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Post by brianlux on Mar 6, 2016 17:47:55 GMT -5
I'll get it and will get around to reading it but don't need yet another dose of reality right now.
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Post by thematsarealive on Mar 6, 2016 19:51:37 GMT -5
Not sure if this has been posted elsewhere:
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Post by anarkissed on Mar 6, 2016 20:24:47 GMT -5
I'll get it and will get around to reading it but don't need yet another dose of reality right now. Just finished it today. It seems like the impression is coming across here that this is a depressing read. It's not.
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Post by hudson99 on Mar 6, 2016 22:49:56 GMT -5
Whatever thoughts that people come away from the book with re: Paul, I give him and Tommy a lot of credit for participating and for being so candid. Giving up control of the story of a hugely important part of your life to someone else takes a lot of guts. They could have opted not to participate or held back on what they talked about or gone for another type of book that was less "warts and all". I agree. I'd rather read an honest "warts and all" story than something that's just a step above fan fiction.
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Jer
Beagle Scout
Posts: 1,182
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Post by Jer on Mar 7, 2016 7:40:57 GMT -5
I'll get it and will get around to reading it but don't need yet another dose of reality right now. Just finished it today. It seems like the impression is coming across here that this is a depressing read. It's not. I found it pretty much depressing on most levels. It's not miserable front-to-back. The stories around all of the early adventures and camaraderie were great, and I loved the back stories around the music and the recording sessions and events (even the dark stuff), but there is a constant, overshadowing dark cloud over everything. Whatever thoughts that people come away from the book with re: Paul, I give him and Tommy a lot of credit for participating and for being so candid. Giving up control of the story of a hugely important part of your life to someone else takes a lot of guts. They could have opted not to participate or held back on what they talked about or gone for another type of book that was less "warts and all". I agree. I'd rather read an honest "warts and all" story than something that's just a step above fan fiction. Totally agree. I wouldn't change a thing. It was a tough read, but it was very real, and it takes a lot of guts to open yourself up like that. As a fan, you can't ask for much more. Just the fact that it's not your standard rock-bio formula alone makes it worth reading, let alone the fact that it's well written, thorough, and objective. I think I'm going to read it again in a few weeks and see if I have some different take-aways.
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Post by TomT on Mar 7, 2016 7:48:20 GMT -5
I just ended the PTMM tour chapter with the Portland show. I couldn't imagine waking up nearly every morning hung over. These stories just amaze me. I worry for Paul's liver these days. It's got to be pretty messed up.
The shaved eyebrows thing just cracks me up. That's the joke that kept on giving for months later. Wow.
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Post by FreeRider on Mar 13, 2016 15:03:25 GMT -5
I've finished it and my thoughts are: they didn't deserve to hit it big.
What came across was some amount of dysfunction in all of them to varying degrees, but horrible traits such as immaturity, hyper non-conformity, selfishness, and lack of respect towards others, anger, insecurities, and fear. Mix that with drugs and alcohol and it's no wonder they didn't succeed.
The self sabotage thing---self defense mechanism to truly mask their insecurities? Maybe. I dunno if there is one clear cut answer.
*****SPOILER ALERT- for those who have not read it or finished it*******
The Bob Dylan meet up was interesting, where Paul was whining about "them", and Dylan was puzzled as to who Paul was fighting against. And he leaned in and forcefully told Paul that he was the artist, you don't have to to do anything you don't want to do. But ironically, hadn't Paul been trying to do that all along? And also, Dylan had far more clout to dictate what he wanted to do. Now, had the Mats just played the game a little better to where they COULD get some clout, they'd be the ones with leverage. The Mats never proved themselves when the time came to getting more of the rewards and support from the label.
I can't quite figure out what drove their self sabotage behavior. Or the mean streaks. The treatment of Jesperson, or Tony Berg, or Johnny Mar. I'm surprised that nobody took a swing at them either and settle their hash for being wise asses.
Some of their behavior I get, and its' funny because it makes a point--- but after awhile, the provoking of the audience becomes a kind of contempt for the listeners. Was it really that bad that people liked "I'll Be You" and drew in more fans that wanted to like them?
And the Petty tour---Tom stopping Tommy's whining cold by stating, "We're playing this farm because we'll be going home with a quarter of a million dollars tonight. How much are you making?" They just come across as clueless and worrying about becoming sell outs rather than thinking about how to make a living as performing artists.
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Post by curmudgeonman on Mar 20, 2016 17:21:08 GMT -5
Finished the book a couple of days ago. I have read a number of rock biographies, from The Beatles to the Kinks, from Nirvana to Led Zeppelin. Also autobiographies, including Keith Richards, Bob Dylan, etc.. Mehr's book is one the best ones I have ever read. Very detailed, with tons of eye witnesses and anecdotes. His objectivity and the lack of brown nosing was refreshing. Extremely well written.
I did not consider it sad or depressing. I was actually kind of pissed off at the principles, just shaking my head in wonder, but also laughing at the sheer stupidity. I followed the Mats beginning with Let It Be, and was well aware of the stories and myths of the band back then. But to actually read detailed accounts from people close to them professionally and personally was an eye opener. To the fans who thought industry ignored the band, who were puzzled why they didn't become as big as R.E.M. and why other lesser bands made it, the book clearly illustrates it was the band, and the band alone that bore the brunt of responsibility. The only reason their incredibly cruel behavior was tolerated was the songwriting and chemistry of the band. Record company people bent over backwards for these guys and were paid back with heartache, headaches, and cruelty. Even the extent Mo Ostin and Lenny Waronker tried to get personally involved with the band, a fact I never knew back then since I always assumed the Warner big wigs would not have known who the Mats were. And the amount of bridge burning performed throughout is absolutely astounding.
But why? My take is that these guys never really matured or progressed past an 8th grade mentality during their prime years. They really weren't ready for high school, clung to each other as fellow misfits, isolated everyone else out their inner circle, and could not grow out of that mentality until they got sick of each other. IMO, being a Replacement stunted their emotional growth. Mixed in with drugs and booze, and the enabling of not only record industry people, but fans, it's amazing that Paul and the rest did not get their asses beaten on a weekly basis.
The one mind bender was the description of the copious amounts of alcohol consumed by the band, especially Westerberg. Absolutely incredible.
Like I stated earlier, I did not find the book "sad". If one thinks about it, Paul and Tommy still have music careers, seems like they can pay the mortgage and live comfortably. And of course there is Chris Mars, who was treated so poorly by the Gutter Twins. In the long run, Mars "won" by having a very successful career in something he loves, and still married to the same woman after all of these years. The only one who can care less about The Replacements and the baggage that goes with it. And the only one who did not participate in the book.
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Post by teddinard on Mar 21, 2016 8:04:39 GMT -5
The dichotomy is that they just didn't seem to get why REM got all the breaks. Like "we're not going to do that shit! No way! Go F*** yourself! Hey - why did REM's record just sell 2 million copies? Why is MTV playing their video 100 times a day? That's bullshit!" All the while, REM pretty much played the game on their own terms and managed to keep their integrity and make the music they wanted. It seemed like all the Replacements really had to do in addition to the great songs they were writing and the amount of touring they were doing was not be assholes and play shows like they had the ability to. They never manged to both at the right times - and it was calculated. I feel like there's a lot of comment here and elsewhere about the Replacements "whining" in the book about the success of R.E.M. So I went through the index and looked at all the citations of R.E.M. From my reading, there's little to no whining about it. Westerberg says at one point (referring to Sammy Davis Jr.) that it's show business--a show and a business--and that the Mats didn't get that while R.E.M. did. Tommy says that R.E.M. did drugs too but were phony about covering it up (maybe a tiny bit of whining there). And at one point, Westerberg says he thinks their record Don't Tell a Soul is better than a competing R.E.M. record. Who can blame an artist for thinking his music is better than the competition? Maybe I missed something, but this doesn't seem like whining to me. It's clear-sighted about what went wrong: they weren't motivated (for lots of reasons) to play the game. They paid the price. End of story. I have to say I'm surprised by the school-marmish tut-tutting of supposed Mats fans here. We get arm-chair diagnoses of their "mental age" and so forth. So tell me what's the mental age of someone who who writes "Here Comes a Regular"? "Androgynous"? Yes they were a volatile mix of immaturity, nastiness, and brilliant talent. We knew that (I thought). I still value the thumbing their nose at success. In their song for Trackin Up the North in 1982, sponsored by Miller beer, don't we all still like it when Westerberg screams "Keep your riches, gimme a Budweiser"? That's the attitude they had from beginning to end. Would you rather he said "we'd like to thank our sponsors, Miller Genuine Draft, a really swell beer"? I still think their allergy to success meant something. The day I say "gee, I wish they had grown up and learned how to be responsible rock and roll businessmen" is the day I stop being a Replacements fan.
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Post by FreeRider on Mar 21, 2016 9:49:09 GMT -5
I respect your stance and views, but I think basically it is the fans' conventional wisdom that they somehow got screwed by the record label that has some of us shaking our heads. Because we only got one side of the story, and then to see the rest of the story flushed out about how the Mats imploded, well, it changes my view on their lack of success. I've made no comments about the Mats and REM with regards to whining. It's fine to take on the attitude of sticking it to The Man, but what puzzles me is the strange dysfunction of also destroying yourself in the end. I mean, that personifies a rebel without a clue. You may disagree with me and that's fine. Lighting your per diem money on fire? For what? A good laugh? Ok, funny the first time, but to continually piss away your subsistence is foolishness. But actually disrespecting people who wanted you to succeed? why were they even trying to be in a broken system to begin with if they didn't want to do want the record company clowns wanted them to do? Why didn't they just pull away then? Really, what was the point then? Don't forget, even Tommy said that post Mats, he had to learn how to how friends and actually came to enjoy it, that it was this growing up thing that eluded him (really a prolonged adolescence). On page 418: For Stinson, who'd been living a kind of arrested rock and roll adolescence for so long, his adult life really began once he shed the baggage of his old band. "It's a real weird thing, but the Replacements were very anti-social people. Except when we were with our selves---then it was a gang mentality, " said Stinson. "In LA with Perfect, I learned what it was like to be a friend, and I started having friends. It's nice to have people you can call and talk to and hang out with---other than Paul. Not that he was a bad thing, but we'd gone our separate ways." At thirty years old, Tommy Stinson had "finally started figuring all that regular life stuff out." And in the aftermath of the Mats, he wound up being a telemarketer, trying to make some scratch. So much for sticking it to The Man. Paul goes home and is plagued with self doubt and lack of identity. At least Chris moved on and had his art to pursue. I understand your sentiment, but don't misconstrue my wanting them to have succeeded as wanting them to be corporate drones and shills (and btw, one should never use the phrase, the thinking man's Bon Jovi when talking about the Mats ). It is one thing to pursue success on your terms to enable you to continue what you do without destroying yourself in the end versus being a lap dog for the label. You take some short term shit to have power and leverage to do what YOU want in the longer term forever. Their music should've had wider exposure; if it did, maybe it would've effected the popular culture and music for the better (but that's just my take on it). But we'll never know. It calls to mind the disagreement Lennon had with Neil Young's lyric about "better to burn out" in that Playboy interview before he died. Lennon: I hate it. It's better to fade away like an old soldier than to burn out. If he was talking about burning out like Sid Vicious, forget it. I don't appreciate the worship of dead Sid Vicious or of dead James Dean or dead John Wayne. It's the same thing. Making Sid Vicious a hero, Jim Morrison - it's garbage to me. I worship the people who survive - Gloria Swanson, Greta Garbo. They're saying John Wayne conquered cancer - he whipped it like a man. You know, I'm sorry that he died and all that - I'm sorry for his family - but he didn't whip cancer. It whipped him. I don't want Sean worshiping John Wayne or Johnny Rotten or Sid Vicious. What do they teach you? Nothing. Death. Sid Vicious died for what? So that we might rock? I mean, it's garbage you know. If Neil Young admires that sentiment so much, why doesn't he do it? Because he sure as hell faded away and came back many times, like all of us. No, thank you. I'll take the living and the healthy. NY's response: "The rock'n'roll spirit is not survival. Of course the people who play rock'n'roll should survive. But the essence of the rock'n'roll spirit to me, is that it's better to burn out really bright than to sort of decay off into infinity. Even though if you look at it in a mature way, you'll think, "well, yes ... you should decay off into infinity, and keep going along". Rock'n'roll doesn't look that far ahead. Rock'n'roll is right now. What's happening right this second. Is it bright? Or is it dim because it's waiting for tomorrow - that's what people want to know. And that's why I say that."
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Post by teddinard on Mar 21, 2016 12:49:16 GMT -5
I respect your stance and views, but I think basically it is the fans' conventional wisdom that they somehow got screwed by the record label that has some of us shaking our heads. Because we only got one side of the story, and then to see the rest of the story flushed out about how the Mats imploded, well, it changes my view on their lack of success. I've made no comments about the Mats and REM with regards to whining. It's fine to take on the attitude of sticking it to The Man, but what puzzles me is the strange dysfunction of also destroying yourself in the end. I mean, that personifies a rebel without a clue. You may disagree with me and that's fine. Lighting your per diem money on fire? For what? A good laugh? Ok, funny the first time, but to continually piss away your subsistence is foolishness. But actually disrespecting people who wanted you to succeed? why were they even trying to be in a broken system to begin with if they didn't want to do want the record company clowns wanted them to do? Why didn't they just pull away then? Really, what was the point then? Don't forget, even Tommy said that post Mats, he had to learn how to how friends and actually came to enjoy it, that it was this growing up thing that eluded him (really a prolonged adolescence). On page 418: For Stinson, who'd been living a kind of arrested rock and roll adolescence for so long, his adult life really began once he shed the baggage of his old band. "It's a real weird thing, but the Replacements were very anti-social people. Except when we were with our selves---then it was a gang mentality, " said Stinson. "In LA with Perfect, I learned what it was like to be a friend, and I started having friends. It's nice to have people you can call and talk to and hang out with---other than Paul. Not that he was a bad thing, but we'd gone our separate ways." At thirty years old, Tommy Stinson had "finally started figuring all that regular life stuff out." And in the aftermath of the Mats, he wound up being a telemarketer, trying to make some scratch. So much for sticking it to The Man. Paul goes home and is plagued with self doubt and lack of identity. At least Chris moved on and had his art to pursue. I understand your sentiment, but don't misconstrue my wanting them to have succeeded as wanting them to be corporate drones and shills (and btw, one should never use the phrase, the thinking man's Bon Jovi when talking about the Mats ). It is one thing to pursue success on your terms to enable you to continue what you do without destroying yourself in the end versus being a lap dog for the label. You take some short term shit to have power and leverage to do what YOU want in the longer term forever. Their music should've had wider exposure; if it did, maybe it would've effected the popular culture and music for the better (but that's just my take on it). But we'll never know. It calls to mind the disagreement Lennon had with Neil Young's lyric about "better to burn out" in that Playboy interview before he died. Lennon: I hate it. It's better to fade away like an old soldier than to burn out. If he was talking about burning out like Sid Vicious, forget it. I don't appreciate the worship of dead Sid Vicious or of dead James Dean or dead John Wayne. It's the same thing. Making Sid Vicious a hero, Jim Morrison - it's garbage to me. I worship the people who survive - Gloria Swanson, Greta Garbo. They're saying John Wayne conquered cancer - he whipped it like a man. You know, I'm sorry that he died and all that - I'm sorry for his family - but he didn't whip cancer. It whipped him. I don't want Sean worshiping John Wayne or Johnny Rotten or Sid Vicious. What do they teach you? Nothing. Death. Sid Vicious died for what? So that we might rock? I mean, it's garbage you know. If Neil Young admires that sentiment so much, why doesn't he do it? Because he sure as hell faded away and came back many times, like all of us. No, thank you. I'll take the living and the healthy. NY's response: "The rock'n'roll spirit is not survival. Of course the people who play rock'n'roll should survive. But the essence of the rock'n'roll spirit to me, is that it's better to burn out really bright than to sort of decay off into infinity. Even though if you look at it in a mature way, you'll think, "well, yes ... you should decay off into infinity, and keep going along". Rock'n'roll doesn't look that far ahead. Rock'n'roll is right now. What's happening right this second. Is it bright? Or is it dim because it's waiting for tomorrow - that's what people want to know. And that's why I say that." I appreciate your view, FreeRider. You make good points. I never was one of the fans that thought the Replacements were screwed by the label or by Fate. I knew they sabotaged themselves, even before I read this book.
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Post by FreeRider on Mar 21, 2016 14:20:24 GMT -5
Hey, there is no right or wrong in how we view the Mats! Hell, this is just discussion for discussion's sake anyway....we all dig the music and they all mean something different to us.
But I get the piss and vinegar stuff and I like the attitude as well---I just didn't want to see them hurt themselves, is all. It just seems sad to know that Tommy had to resort to doing the telemarketing shit in the aftermath. That seems so beneath him, but he had to do that to survive while his playing career was on hold.
I mean, you really gotta swallow your pride to get a job like the rest of us, when he was in a loftier position doing something he loved and bringing happiness to the fans.
But in the end, I guess they all wound up where they were supposed to be. Maybe a little humility was good for them? I dunno.
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Post by curmudgeonman on Mar 21, 2016 23:40:11 GMT -5
I have to say I'm surprised by the school-marmish tut-tutting of supposed Mats fans here. We get arm-chair diagnoses of their "mental age" and so forth... I still value the thumbing their nose at success... I still think their allergy to success meant something. The day I say "gee, I wish they had grown up and learned how to be responsible rock and roll businessmen" is the day I stop being a Replacements fan. This is an internet forum. "Arm-chairing" is part of the territory. One should not expect everyone to be locked-stepped in opinion on a topic, whether it is bicycles, politics, guns, infectious diseases, or the Mats. I have been a fan of the band since 1984 and seen them a dozen times in their various incarnations. If, at the age of 55 yo, I don't exactly romanticize the band like I did back in 84, sorry to disappoint. Some of us do actually grow up. As some have alluded to in this thread, merely "thumbing their nose at success" is a naive over-simplification. In fact, as laid out in the book, they did want success. After destroying infrastructure, pissing off and alienating a huge amount of people in a set period of time, at the end of the week, nursing some beers, they ask themselves in true confusion why they haven't sold more records or brought home more money. Or why they are living in a shit hole apartment instead of a big house. These guys were not Ian MacKayes or Steve Albinis. We're not talking about them merely avoiding mundane crass commercialized strategy, or gaining success on their own terms. REM did that. Like their daily per diems, the Mats torched everything positive and helpful that came their way from true believers of the band. And here's some news; they did grow up and become somewhat "responsible rock and roll businessmen". While many were lambasting Tommy for joining G&R, I thought "good for you, you can still perform and play with someone you obviously get along with" while earning a livable income. Chris Mars grew up before the band quit; he is perhaps the most well-adjusted band member today. Like Westerberg, I too have a college bound son and Paul has made some career decisions that I know were based on some old fashion ideas such as family, raising a child, supporting a wife, getting food on the table. It's either that or push a broom. Maybe I am a school marm, even back when I was in my 20s. Because I always believed that people should be treated decently. That to move forward in life, you have to get along with people. Sure there are jerks in life, but that doesn't mean I have to take a handmade custom bass guitar gifted to me, smash it into pieces, and toss the remains onto the lap of the incredible person that gifted it to me. But even after all of the anecdotes, I am still a big fan of the band. Even back to 1984, it has always been about the music, the songs. And it still is today.
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Post by FreeRider on Mar 22, 2016 15:32:05 GMT -5
I had forgotten about that handmade bass given as a gift. Sheesh! There was some sort of dysfunction going on there with all of them. But knowing the backstory with Bob, which is sad in and of itself, illustrates how his life was messed up from the beginning. And it affected him for the duration; without having any kind of real help, he had no chance to be free from those demons.
It seems like they just didn't know what the hell they wanted. it's so contradictory, this inner conflict, that there was no way it could've ended any other way for them. And that to me is sad because the aftermath left them wandering around in the wilderness for a bit. you know, had they just made the choice to not screw up and just grit their teeth and muddle their way thru some promotional crap or whatever, maybe they just might've found a balancing act, some sort of compromise for the longer term gain: artistic and financial freedom.
Of course, I'm projecting here, but I thought if they had success on a big scale, that perhaps they could affect the music scene for the better. That if those songs got out to a wider audience and moved people the way it moved us, THEN the music biz would see the value in trumpeting other artists like the Mats. Maybe that would've halted those hair metal bands and other schlocky rock acts in the 80's from littering the airwaves.
I guess I see it as this potential that was never realized. And the fallout was sad to me. On page 417, Mehr documents Paul on the Eventually tour, getting pelted with a water bottle, Tommy Keened getting hit with an orange at the Big Day Off festival in Western Mass.
Westerberg reverted to old instincts, instructing the bad to serve up a Replacements-style 'p*ssy set'. confused at first, they went along, playing "Kiss me on the Bus" and Color Me Impressed" as slow as possible before Westerberg cut the show and stormed off. "At that point", he said, "it was pretty clear my fifteen minutes of fame was up. I was an absolute nothing."
To me, that's just heartbreaking. But at the same time, this was a hangover from the choices he and the band had made. I mean, I'm sympathetic to Tommy having to do telemarketing shit and Paul getting heckled, but at the same time, they did it to themselves.
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Post by teddinard on Mar 22, 2016 16:07:36 GMT -5
Hate to sound callous but...
If I were a maker of fine, hand-crafted basses, each of which took me months or years to make, maybe the last person on earth I would present one to is Tommy Stinson.
The episode has the structure of slapstick comedy.
Earnest, adoring chap solemnly presents self-destructive, drunken rock star a fine, lovingly crafted instrument and...well the rest writes itself.
Not saying it was "right" or "nice" of Tommy to smash it but..the builder sounds like a weird kind of masochist.
Maybe he just sat there in the audience afterward with a dreamy, orgasmic expression on his face, with the broken pieces draped all over him.
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Post by anarkissed on Mar 22, 2016 22:03:43 GMT -5
I was alright with The Who smashing instruments in 1966/67...It was original, it was dramatic, it was shocking, it was great theatre...For about three times...When it gets to the point that a show isn't a success unless they smash their instruments, it just becomes stupid...Then again, when I owned, like, two guitars in my lifetime, one decent, one really nice - which I later had to pawn to keep the electricity on - this kinda shit just becomes insulting...We're talking Marie Antoinette "Let them eat cake" territory...It'd be like walking out of a five-star restaurant with a big doggie bag of filet mignon and lobster tail in front of some starving people on the sidewalk, laughing, then throwing it on the ground and grinding your heel in it...Deliberate assholishness...And not very punk rock...More Fleetwood Mac...
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Post by anarkissed on Mar 22, 2016 22:23:32 GMT -5
Heh...I'd forgotten about an incident that probably colored my feelings about the whole "smashing guitars" routine...One of the first gigs I ever played was this private birthday party in the middle of some godforsaken stretch of East Texas piney woods (detailed elsewhere as "The Methhead Girl's Birthday Party")...For some reason, I had temporay possession of a friend's dad's cheap Les Paul copy (I wanna say it was a bargain basement sideline called a "Pan" that Gibson had, but I looked around, and couldn't find any reference to it)...It was a real piece of crap...So, we decided that we'd take it along, and when we doing our shitty cover of "My Generation", our lead guitarist could smash it...When were loading at my house just before the two-hour drive to the gig, the friend whose dad's guitar we were gonna smash shows up, just to wish us good luck, and see if we needed any help...Somebody pulls some cheap carpet over the guitar at the back of the truck bed...Anyway, at the gig, power is provided by this big, unwieldy, overhead cable stretched a few feet above our heads...At the climatic moment, our lead guitarist pulls out the cheap Pan, swings it overhead, tomahawks it down, and catches the cable, immediately cutting all light and power...So nobody ever saw him smash it...About six weeks later, my friend starts sniffing around: "You remember that Pan guitar I lent you? My dad's been asking about it...He's kinda been wanting to play again...Do you still have it?" "Pan guitar? Geez, I don't remember that...You lent it to me?" I didn't tell him it was lying in pieces somewhere in the mud around Livingston, Texas...He stopped asking after awhile...
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Post by anarkissed on Mar 22, 2016 23:00:54 GMT -5
Never understood why John Lennon threw in John Wayne with Sid Vicious and James Dean and Jim Morrison...John Wayne didn't recklessly throw his life away when he was 27...(Unless you wanna say that he should've known that heavy drinking and four packs a day would lead to his death at fucking 72!) Dude still made a movie ("The Shootist", one of his best) when he was literally dying from cancer...He didn't "whip" cancer...Has anybody? But he made cancer think about it...Cancer was, like: "Goddamn! This old fucker ain't going down without a fight! Fuck this!" Eh, John Lennon made a lot of lofty pronouncements about Neil Young and John Wayne and Sid Vicious and Jim Morrison while he was sitting in a cushy apartment living off royalties and doing smack and pretending to be a househusband and probably watching a lotta television...Not sure that really makes an attractive case for "fading away"..."Nodding off", maybe...If you're not one of us poor slobs who still has to get up in the morning and work for a living...Dilettante...He came out of this semi-retirement to produce "Double Fantasy"...Not only the worst work in his entire career, but maybe one of the shittiest bullshit cheesy-ass p*ssy fuck cornball albums of all time...And to think he once had the nerve to say McCartney was doing "granny music"...While Neil Young had done something as incendiary as "Rust Never Sleeps"...
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Post by anarkissed on Mar 22, 2016 23:06:37 GMT -5
I can't believe that I can say "bullshit", "ass", "shittiest", "fuck", and "fucker", but "p*ssy" gets censored...Sorry...From now on, I will use "wimpy", instead...It is a loaded worded...I blush...My bad...
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Post by TomT on Mar 23, 2016 18:52:36 GMT -5
Slagging John Lennon?? Drizzle Drazzle Drone, time for Anarkissed to put the beer down and go to bed.
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