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Tuesday, December 08, 2009


Dear Vaulties-

here's a re-run from last year, complete with the title change to render the accurate number of years. Bear with it, because this may become an annual fixture...

NOTE : every word of the following story is true (or rather remembered as exactly as humanly possible given that nearly three decades have elapsed since it happened), and if you find some of it offensive at this late date, imagine being in my shoes at age fifteen!

December 8th, 1980-

It was the start of my tenth grade school day morning and I was disgruntled (as usual) at being denied sleep and instead being herded along with the rest of the cattle at Staples High School into yet another inane class. The first item of regurgitation/education of the morning was English with Mr. Dyskolos (not his real name; changed for reasons soon to be apparent), a late-forty-something red-headed guy who then looked like what Danny Bonaduce looks like today who was also among the minute handful of teachers whose classes would keep students awake because he was genuinely interesting, did not talk down to the kids and had not allowed the thankless teaching system to beat him down and force him to consider his job a mocking reminder of wage-slavery (I'm the son of a teacher, so I speak with a working knowledge of such things).

As the students took their chairs we all noticed that Mr. Dyskolos's usual laid-back manner seemed somewhat "off" that morning and after nearly a minute of total silence as he stared into space as though contemplating some cosmic truth or inevitability, he suddenly focused himself, looked at us and said, as serious as a heart attack, "By the look of you, you haven't heard what happened this morning. I'll just get right to it. John Lennon, de facto leader of the Beatles, was shot dead by some lunatic fan." Most of the class had indeed not heard about Lennon's murder and those of us who hadn't, myself among them, were stunned. But before the horrible truth could fully set in, Mr. Dyskolos continued. "You kids probably know a lot about the Beatles from what your parents or maybe your older brothers and sisters played for you, but you can't even begin to imagine the worldwide pop culture impact those guys had at the time. Obviously I was there for the 1960's and can tell you firsthand what it was like, but I'm gonna spare you that nauseating, self-indulgent trip down memory lane. I guarantee you that all your other teachers are going to suspend actual teaching for the day and drag you along for their reminiscences of their flower-power salad days, but I'm not gonna do that to you. Instead, I'm gonna tell you a few truths that you won't hear anywhere else in this school, or damn near anywhere else, on what's gonna no doubt be a day of worldwide mourning."

He leaned forward in his chair, his face a mask of utmost solemnity, and uttered words that blew the minds of the roomful of privileged suburban white kids (and me): "The Beatles sucked. They were a bunch of marginally talented 'heads' who started out ripping off the work of their black American influences and made a hell of a lot of money for no good reason, killing real rock 'n' roll in the process and unleashing legions of even less-talented imitators in that godawful British Invasion nonsense. And then they went to India, supposedly to gain 'enlightenment' or some other George Harrison-inspired bee-ess, but if you ask me all it did was make their music more annoying." To emphasize that point of criticism, Mr. Dyskolos began making a nasal and high-pitched "neeeeeeer neeeeeer neeeeeeeeeee neeeer" sound by way of approximating the tones of a sitar.

By this point in his diatribe you could have heard an amoeba fart. Young eyes practically bugged out of their sockets and jaws had fallen into laps. This was rock 'n' roll blasphemy in the extreme, and on the morning of the senseless slaughter of a man held by most in the room to be a hero of peace, love and great music, no less. Our worlds were shaken to the core. And then Mr. Dyskolos continued, still looking solemn, but his mouth betrayed a slight half-smile as he was very obviously enjoying his class' speechless outrage.

"Then they put out that asinine White Album that had exactly two good songs on it — 'Birthday" and 'Back in the U.S.S.R.,' and those two were good because they sound like actual rock 'n' roll! — and had the fucking unbelievable nerve to include that 'Revolution 9' horseshit! What the hell was that? (assumes comedic Liverpudlian accent) 'Noombuh nine? Noombuh nine?' What a load of crap! I'm telling you kids right here and now, remember how 'deep' that bullshit is when you decide to give acid a try!" (NOTE: this was the first time I ever hear a teacher curse when not discussing some of the content in THE CATCHER IN THE RYE.)

Before he could say another word, Mr. Dyskolos was cut off and drowned out by an aural assault of irate dissenting opinion, his every word being tarred as the rantings of an anti-peace & love curmudgeon who "just didn't get it." "Who do you think you are???" shrieked several of my classmates. "The Beatles were the most important band in history! John Lennon and Paul McCartney were two of the greatest songwriters who ever lived! Are you crazy?" Dyskolos responded with a sneer that would have done Vincent Price proud and uttered my favorite comeback heard in all of my teenage years, whether I agreed with him or not: "What the hell did they ever write that was worth a goddamn? 'We all live in a yellow submarine?' Puh-leeeeze. The only reason you kids enshrine those hacks is because of nostalgia filtered down from parents who were barely your age when the Beatles showed up and absorbed by the general public and your older brothers and sisters who used that garbage as a soundtrack for when they'd sneak off to smoke weed in the back of a van. Which also explains how anybody could ever find the stomach to listen to those Doors assholes! Face it, kids. For some of what are supposed to be this country's brightest young minds, you sure are a bunch of programmed parrots!" And when one of the students blurted out that John Lennon was a symbol of "give peace a chance," our sage teacher batted that one aside with "You've obviously never heard about the time when Mr. Give Peace A Chance went to some club and hung out with a Kotex stuck to his forehead," a then-shocking truth that only elicited more teenage keening.

That was the real meat of it but the back and forth ranting went on for the class' full hour, with order barely being restored with the ringing of the bell marking the rotation to the next class. Each of my classmates and I zombied off to the next class and swiftly discovered that Mr. Dyskolos had been correct in his auguring; indeed, each and every teacher I had to endure for the rest of the day derailed the planned curriculum in favor of rose-colored reminiscences of "a more innocent time" full of free love, "the people getting together, man!"and how the Beatles were the troubadours that saw them through all of it and changed to reflect the time. That was all well and good in theory, but not for hours on end as heard from speakers of wildly varying levels of eloquence (to say nothing of interest), with lunch being the only respite from what was essentially the same story only with the most minor of variations.

When the day finally ended I headed downtown to do my volunteer teaching of a cartooning class at the local YMCA and the journey allowed me some time to process the events of the day and the "truths" imparted. I'd grown up liking the Beatles quite a lot but didn't own any of their albums thanks to their many hits being available in endless rotation on some of the nascent stations that played what would come to be known as "classic rock," and as the seventies ended I avoided the agonizing repetition of disco and such by listening to the excellent oldies station WBLI out of Long Island, a radio entity that served to plant the seeds of my passion for pre-1970's rock that was either primitive and raw or bizarre and very much off the beaten path. WBLI played some of the standard Beatles hits, but they also threw stuff like "Dig A Pony" and "Rain" (nowadays my favorite Beatles tune of all) into the mix and showed me just how much the classic rock stations played the same Fab Four songs over and over and over and over and over again, ad nauseum, and taking into account the espoused theory — voiced with absolute certainty of its veracity — that myself and my fellow students may have been a bunch of programmed drones, I began to wonder if Mr. Dyskolos had in fact done his young charges a favor by showing none of the rote reverence extended to the favorite sons of Liverpool by all who drew breath. He had effectively "killed our idol," on the day when one would expect nothing but 100% adherence to the party line, and that greatly intrigued my punk rock-influenced sensibilities.

As I pondered these thoughts, I wandered past Westport Record and Tape, one of the town's most accessible record stores, and greeted Jean, the sweet southern proprietor. I asked her if the shooting of John Lennon had affected her sales that day and she said, "Honey, look over at the Beatles and John Lennon sections. Whadda you see? Tumbleweeds 'n' cattle skulls, that's what! Folks came in and cleaned the place out like they were a bunch of vinyl-eatin' locusts! On sales of Beatles and Lennon records alone, I could close early today." And it was true. Every single Beatles/Lennon platter had vanished into the Westport ether, bought up by fools who believed those perennial best-sellers (okay, maybe not SOMETIME IN NEW YORK CITY) would become instant collector's items.

Later that night as I lay there in my bed staring up at the white stucco ceiling, I listened to my cassette tape of SERGEANT PEPPER'S LONELY HEARTS CLUB BAND and experienced it in a way that I never had before. I'd listened to it about two dozen times since acquiring it a couple of years previous, but now it served as a poignant grave marker for my favorite member of the Beatles and its words took on a whole new timbre. No one would be "fixing a hole" in Lennon and ensuring he would live to see sixty-four and beyond. He would not be getting better and there would be no more good mornings for him. Yet tragic though it was, this was just another day in the collective life, and that life would go on without John Lennon (though obviously not "within").

I remember the hue and cry when Elvis Presley, the so-called King of Rock 'n' Roll, gave up the ghost and people acted as though the world had come to an end and I frankly didn't get it. I liked some of Elvis's music, but it didn't really speak to me in the way that the Beatles had and I now chalk that up to the Beatles happening during what could arguably be considered the most pivotal period of the twentieth century, a time that redefined much of American culture and into which my generation was born. We didn't grow up with Elvis, whose music helped set the template of rock 'n' roll, but we did come along during the rise of the Beatles and reached early sentience while under the influence of their sound. We couldn't know at the time just what their contribution meant, but we did know that we liked it. Obsessive poring over the minutia of the whys and wherefores of their lives, art and careers would come later. At that point in our young lives love was indeed all we needed, and in the wake of the plastic disco era and what small impact punk had in the U.S. at the time, that wasn't a bad thing.

So today marks the twenty-ninth anniversary of John Lennon's senseless slaughter and for me the day that it happened becomes ever more remote, so I figured I'd jot down my experience of it before age robs it of what clarity remains. If any of you have tales of that day, please write in and share.


Unknown said...

I'm one of the those people that can simply "not be in the mood" for the classics like The Beatles. However, I would never deny someone's influence on our communities and culture. Like or not, Michael Jackson & Britney fall into these categories too.

Satyrblade said...

Well, I posted my memories about Lennon and The Beatles here a year or two ago, so I'll simply add this:

The event that rattled my rock-n-roll world and left me in a depressed funk for days afterward was not the assassination of John Lennon, the crash that felled Lynrd Skynrd, the drunken binges that wiped out John Bonham and Bonn Scott, the self-termination of Kurt Cobain or even Sid-and-Nancy's suicide-pact-by-proxy.

It was the double-barreled suicides of Rozz Williams and Wendy O. Williams within two or three days of one another.

Now, Christian Death was never one of my favorite bands... not even one of my favorite Goth bands. Rozz was, to me, a sidenote for me in that movement, even if his work was seminal to Goth Rock as a whole. Still, there was a sadness about his inevitable self-destruction that rang a loud chord within me. Neck-deep as I was in the Goth scene at the time, it hit me with more power than it might have otherwise.

Even then, it might have warranted a mere shrug had it not been for Wendy O. following Rozz into the light (or the dark) a few days later. Because unlike Rozz - but like Lennon or Presely - Wendy O. Williams was a seminal figure in my musical history. Although I first heard of Punk by way of the Sex Pistols, The Plasmatics were the first Punk band* I'd actually heard and seen myself. (On TV, but still...) The Plasmatics' first appearance on Tom Snyder's Tomorrow show shattered my preconceptions about rock was or could be. The messy, bizarre, off-kilter spectacle kicked my world in the ass. I think I literally sat there with my jaw hanging open, going "I wanna do that!" Although I never got quite that anarchistic in my own stylish or musical adventures (although my harmonica solo with Conglommo, a Death Piggy party project, came close), Wendy O. and The Plasmatics remained my touchstone for Punk magnificence.

I'd had a crush on Wendy O. for ages. Seeing her play live in 1990 or so just deepened that affection. When she blew her head off, I was stunned for days. Combined with Rozz's suicide, the two deaths cast an appropriately gloomish pallor over the next few weeks. I even dedicated the book I was working on at the time to them both. "Better luck next time," I wrote in that dedication. Lennon may have been the greater star and his murder may have been the bigger tragedy, but it was Rozz and Wendy who more deeply rocked my personal world.

* - Okay, I think I may have been exposed to Devo and Gary Numan first, as I was an avid fan of the original Saturday Night Live. At the time, though, they just puzzled me. It would take years before the brilliance of Devo would work its way into my consciousness. At the time, I was just like, "What the FUCK is this???"

Mindlesskirby said...

I only like George Harrison's songs. The rest of the beatles are overrated. Ringo has never had an inch of talent.

Bunche (pop culture ronin) said...

Mindlesskirby, I'm totally with you on Ringo. Next to Michael Anthony, he's got to be the luckiest guy in rock 'n' roll history.

Satyrblade said...

Poor Michael Anthony!

He's actually an excellent bass player - his work just got lost in the mix a lot... which is not surprising when you consider the three showboats he shared a studio with. Listen to Women and Children First (the one album where his bass lines weren't drowned out) to hear how good he really was back in the day.

Anthony also provided the high-end backing vocals, shrieks and screams echoing through the Roth-era albums. That's not Roth singing that shit - it's Anthony.

Michael also proved the glue that held the notoriously fractious Van Halen Brothers/ David Lee Roth chemistry together. Like Ringo, he was reportedly the coolest head in the band - the one playing diplomat when the other dudes were acting childish. This led to him getting more-or-less demoted when Roth left the band; Eddie got on great with Sammy Hagar, so Anthony didn't have to be the go-between as often... a situation that led the other guys to forget how important he had been before.

Supposedly the most friendly and stable member of any Van Halen line-up, Anthony stayed friends with everyone involved... which bit him solidly on the ass in recent years. Anthony played bass in the touring line-ups for Roth, Hagar and Van Halen, which supposedly pissed Eddie Van Asshole off so badly that when the Roth reunion finally happened, Anthony was the original member who got snubbed. According to what I read, he wound up understandably hacked off at everyone concerned. Oh, well - at least he's still got 30 years worth of royalties to comfort him; the Van Halen songs are credited to all members, so unlike many bass players (and Ringo), Michael Anthony shares the publishing rights to Van Halen's catalog.