beautiful, funny, sad & true

If you’ve spent any significant amount of time around this blog, you know that occasionally I get too busy to write, but then I rebound with a huge entry, often about either musicology or childhood.  This entry manages to include both, which means—naturally—that it will be a very long entry.  Don’t let that deter you, though; you also know by now that I would never steer you wrong or share things with you that I didn’t think were important or interesting enough to share.

I recently started reading Chuck Klosterman’s book Fargo Rock City, about heavy metal from the 1980’s, to which time has not been kind. He takes the position that while it may look a little strange from the outside, particularly with almost thirty years of hindsight, those who loved that music—including Chuck and myself—feel that it did a lot for us back then, but that it hasn’t received the respect that it deserves. The book is also autobiographical, about a disaffected kid growing up in a tiny town in the middle of nowhere, who connected deeply with a style of music that offered glimpses of a strange new world and a completely different lifestyle. I can definitely relate.

Klosterman’s obsessive knowledge of the bands has made me nostalgic for that music, and I’ve gone back recently and reconnected with some of the stuff I used to love. My personal favorites were Kiss, Dokken, Ratt, Triumph, Dio, and Ozzy Osbourne. I should admit that some of them have held up better over time than others have. The first cassette I bought was Shout at the Devil by Mötley Crüe (umlauts intentional) in 1983, and the last was All Systems Go by Vinnie Vincent in 1989. Much has been written about Mötley Crüe, but precious little has been written about Vinnie Vincent, whose story is extremely interesting, even if (and possibly especially if) you know absolutely nothing about either him or heavy metal.

Vinnie became an instant celebrity when he replaced Kiss’s original and longtime lead guitarist, but I think a little bit of context is in order. Kiss was in trouble in 1982. They had sold millions of records throughout the 1970’s, but times—as well as musical tastes—were changing. Kiss had also jumped the shark with a couple of strange (pronounced “crappy”) albums in a row; a disco one and their famous flop Music From “The Elder,” which is a bizarre cross between Pete Townshend, David Bowie, and a Broadway musical. It was seriously weird, and their fans didn’t know what to do with it, but they DID know not to buy it.  The band needed to find their way back, and in doing so, a couple of painful changes were necessary.

The original drummer, Peter Criss, was the first to go. He had been suffering from the excesses of the rock ‘n’ roll lifestyle for quite some time, and was injured in a car crash which left him out of commission for a while. The band had to postpone or cancel much of their subsequent tour, and Peter’s drinking and drug use had become a problem, so he was fired on May 18, 1980. I had to look up that date, but you can understand why I might have overlooked that tidbit in the news of the day, because I was too busy paying attention to Mount St. Helens, which erupted early that morning and buried Yakima (the town in which I grew up, and the nearest big town in the path of the eruption) under an inch or two of ash. So we had bigger things to deal with than some drummer being fired in New York City.

But I digress.

Next to be handed his walking papers was the original guitarist, Ace Frehley. He, like Peter Criss, had spent many years drinking heavily, even going so far as to bring cases of Dom Perignon champagne with him when he was on tour.  He was constantly drunk onstage and in interviews, and the other band members had had enough. Ace, like the public, was also frustrated with the musical direction the band had taken, and was tired of always being outvoted by the band’s leaders, Paul Stanley and Gene Simmons.

The firing of Ace Frehley was undoubtedly a great opportunity for any guitarist.  Kiss knew they had to deliver the goods as they finished their next record, Creatures of the Night, and they spent months auditioning players. Ace was pictured on the cover of Creatures, but he only played on a couple of the songs. Rick Derringer (you may know him from this song) supposedly played on one, as well as the guitarist from Mister Mister (you may know them from this song), but Paul and Gene wanted someone who could write songs as well, and they gave the nod to Vincent Cusano, who had been a studio guitarist and songwriter kicking around the New York scene of the 1970’s.  Gene Simmons rechristened him Vinnie Vincent, and his place in rock history was secured.  He’s third from left in this picture:

Vinnie landed one of the biggest gigs in rock and roll. The album was the strongest Kiss had created in quite a few years (it remains my favorite of their albums), and it even spawned a couple of hits on the then-fledgling MTV.  The band was back on top, with a great new drummer and a fiery lead guitarist. But Vinnie was a tough sell for the fans. Replacing an original band member is no easy task, and Vinnie never felt like a ‘true’ member of Kiss.  Even his stage persona, the Ankh Warrior, didn’t quite rise to the mythological status of Gene’s Demon or Paul’s Star Child, and Vinnie seemed a bit amorphous or strange compared to them.

His playing, however, was stellar, and he also brought tremendous songwriting skills to the band. After the success of the Creatures album and tour, the band decided it was time for another big change, and decided to appear without their makeup for the first time. The album Lick It Up was a huge and instant success, thanks in no small part to Vinnie’s contributions.  The band went on an extensive world tour and prepared for their next steps. Vinnie’s on the left in this picture:

But by this time—1984—the cracks were beginning to show. Vinnie didn’t fit in with the other guys, and they weren’t getting along very well. He also didn’t feel that he was being fairly compensated for his songwriting. The royalties for some of their biggest hits of the time went to Gene and Paul, who kept Vinnie and drummer Eric Carr on salary as ‘for hire’ sidemen, rather than full-fledged band members. This rubbed Vinnie the wrong way, because he felt he had contributed much more than the somewhat low status of a sideman would take into account.  It was decided that he should leave the band. He sued Kiss for royalties, but was unsuccessful.

Still very much in the limelight, he took some time to write more songs and put together his own band, called the Vinnie Vincent Invasion, the intent of which was to be bigger-than-life in every way.  I couldn’t wait to hear it. I eagerly awaited its arrival in the record store, and bought it before I’d ever heard a note of it. I’d been reading in the magazines like Circus and Hit Parader that he used a gigantic number of amps on stage, he dressed more flashily, and could shred like nobody else. The drummer played crazy fills, and the singer sang higher than anyone else. It was completely over the top.  Here’s their biggest hit song, “Boyz Are Gonna Rock.”

I’m not gonna lie; this song is dumb.  I thought so when the fifteen-year-old version of me first bought the tape, and I still think so today.  The first time I saw the video, I probably thought—in my addled teenage way—something eloquent like, “What the fuck was that?” They all looked ridiculously feminine, even in comparison to the other bands at the time, which is serious competition indeed.  To wit:

Cinderella. . .

. . .and Vinnie Vincent Invasion:

See what I mean?  He and the band just seemed like used-up gay prostitutes compared to other bands, which didn’t match the aggressiveness of the music. People didn’t know what to make of Vinnie.  He did have some great songs on that first album, but it didn’t sell particularly well, and the over-the-top nature of his guitar playing left a bit to be desired. Even on a slow, bluesy song, he tried to cram as many notes as possible into the guitar solo, with hilarious results.

Great riff, great song, horrendous guitar solo.  Even as a kid, when I was learning to play the guitar, I felt like if he could just settle down for thirty seconds and play tastefully—the way he did in Kiss—he’d really be onto something.

He seemed to have read my mind with his second and final album, All Systems Go. The songs were better, the sound quality of the album was better, and he played much more tastefully.  One of the songs, Love Kills, was written for one of the Nightmare on Elm Street movies, and he had a couple of other hits from the album as well.  My favorite song of his, “That Time of Year,” is on this album.

But if Vinnie was a hard sell for metal fans, he was an even more difficult one for the general public, whose metal tastes could only allow enough room for the likes of Def Leppard.  People couldn’t really get past his strange looks and over-the-top style. Add all that to the fact that by 1990, metal was on its way out.  Nirvana would put the final nail in its coffin in less than a year, and Vinnie and his compatriots would be relegated to the bargain bins of the record stores.

Like I said before, time has not been kind to 80’s metal, and Vinnie has become one of the de facto elder statesmen of the genre.  But his story is far from over, and it gets super weird, so this seems like a good place for a cliffhanger.

To be continued. . .

checker:  Hey, were you in here earlier tonight?

me:  Nope.

checker:  Hunh. . .’cause there’s someone who looks just like you.

me:  I’ve heard that before, actually.

checker:  You have a doppul—what’s that word?

me:  Doppelganger.

checker:  Oh, yeah. . .’doppelganger.’  He looks exactly like you, but he was wearing a blue shirt.

me (wearing a multi-colored striped shirt):  Crazy!  But yeah, I’ve heard that I have at least one in town.  My main doppelganger is from Massachusetts, though.

checker:  (long, awkward pause) Well, Mr. [my last name], you saved six dollars and forty-nine cents.

me:  Excellent.

checker:  Have a good evening.

me:  Thanks, you too.

After quite a while of silence, it’s time for a new modus operandi for this blog.  The impetus for said modus operandi is the new day job I’ve had for the last couple of months.  I spend all of my days squinting at a computer screen, so the last thing I want to do when I get home is to interact with a computer, but I also have a ton of blog-worthy stories that are begging to be told, so I decided that I should choose my most open day of the week and share stories then.

I make no promises, but at least it’s a step in the right direction.

To be continued.

When you’re visiting New York City and your friend sends you a text message that says, “Meet me at 23rd Street and 8th Avenue right now, if you’re game—I’ll show you the coolest place in the city,” the answer should always be a resounding yes.  I texted back, “I’m in!” and walked the few blocks to the nearest subway station and headed down to the Chelsea neighborhood to meet her.

I wasn’t at all prepared for what she showed me.  It was a former elevated railroad called the Highline.  Built in the 1930’s, it had long since outlived its usefulness as trucks replaced trains as the prevalent form of freight transportation.  As recently as a few short years ago, it was still a dilapidated eyesore that many people hoped would be demolished, but it was also a pipe dream for people who wanted to see it repaired and possibly used as a public space of some sort.  Luckily, the latter idea won, and today the Highline is an elevated park that is now regarded as many peoples’ favorite place in all of New York City.

It’s designed with sustainable, native plants, and birds even have nests in the bushes and trees that line the edges of the busy pathway.  Rents in buildings near the park have increased significantly.  It’s a very romantic place, and there are lots of couples walking hand in hand and admiring the views of the city while remaining safely above the whirling traffic below.   My friend, who has lived in NYC for two or three years now, was made aware of the park when she went on a first date with a guy who took her there.  It was about this point that she had to bid me adieu, since she had an appointment to keep, but she told me where to go to see the best stretches of the park.  It’s much more than just a walkway, and there are a number of wide areas to sit, or to watch people, or to look at the city, or even to busk on the cello.

This guy was playing Bach’s sixth Cello Suite, which is extraordinarily difficult.  The Cello Suites get progressively more advanced as they go along, so the First (which is one of the most famous in all of classical music) is in the repertoire of almost every cellist, but the mark of a true professional is their ability to play the Suites in their entirety.  This guy was definitely at the professional level, since not only was he playing the sixth Suite, he was playing it flawlessly.  I had wandered in near the beginning of it, and sat across from him as unobtrusively as possible while I watched the remainder of his performance.  When he finished playing for his audience of one, I said, “Bravo,” and walked over to patronize the arts by leaving a couple of bills in his cello case.  He began to play another piece that I didn’t recognize, and I decided to continue walking and exploring some more.

A bit further along, I saw a small group of people doing what appeared to be acting.  I love the Theatah, as those of you who have spent any kind of time on this blog already know, and I used to be a member (and eventually the leader) of a play-reading group, so I sauntered over to give them a listen.  They were rehearsing Shakespeare—his style is unmistakable—and while I love his works, there are only a few that I’m familiar enough with to recognize by tuning in at a random moment.  Luckily, this happened to be one of them, and I believe they were rehearsing a scene from the Scottish Play.

I stayed long enough to figure out which play they were performing, then clicked this picture and continued on my way, since even though they were rehearsing in a public place, it didn’t seem like they wanted to be closely watched.  Plus, I wanted to explore more of the walkway and it was beginning to get dark outside.  I came to a section that was closed off and in the process of being pressure-cleaned, possibly so that a movie scene could be filmed there.

From there I took the detour path, which led to a cute little restaurant area.  I would have loved to stop and enjoy some food and wine—I’ll have to save that for my next trip!—but I was on a mission to get off the platform and explore more of the Chelsea neighborhood.  Suddenly, I heard the sound of a harmonica, followed by a horrific metallic crash.  I headed over to investigate.

It was indeed a harmonica player, and he looked as if he was looking for a specific place to sit.  He was blowing on the harmonica and throwing metal chairs around.  Hoo-ga hoo-ga hoo-ga hoo-ga CRASH—hoo-ga hoo-ga hoo-ga hoo-ga CRASH.  The guy sitting there next to him, in the foreground of the picture, never so much as batted an eye.

I took a whole bunch more pictures after that, but the vast majority of them were too blurry to be worth sharing.  Here’s ONE good one of a nearby building. . .

. . .and I even took a picture on the way down, but it’s extremely blurry.  I’m only sharing it because I couldn’t find another picture of the yellowish-green elevator doors, and I wanted them to be represented too, so here you go.

This is only the second installment of the myriad of pictures and stories to come from my time in New York and Massachusetts.  To be continued. . .

Finally, the phrase ‘the party’ can be used to describe more than just a bizarre Peter Sellers movie from the 1960’s (from whence the band Birdie Num Num got their name), in which he plays a man of South Asian descent who wanders into a party and, completely befuddled, makes comments about everything he sees there.  Now—yes, NOW—it’s also the name of a stellar entry here on this very blog.  I know; it’s an impressive title.

After a week of starting a new job and re-mixing GhostBand’s CD (more about that at some point; it’s a very interesting story), I somehow manage to have a free afternoon, so I’m taking the opportunity to do what I promised the other day, and beginning the laborious process of posting pictures from the New England trip and sharing some of the stories behind them, rather than creating one super-extendo, fifty-thousand-word behemoth of an entry.

Might as well start from the first night (although I think the whole chronological ‘thing’ is unnecessary and even somewhat boring) since this was my first time in New York, and this beautiful night seemed to set the tone for the rest of the trip.

This picture was taken at the home of our hosts, M and A, in Brooklyn.  Their home is a lovely, sparse, tasteful two-story apartment near the Green-Wood Cemetery.  They treated us like family in a million different ways, not least of which because A happens to be PolishCellist’s younger sister.  They didn’t know me from Adam before I showed up in their car and on their doorstep, but they welcomed me with open arms and instantly included me in the fold.  Both of them are engaging creative types (he’s a long-time Blue Man, musician and recording engineer, and she’s a freelance sound engineer and visual artist), so we had plenty in common to talk about.

They made us an excellent dinner of Caprese salad, grilled sausages, hot dogs, and bread.  We ate on their patio until the rest of the guests began to arrive in the early evening, when the wine flowed, a fire flickered, and PolishCellist and I played an informal cello and accordion concert or the small but substantial group.

Here’s a shot of us playing, taken by PolishCellist’s youngest sister E, who lives in Brooklyn as well.

Around ten o’clock, we decided to give the neighbors a break (although I suspect they rather enjoyed the concert) and set about roasting marshmallows for s’mores (as well as drinking more wine) and continuing the conversations.

Eventually the party moved inside and out came the cameras, because the three sisters aren’t in the same place at the same time nearly as often as they’d like to be, so when they are it’s a pretty special occasion.

From left to right are A, PolishCellist, and E.  Good genes certainly do run in their family, no?

Around two-thirty in the morning, we all went to bed.  PolishCellist and I were awake a bit later than M and A were, since we’re both night owls and our body clocks were still on Pacific Time.  She stayed upstairs and did some computer work, and I went downstairs and attempted unsuccessfully to sleep, while mentally going over all the places I wanted to see in the days to follow.  I decided to explore as many various parts of town as possible—downtown Brooklyn, the Bridge, lower Manhattan, and Central Park (including Strawberry Fields and John Lennon’s home at the Dakota) were on my agenda for the first day—but I also decided to ‘randomize’ and play things by ear, and to remain open to possibilities and suggestions from my new friends.

To be continued. . .