Diner, also on Ponce (“We never close but we’re often rude”) or the gay dance bars that seemed to serve drinks until dawn.

Screen Shot 2016-06-15 at 1.55.35 PM

In the early 1980s, that was mainly Backstreet in Midtown, set back far enough from Peachtree Street that it felt like a secret mission just to find the door to get in. I first went with a bunch of friends in 1981. I was 17 and still schooled in the homophobia of the South but also aware that I never fit in that Southern culture. It didn’t take long to learn that the “queers” were a part of my tribe of misfits. That was the beginning of the end of my homophobia.

All I knew was that the cool kids were at the gay bar, dancing to Two Tons of Fun or Grace Jones, smoking cigarettes and bitching about rednecks. That first night I was sure I was gonna get hit on as I entered the door with my crappy fake ID. By the time I left I wondered why I didn’t get hit on. Did I not rate? I felt insulted but welcomed at the same time. One one hand we were the straight crowd invading somebody else’s space but I always got the feeling that it was appreciated that we were loose enough to be there without starting some stupid shit.

It felt dirty and dangerous and liberating. It was clear people were risking life and limb to be there, to find a community in the shadows. There were cops and hustlers and straight thugs and repressed thugs all itching for a chance to play Smear the Queer right outside of the bar’s door. Just a block away, “straight” men from the suburbs and the sticks were cruising Juniper Street for a quick gay hook-up. (Georgia license plates have the county of registration on them so when you saw Mr. Coweta County on Juniper, you knew what was up. They just kept it on the down low.) There was an air of constant danger. And my mother always thought I was staying over at a friend’s.

Maybe most important was the simple fact that people there could be who they actually were. So many LGBT people are forced into double lives. Their true sexual selves and the persons their religion or community demands they must be. This was certainly true of the 1980s Bible belt and I am quite sure it was the case for Omar Mateen. For many, all they had or have is the gay bar on a Saturday night and then it’s back to the big lie Sunday morning. You felt like you were in an oasis of sanity and disco lights.

nenappy

But it was in those clubs that a movement from the fringe to the mainstream was born. Like at Stonewall in 1968 and Pulse in 2016. This was the flash before AIDS changed so much. It became the routine to see the Now Explosion (Atlanta’s even gayer B-52s) perform at 688 then follow the crowd, Ru Paul leading the way, to Backstreet or Weekends and dance until our legs gave out.

I’ve written about how I worked at the Turtles Records in Ansley Mall next to Piedmont Park (where it was more than rumored that gay men were having sex in the bushes). I thought I’d ask co-worker Ronnie Holland what those days were like. In many ways he my translator of Southern gay culture in the early 80s.

1927823_1064947352709_4220_n

Backstreet was a safe haven.  It didn’t feel safe getting there, in the early days of 79/80, we would park off site on the side streets cause we didn’t want the police to get our tag numbers and the streets weren’t particularly safe either, but once we got inside, it was total freedom.  You were accepted, regardless.  Now, that didn’t mean there wasn’t attitude and cattiness and cliques, but everyone just dealt.  To have grown up thinking you were different and strange and somehow wrong, and not ever being able to talk to anyone about it, to find a “tribe” of people who had similar experiences was “otherworldly”.  You didn’t have to explain the journey, it was a common one.

I would have to say that, for my group, the bonding was intense.  Drugs probably helped with that, but the experience of being in a group of people on the dance floor with the music building to a frenzy and everyone being a part of the same experience, was very similar to a sort of “religious” frenzy.  The music and the closeness of the bodies and people losing inhibitions and the lights and the joy……I can see how people would feel a comparison to a church like experience.  It became tribal and transcendental. You lose yourself into the group.

The gay club became an extension of our underground scene and it grew as the climate evolved. By the 1990s, Ru Paul was hosting events at Velvet, a club in the heart of downtown. But it was never completely safe. In 1973, a gay club in New Orleans was the target of an arson attack that killed 32 patrons. In Atlanta it was the bombing of The Otherside Lounge on Piedmont Road in 1997. The lesbian bar was the targeted by Olympic bomber Eric Rudolph, a “Christian patriot” who used a bomb full of nails to maximize the carnage. Fortunately, no one was killed but the terroristic message was clear. You can’t even feel safe in your safe spaces.

I was listening to Washington Post writer Justin Torres talk about the Orlando shooting two days afterwards. His first thought on seeing the news was, “Oh, my God. These are my people.” Then he spoke, in almost reverent terms, of the gay club severing as a “queer church” that rejuvenates souls. “So when you walk into the club, if you’re lucky, it feels expansive. Safe space is a cliche, overused and exhausted in our discourse, but the fact remains that a sense of safety transforms the body, transforms the spirit. So many of us walk through the world without it,” he said.

To have your church attacked by someone who had been welcomed into it with open arms, just like what happened in Charleston a year ago, is a deep wounding that cannot heal easily. Where can you feel safe if not there? And for every big city gay club with armed security (a lot of good that does) there is a small town gay bar hoping to survive a firebombing or having its patrons followed home and harassed. Can a brother and/or sister just have a drink in peace?

I have a friend named C. Ray Borck. Besides being a much loved sociology professor, he is transgender and came of age in the gay clubs. He posted a powerful homage on Facebook to those clubs less than 12 hours after the news about Orlando broke, writing:

13427812_10154369621153755_6180345703097365454_n

I have been remembering the countless nights I’ve spent in gay clubs, especially the Latinx ones, and I keep discovering moments of solace in the memories and magic of those places, as early as last week on Cherry Grove. A gay dance party is always a good time. The sexy lighting and incessant beats. Excessive drinking and cigarettes after everyone else had kids and quit. Loud fashion and incisive wit. Watching men be tender with each other and feeling like that’s the revolution. Sweating and yelling and laughing. Telling coming out stories, stories about our youths and our parents, our backwards communities and schools, having found each other in the city streets.

I didn’t need the gay bar because my heterosexuality was celebrated in every corner of my world. But I did need the gay bar for other reasons. Not because it was a “safe space” for “gender non-conforming” kids like me and my punk rock gang. Yes, we were the target of gay-bashings as well. (A guy once drove up next to my car on Piedmont Road and said, “You look like a fag from England,” and then started whacking my Gran Torino with a 2 X 4). We needed it for our friends so they could simply have a space to breath and dance and not be “gay,” but be human beings. Some were gay outside the club and some did their best performances of a “heterosexual lifestyle,” but the either way, their guard was always up. That must be why those clubs are open so late. Just one more dance, please. One more song before I have to again hear how gay people are going to burn in hell or that gay people need to be killed. And make it the extended disco mix.

Wherever your local gay bar is, you don’t have to patronize it but protect it. People you love need to be able to breathe.

myoldcatships-tumblr1

Prince Died for Your Sins: Prophecy and Phallacy

April 28, 2016

Dearly beloved, I want you to explore the infinite mystery in your own special way, the God power, the cosmic tick-tock, Yahweh, Science, Gaia, the Holy Trinity, the Hubble Array, whatever you want to call it. But I have a little story for you about the prince of paisley.

I had to listen to Prince records in silence. They were too dirty to play out loud. I worked in a record store in the fall of 1981 when Controversy came out. It was Georgia so we couldn’t play it in the store for fear of offending Bible Belt shoppers looking for the new REO Speedwagon album. But we took turns taking the store copy home so we could play “Do Me, Baby” in the privacy of our bedrooms, under the sheets.

daddy_love_me_ep66

There are a million Prince-related stories like that, always about sex and shame and how Prince didn’t give a fuck who or how you fucked. When he died last week, everyone who never saw Purple Rain talked about how much they loved Purple Rain. Somehow the sinful sexuality, the androgyny and the personal freedom that were so despised 30-years ago by the PMRC have become the property of the most uptight unsexy-MFers in the world. Did you know that Matt Lauer was a “big fan”? But I’m here to tell you something different.

Prince is a deity and he died for your sex sins.

How do I know this? Because I am his prophet. I first became aware of his divinity on October 13, 1988. That’s when I saw him in Atlanta on the Lovesexy tour. He arose out of the stage and ascended into the air in a red Corvette, bathed in a celestial purple light. I felt something stir deep inside me. There was a ringing in my ears after the show that said, “Don’t turn away from me. I am the purple light.” But I did just that. I forsook my sex lord.

musicology-4e7881eb3a24e

A few years later, after the Diamonds & Pearls (1991) album, I turned away from Prince and his message of sexual freedom. Oh, sure I’d check in once in a while, I even bought Rave Un2 the Joy Fantastic (1999) and Musicology (2004). But of his last twenty-four albums, those are the only ones I let into my world. And my life began to suffer. I experienced copious alcohol consumption, divorce, job loss, I even wore a goatee for many years. All because I let Prince out of my heart.

Then right after he died, a strange thing happened. I was in the laundry room, in the basement of my house, washing whites. Alone. Suddenly a fantastic bolt of light emerged out of the dryer and knocked me off my feet. Standing there was the angel Gabriel, bathed in a purple light, the same light I had seen emanating from Prince in 1988. I could barely breathe. Then, in a high-pitched yet genderless voice, Gabriel said,

“The New Power Generation is here and you will be its leader. I will provide you God’s 23 positions for sexual liberation on 39 golden plates. These verses will become known as The Book of Prince and will lead the rainbow children to the emancipation of Planet Earth and the golden experience of eternal joy.”

And I said, “Right on, Gabe! What do you want me to do?”

eGx5Z3Y2MTI=_o_the-cross-prince-lovesexy-tour-japan

The angel replied, “The new power age will have no churches. There are thieves in the temple. Set up a GoFundMe account and tell each person who sends you $19.99 that, when they die, their souls will be funked up by Lord Prince and they will get off for all eternity.”

The angel then dropped a purple sock into my load of whites, donned a raspberry-colored beret and zapped back into my dryer.

So if you want a funky eternal life, just send $19.99 to: gofundme.com/2chh6ftg

The moral of this story is…

watchtower-ny

All religions are created by people. Prophets are people who other people believe to be divine. Holy books are written by people that other people believe to be sacred. There is no religion without human invention. How do you know that Moses or Muhammad or Joseph Smith or me are or are not actual prophets? You don’t. That’s the value of faith. Prince was a Jehovah’s Witness, a religion started in the 1870s and run by a group of “Elders” (i.e. people) in Brooklyn who are in charge of telling followers what the Bible REALLY says. And apparently Armageddon is coming any minute, so get out your debit cards. Every single religion is a house of cards built on the work of human beings that claim they speak for God or gods. Religious followers faith is not in God, it’s in the people who invented the religion; faith that they are not con-men.

That does not mean there is no transcendent mystery in the universe that people have called, “God.” It is entirely possible that when you die you get to see your grandmother and your dead cat and get to jam with Jimi Hendrix (Poor dead Hendrix). There may be an intelligent design to this mess after all. Or it might be a lot of wishful thinking that some very clever people have capitalized on. I don’t know. I’m agnostic. Joseph Campbell, who spent his long life studying the thousands of religions in the world once said, “He who thinks he knows, doesn’t know. He who knows that he doesn’t know, knows.” I don’t know.

What I do know is that for the last 3000 years, the people who have been inventing religions are mostly men and conveniently created a god that looks like them, typically an old white guy. (For shits and giggles, Google Image “God.”) Jews, Christians, and Muslims learn that God has existed for all eternity and then suddenly created the entire universe in six days. Makes you wonder what God was doing before those six days. Did He Netflix and chill? With himself? Guys.

13000076_607245789426190_1748227186991889519_n

I totally respect whatever you want to worship, whatever your god or gods look like. If you want to pray to a lord that looks like Ewan McGreggor or a god that looks like an overly ripe avocado, I’ve got your back. Just know that unless your are a follower of some ancient pagan goddess, there is or was some dude behind a curtain pulling the levers. This is how we got patriarchy (and Melania Trump).

When you look at child marriage in Pakistan, the arrest of women for having abortions in Northern Ireland, the brothels of India, or Ted Cruz and the normality of rape culture in the United States it starts with the idea that God has a phallus and created MAN in HIS image. As Mary Daly so famously said, “If God is man than man is God.” There’s a ton of celebrated rape in the Old Testament of the Bible, in books written by men.

Screen Shot 2016-04-27 at 11.42.39 PM

So the next time someone wants to use some “sacred scripture” to justify something, especially the oppression of some other group of people, ask who wrote that scripture. The answer is that is was a person, just like Prince. You are free to put your faith in the scribblings of some men from the Bronze Age, or the 1800s (or the 1950s if you are a Scientologist). Or you could put on Prince’s Sign o’ the Times album and find some great wisdom there. It’s pretty much the same thing. The men who wrote Leviticus, the Koran, 2 Corinthians and the Book of Mormon were built exactly the same way as the man who wrote, “Your face is jamming, your body’s heck-a-slamming, if love is good, let’s get to ramming.” So lovesexy. That’s what Lord Prince wants. Believe me, I’m a prophet.