Of Monkeys and Memories

A week ago I posted the following picture as a Throwback Thursday feature on Facebook.

It’s a picture of my first grade class in 1967. Actually, it’s a picture of the first and second grade classes at Nineveh elementary. It was a small country school with three classrooms and a small auditorium, so each room housed two grades.

The picture spurred a lot of conversation. I’m friends with a couple of the people in this picture, but the truth is I haven’t seen or even thought of most of these kids in years and years. I couldn’t name a significant number of them and as you can see, not a big group of people.

But Facebook works some algorithmic magic. On the day I posted it one of the girls in the pic (Hi, Marijane!), who I haven’t seen since second grade or had any contact with somehow saw the picture and tagged herself. As soon as I heard her name I remembered it. Others began to comment and over the course of the day identified most of the faces in the picture. Names that I would never have consciously thought of again were apparently coded in a neuron somewhere.

Which brings me back to the topic of memory again, a recurring theme on this blog.

I have a pretty good memory. Better than a lot of people, I think. I remember the day that picture was taken pretty well, simply because of the somewhat traumatic event that proceeded it. Earlier that day, during recess, one of the other kids threw a rock and hit me in the back of the head. I cried and bled a lot. You can’t see it in the picture, but I don’t look real happy in that shot. My head hurt and there was probably still blood in my hair.

I mentioned this in the thread that followed my post. No one else remembered that, nor did I expect them to. It was an incident about me that, unless you were really traumatized by witnessing it, you would have no reason to remember.

And I know exactly which kid in this picture did it.

But then I mentioned a couple of other things that no one remembered either. I’m pretty sure everyone in that picture has their own version of this; memories that are clear to them that I wouldn’t recognize as part of my experience at all. But I do wonder... I’m known as a storyteller and a writer, which can be synonyms for being a liar. One of the memories I posted sounds completely absurd and made up. No one commented, maybe because of the sheer improbability of it. But I confirmed this memory with my Mom, so I’m not crazy.

We took care of a monkey in our house when I was six.

Two of the kids in the picture I couldn’t identify were a brother and sister with the unlikely last name of Mullet. Another friend recognized them and said in her post, ‟Remember, Wayne, when their house burned?” I do, which is what reminded me of the monkey.

I don’t remember all of the details, but Mom tells the story like this... On a Saturday morning in February she received a phone call from someone telling her that the Mullet's house was on fire. They were neighbors of ours. Now where I grew up in the country the word neighbor referred to anyone in a five mile radius, so it wasn’t like they were next door or even in sight of our house. They lived on a narrow dirt road maybe a mile from us. Mom went out to see if she could help and found the kids walking along the road, the older one pulling a wagon with his little brother and sister, and I think, a baby in it, walking away from their burning house.

There was also a cage with their pet monkey in it.

They didn’t have coats or anything with them. Mom took them into our house and fed them soup. Over the course of the next few days, with help from our church, Mom helped find them a place to live, and gathered food and clothing donations.

And we took care of the monkey until they were settled in their new home.

There was a cage they kept it in. For a few days this was in our living room. My primary memory of it was that it ate bananas, which I know is a cliché, but that’s probably why we gave them to him. I also remember him holding a stick of Juicy Fruit gum in his tiny paws and nibbling it.

This is not an actual video of that monkey, but you really need a visual here.

This is vivid to me. I realize how unlikely it may sound to anyone I knew back then. Why or how the Mullets had a pet monkey I’ll never know.

That’s pretty much it. I have no great insights about this. Just wanted to establish I’m not making this up.

:-)

When I was working on my memory blog last spring I spent some time thinking about first grade and wrote down a lot of stuff I remember from that time. I’m going to post them below, just for the sake of documentation. I realize this may be tedious for readers, so I understand if you want to bail now. None of this really means anything to anyone but me.

I’ve also posted a short comics story I did a few years ago that chronicles one of these memories. It’s at the very end.

I had this Zorro lunch box.

On the first day of school I got on the bus okay, but then when I got there I wouldn’t go into the classroom. I sat on a chair in the hallway. Miss Baldwin (who had been one of my Mom’s teachers), kept trying to bribe me to come in. At lunchtime I went out for recess and sat on the front steps to eat. Mom stopped by. I think Miss Baldwin had probably called her. She led me to my seat for the afternoon. After that I was okay.

There was a substitute teacher one week who spent time playing the Mary Poppins soundtrack for us. I don’t remember watching the film, but whoever she was she was pretty obsessed with it. Possibly she just had no idea how to fill in and teach us at the time and this was a way of keeping us entertained.

One day it snowed a lot. Before recess I heard some of the older kids talking about building a snow fort. In my mind this was an elaborate construction of snow that would look like a real fort, like the Alamo or something. When I went outside and saw that it was just four big snowballs rolled together to hide behind during a snowball fight I was pretty disappointed. The real world not living up to my imagination has been an ongoing theme in my life.

Miss Baldwin paddled one girl (this was the memory I posted that no one else remembered). Thelma kind of lost her mind smacking her. The wooden paddle broke and a piece went flying up the aisle between the desks. Thelma kept right on hitting her.

I could read before I started school, so there were days when I was pretty bored by our lessons (this is a problem that followed me through my whole academic career). There was a bookshelf in the back of the room. One day while Miss Baldwin was teaching new words (I remember her holding flash cards up with words on them and her spelling them out so the other kids could learn them), I grabbed a book from the shelf and was reading it while she did her thing. She noticed I wasn’t paying attention, so she came back and snatched the book out of my hand and yelled at me. I remember confusion. I’m sure I couldn’t have articulated it then, but why was she shaming me for doing the very thing she was trying to teach everyone to do.

There’s a WWII Memorial stone outside the school with Dad and Uncle Carl’s name engraved on it.

One of my classmates cut figures out of his comic books, essentially making paper dolls out of them. I thought this was cool for a short time. I remember cutting up at least an issue of X-Men, something I still regret. Mom brings this up frequently when we’re talking about old comics. She seems to think I cut up my whole collection. I know I still have comics from that era, so that can’t be true. I don’t think it was more than one or two, but maybe.

Every day someone would walk to the store in Nineveh to pick up snacks and candy if we had money. I got pretty addicted to cheese popcorn.

I took some of my Marx action figures to school. During recess we were, for some reason, just throwing them up into the air and catching them. Another kid threw my Geronimo figure up and it landed on the roof. I don’t think he did it on purpose. I cried and so did he when he saw how upset I was. Even though there were ladders and we had a maintenance guy no one would climb up to get it down. I would see it up there every day. The next year I went to Rogersville for second grade. From the bus I could see Geronimo laying on the roof. Rained on, covered in snow and ice, always there. One day when we stopped at Nineveh to drop off the first graders and pick up the second graders that went to Rogersville the maintenance guy, the same one from the year before got on the bus and handed me Geronimo. Someone had thrown a baseball or a football up and it got stuck on the roof. That was worth their time getting out the ladder and climbing up. While they were there they might as well get my action figure as an afterthought.

Later that same day we were again throwing Geronimo up in the air at recess at Rogersville. This time he came down on a rock and sheared off half of one of his feet. Poor Geronimo. In between these two events I had bought (Mom had bought), a second Geronimo to replace the first one, so for years I had two, one crippled, one not. I still have the non-crippled one.

I had the lead in the play, Boots and His Brothers (this might have been 3rd grade… it was in the auditorium at Nineveh).

Here's the comic.

We Float

Conversation with my roommate while at a wedding at Heinz Chapel:

Me: ‟So, what do you think would happen if I just went up there and hovered over the Nave like fifteen feet up?”

Him: ‟It would probably really disrupt the wedding.”

Me: ‟See, that’s why I don’t do things like that. People are so skittish.”

Yeah, my brain doesn’t always work the way others do.

But this exchange brought up a memory of a dream. It wasn’t a dream of flying, not in the traditional sense. More a dream of hovering.

It was in the early 90s and I was living in the Bloomfield section of Pittsburgh. In the dream (and I kind of think it was a series of dreams with the same basic premise), I was able to levitate about a foot off the ground by flexing my feet back and forth. Somehow, if I continued this very specific motion I was able to propel myself forward, like walking, but I was hovering. I have pretty vivid memories of floating out of my apartment and crossing the Millvale Street bridge spanning the valley of the busway. So vivid that they feel like something that actually happened instead of a hazy dream image.

That’s the thing with this memory... it feels so real that at times it seems like something that actually happened. Okay, I know it didn’t so don’t dial 911 to get me help. But it feels that way, like somehow it is something I could still do, but I’ve forgotten the first part, the launch. If I could somehow remember how to do that I could flex my feet back and forth and hover around the city.

In The Hitchhiker's Guide to the Galaxy Douglas Adams states, ‟There is an art to flying, or rather a knack. Its knack lies in learning to throw yourself at the ground and miss... Clearly, it is this second part, the missing, that presents the difficulties.”

I’ve lost the knack of hovering.

Maybe it was astral projection. I’ve read enough comics to have been exposed to the concept from a very early age. Dr. Strange was doing it through magic and Professor X through psychic powers throughout my childhood.

Art by Dan Adkins

From X-Men # 117 by Chris Claremont and John Byrne

I’ve encountered the idea through a lot of reading about psychic phenomena and magic to know that a lot of people would say that is what I experienced.

I’m not saying that’s what happened. As much as I want to live in world of magic I’m enough of a cynic to not jump headfirst into that metaphysical pool. It’s as easy to drown there as it is to swim. So I dangle my feet, dip my toes in, and watch from afar. I can’t speak for the experiences of others, nor do I have the arrogance to deny their definitions. I hate to put any of my own experiences in a tightly defined box with lots of labels.

But the memory persists, more so than a lot of more obviously real experiences.

In classic dream analysis the experience of flying is usually interpreted as a positive thing. It is a symbol of freedom, of rising above one’s circumstances and seeing things from a new perspective.

I can see this in my life at that time. I had walked away from a good job (a really horrible ‟good” job), and my career in psychology and was living as a temp, making my first forays into the world of freelance art and writing. Other than some financial worries it was a really good time in my life. I was involved in a remarkable relationship. I was actively engaged with a group of people who would become my life-long closest friends. I was finding my power as a writer and an artist. I felt for the first time that I was on my true path and not one based on simply having a career. I was living in a dump and eating ramen noodles and ending up with twelve dollars in my bank account at the end of the month.

To quote Henry Miller, ‟I have no money, no resources, no hopes. I am the happiest man alive.”

So why think of this today at a wedding? Hmmm...

I’m still pretty happy overall. I have more responsibilities now than I did then, certainly. A lot more security as well, though I don’t want to take that too much for granted. I have matured and been somewhat successful with my writing and art, though that is a never ending work in progress. There are times I’m too busy and do feel too much gravity. I have my own litany of ‟stuff I need to accomplish” that can get in the way of freedom (however you wish to define that term).

Maybe the metaphor of hovering needs to be looked at. None of us ever have the ability to fly completely unfettered. That implies leaving everything behind, no ties to the earth at all. It’s important to fly, but so is the the need to remain grounded. We do have responsibilities here, to ourselves and others. There’s a difference between being grounded and being chained. Gravity is hard to overcome and Sisyphus’ stone won’t get to the top of the hill all by itself. But maybe we occasionally need to stop and think about what we are really responsible for and look at what may be holding us down.

There is a concept in Taoism called Wu Wei (Chinese, literally “non-doing”). It means ‟natural action, or in other words, action that does not involve struggle or excessive effort. Wu Wei is the cultivation of a mental state in which our actions are quite effortlessly in alignment with the flow of life.”

We all need to rise up once in awhile, see things from a new perspective, put our head in the clouds, stop fighting and just float.

Quote from Peter Pan by J.M. Barrie

Here’s PJ Harvey’s take on the topic.

I'm Your Fan (mostly)

There are very few perfect albums. Even the definition of what that means varies from one person to another, based on taste, nostalgia, and when you first heard an album that spoke to your life. I have my list, which is of course debatable.

I want to talk about a near-miss for my perfect album list. I don’t very often use a public forum to complain about something. I would rather spend my energy celebrating the things I love rather than ripping apart things I don’t. For the most part this post is a celebration of something I love, with one really annoying exception.

I discovered the poet, singer-songwriter Leonard Cohen around 1990. Even though he had been around on albums since the late 1960s (and as a poet before that), I hadn’t been exposed to his work. I may have heard a couple of his more well-known songs at some point, but they didn’t penetrate my consciousness. He never got a lot of radio play on the stations I listened to, and none of my more musically savvy friends owned any of his albums. I found him the way I ended up discovering a lot of music, by following the recommendations of musicians I already liked.

Cohen is name-dropped in the song Speed Boat by Lloyd Cole and the Commotions on their album Rattlesnakes (which, coincidentally, is on my list of perfect albums). Nick Cave mentioned him in interviews. I’m pretty sure other artists did as well because somewhere in there I decided that if that many musicians I liked were fans of this Leonard Cohen guy, maybe I should check it out.

So I bought a vinyl copy of Songs of Leonard Cohen at Jim’s Records in Bloomfield not long after I first moved to Pittsburgh. At the time I had no idea this was his first album from 1967. Based on the title I think I assumed it was a greatest hits collection. I fell in love with it immediately. His voice, his inflection, his lyrics and songwriting... it all came together for me pretty quickly. I could see how the artists I already liked were influenced by him. I started picking up a lot of his work.

Which brings me to I’m Your Man, the album I want to talk about.

It was released in 1988. I bought the CD in 1992 or 1993. I have vivid memories of listening to it over and over again. At the time I was teaching a class on Comics For Kids through Community College of Allegheny County and on Saturday mornings I would drive to a community center in East McKeesport. I’m Your Man was my soundtrack for that drive every week. The album was full of amazing songs. First We Take Manhattan. I’m Your Man. The amazing poetry of Take This Waltz. I still have no idea what the lyrics of that song means, but the imagery and language reminds you that Cohen is a poet first. On my weekly trip I would sing along (yes, I occasionally sing... in the car, by myself, or in a crowd at a very loud concert), absorbing every song into my DNA.

Well, not every song. And that’s the problem. Six songs in, right after the sublime Take This Waltz, is the single worst song Leonard Cohen ever recorded. That’s a strong statement, but I really feel that way. It’s called Jazz Police, and apologies to those out there who like it, but it completely grates on my nerves. The lyrics are ridiculous, his voice is annoying, the entire presentation of the song is like finding a turd in your birthday cake.

It’s followed by I Can’t Forget and Tower of Song, both of which are brilliant, but man...

I’m pretty album oriented in my listening habits. I rarely make a playlist. I usually listen to an entire album by an artist, beginning to end. I tend to see them as whole pieces of work that need to be experienced as it was released. You wouldn’t pick up a novel and read chapters 1, 7, and 13 and skip the rest. Why would you skip songs on an album? Yes, I know there are lots of reasons and I’m not here to debate how anyone enjoys music. But, this is the way I listen. I think my brain searches for a narrative to an album, whether one was intended or not. They are not individual songs to me, but pieces of a whole that need to be evaluated not only as songs but in how they interact with each other on the album.

I only bring this up to illustrate what an enormity editing a song out of an album is for me, but I did it with Jazz Police. For my car trips I had a cassette player, and the tape version I made from my CD omitted this song. When I did play the CD I skipped it. Years later when I transferred my collection to an Ipod I eliminated the mp3 file completely. In my universe this song is simply not a part of I’m Your Man, which is now a perfect album.

For the last year or so I’ve been working on a personal music project. There is a book from 2006 called 1001 Albums You Must Hear Before You Die (edited by Robert Dimery and Michael Lydon). I haven’t read the book, but I have access to an online list (and I should have a separate blog entry about this experience). Needless to say any list like this is debatable. Anyway, thanks to the magic of Spotify I’ve been listening to these albums in order (most of them are available) to increase my experience as a self-proclaimed music nerd.

I’m Your Man is on the list, and you’ll get no arguments from me that it shouldn’t be included. So when it came up in my ongoing listening quest last week I thought, ‟Okay, I’ll sit through Jazz Police this time.” For Science, as a dear friend says.

Time and distance have not been kind. I still really disliked the song and felt it to be a horrible intrusion on my listening pleasure.

Sorry Leonard. I’m going to keep living in a universe where this song doesn’t exist.

Here’s a video of Take This Waltz.

And Lloyd Cole’s Speedboat where I first heard Cohen’s name, just because I really like it.

Alternate Timelines

I had a conversation with my Mom last weekend in which I was reminded of something I probably knew at one time but had forgotten. It was a reference to a moment in time that, had things worked out differently, would have led to a completely different life than the one I have lived. Given the theory of multiple universes, somewhere out there in the infinite Multiverse, I led that life. I can’t say I’ve been obsessing with this, but I have been sort of fascinated for the past few days.

I’m going to attempt to tell this story without using any names. There are people who are involved and have no idea about any of this. It’s not a bad story, just not something that needs to be brought into their life (at least I don’t think so).

I’ve never had a lot of contact with my Dad’s side of the family. He only had one brother who was much older than him. His kids, my first cousins, are much older than I am and never lived near me in my lifetime. Their kids are my age and I have met them once at their grandfather’s funeral twenty-five-plus years ago. It’s pretty safe to say I wouldn’t know them if I saw them. There were other cousins, children of my grandmother’s siblings, only one of which I ever have any contact with. It was a strange contrast for me, because my Mom’s side of the family is huge and I have lots and lots of cousins I have spent my life with and feel incredibly close to even though we rarely see each other.

When I was little we used to take my paternal grandmother to visit her youngest sister. On these occasions I would see her grandchildren, my second cousins. There were a pair of sisters who were four or five years older than me, so it was difficult to really play with them when I was there. In 1967, when I was six, a little sister was born in their family. I only vaguely remember this.

Not long after, probably within the year, their Mom died while in the hospital, leaving the two girls and a newborn baby with their father.

So, the story Mom told me this weekend, is that during the time that the widowed father didn’t know what to do, she briefly discussed the possibility of adopting the baby and raising it. I don’t know how detailed these discussions were or how far it went, but needless to say, it didn’t happen. He eventually remarried and over time, after the deaths of my grandmother and her sister, we gradually lost touch with most of that family.

But somewhere out there in the Multiverse I had a little sister come to live with me.

And, I realized, somewhere out there in the real world, is a forty-something woman, my second cousin, who could have been my sister, who I don’t know at all and who has no idea I exist.

Fascinating.

So, I went internet stalking. I have a friend who went to the high school I was sure she would have attended. She was younger than him, but it was a small country school, so I thought he might have some connections. I was right. He didn’t know her personally, but he was able to figure out who she was and give me her married name. She’s on Facebook. Lives in West Virginia. I’ve seen her picture. This was all to sate my curiosity. I won’t name her here. I have no inclination to contact her at all. She’s a stranger who I probably shouldn’t invite into my strange land.

But out there, somewhere, we were more than that.

Wizard World Pittsburgh: Local Comics Panel

This past weekend I was privileged to participate in two different panels at the first Wizard World comics con held in Pittsburgh.

One was listed in the program as follows:

1940: WORLD WAR II AND COMICS: THE JOKER, ROBIN, THE FLASH, CAPTAIN AMERICA, CAPTAIN MARVEL, AND THE SPIRIT! With FINGEROTH, WISE, HASTINGS, GAVALIER & MAVERICK


75 years ago, in 1940, as the Nazi conquest of Europe continued and the Battle of Britain raged, the United States watched from the sidelines while instituting the first peacetime draft. At the same time, the world of comics was experiencing an incredible sustained period of invention, as The Joker, Robin, Green Lantern, the Flash, Hawkman, the Spirit, Catwoman, and Captains America and Marvel all debuted! (Not to mention the debuts of pop culture icons Bugs Bunny, and Brenda Starr, and classic movies Fantasia and The Great Dictator!) Showing and discussing historical and cultural factors that made that year so important is a panel including moderator Danny Fingeroth (Disguised as Clark Kent: Jews, Comics and the Creation of the Superhero) as well as an array of history and pop culture experts including Wayne Wise (Chatham University), Waller Hastings (West Liberty University), Chris Gavlier (Washington & Lee University) and Chris Maverick (Duquesne University of Pennsylvania).

Given the topic I was surprised at how well attended this panel was. The conversation went really well. I was pleased to join these other academic professionals.

The other panel was about the Independent Comic Book Scene in Pittsburgh. The panel was moderated by Dan Greenwald from the Comic Book Pitt Podcast. I was joined by Scott Hedlund, Jim Rugg, and Marcel Walker.

You can watch it here.

Of Beans and Flings and Finding Your Community

I recently watched some episodes of the television series Northern Exposure with a group of friends, a couple of whom had never seen the show. We watched four episodes: the first two as introductions to the characters, and then two of my top picks from the series, Burning Down the House and Cicely. I was a huge fan of this show when it was on, and in my memory it still ranks very high on my list of all-time favorite television. I’m happy to say that, for me at least, it holds up. The newbies became instant fans as well. I believe that it was a seminal and transformative show, one of many that helped shape what serial television has become.

Northern Exposure was always thought provoking. Watching it now, twenty-five years since it premiered, it’s still provoking me to think. What follows here are just some random ideas that popped up while ruminating on the show, these episodes, and my love of it.

Burning Down the House is arguably the most famous and well-known episode. In it the character of Chris Stevens (portrayed by John Corbett), the town DJ, philosopher and artist, wants to create a work of art, a performance piece, what he refers to as a pure moment. He builds a trebuchet (a type of catapult), with which he plans to fling a cow. When he discovers that this had already been done in the movie Monty Python and the Holy Grail he was despondent. His idea had already been done. The cow had been flung. Ironically it was Maurice (portrayed by Barry Corbin), the town millionaire and the person there with the least interest in or understanding of art, who talked Chris into pursuing his vision.

As Chris famously says, ‟It’s not what you fling... It’s the fling itself.”

Here’s the clip...

While watching this my friend Ziggy (one of the newbies to the show), leaned over to me and said, ‟It’s Beanish!”

Without context that doesn’t make a whole lot of sense, but she was completely right. What’s more, Maurice is totally Mr. Spook in the this scene.

The context I’m speaking of is the wonderful comic book series Tales of the Beanworld by Larry Marder. I’ve written about it at length HERE, so I’m not going to go into all of the details again, but here’s the context.

Beanish is the artist of his community. He creates pieces of art that he calls ‟The Fabulous Look See Show!” He builds art installations and then shares them with everyone. The scene in the above clip could have been taken straight from the comic.

To further the analogy, Maurice takes on the role of Mr. Spook. In the Beanworld Mr. Spook is the protector of the community. He is not very imaginative and he alone of all the Beans, simply cannot see Beanish’s art. Though he never discourages Beanish from doing it, Mr. Spook cannot comprehend what art is for or about. Watch Maurice’s reaction at the 0:44 mark in the video and compare it to this scene.

©2015 Larry Marder

©2015 Larry Marder

I don’t really have any grand insights into this, I was just struck by the similarity between two pretty disparate things I love. I do think both capture the feelings of artists everywhere. Here’s this fabulous thing I did! Look! See! I’m trying to say something profound about the world we live in, and I don’t know if I’ve been successful or not but I want to share it!” I think it also, gently, captures the experience of those who ‟don’t get it.” Maurice and Mr. Spook stand outside the artistic experience, but in these fictional communities they do not hinder the artist, nor are they ostracized by the artistic community. There is acceptance of both points of view.

Which leads to another similarity between Cicely, Alaska and the Beanworld; they are, in many ways, idyllic communities. I won’t go so far as to say Utopian because that implies perfection and a lack of conflict. There are conflicts galore in both Northern Exposure and Beanworld, but they typically do not include the same type of story engines that most of our genre fictions employ. But they are places you would like to live.

Cicely, specifically. I think part of the success of the show (and there are many factors), is that it was a story of a community, one we would all like to be a part of. For me it reflects the ideas of diversity, of people and ideas, of ways of living. It’s about finding your place and needing to be accepted in your chosen community for who you are. That’s something I believe everyone craves for themselves, even those who are opposed to the same idea for others. Even those who can’t accept other points of view want to be accepted. We all want to find our home. There’s no place like it, or so I hear.

But strangely, our fictions don’t often address this. We seem geared to narratives based on conflict between competing points of view. The most popular entertainment these days seems to be the dystopian.

A friend of mine recently shared the following quote on Tumblr, within a day or so of my first musings about the semi-Utopian nature of Cicely.

‟You gotta remember, and I’m sure you do, the forces that are arrayed against anyone trying to alter this sort of hammerlock on the human imagination. There are trillions of dollars out there demotivating people from imagining that a better tomorrow is possible. Utopian impulses and utopian horizons have been completely disfigured and everybody now is fluent in dystopia, you know. My young people’s vocabulary… their fluency is in dystopic futures. When young people think about the future, they don’t think about a better tomorrow, they think about horrors and end of the worlds and things or worse. Well, do you really think the lack of utopic imagination doesn’t play into demotivating people from imagining a transformation in the society?” — Junot Díaz, Art, Race and Capitalism

This really struck me. I don’t know that there is any type of conspiracy in media to make this so, but I do think it’s an accurate depiction. What does it say about us that we can’t imagine a future that is positive? I’m certainly guilty of this in my media consumption. I’m a fan of The Walking Dead, both the comic and the TV show. I loved Stephen King’s The Stand. Mad Max: Fury Road was the surprise hit of the summer for me. I’m not alone in any of these. None of these represent a future I want to live through. I don’t think anyone really does.

The point can be made that these, and other post-apocalyptic fictions, are about the triumph of the human spirit in the midst of terrible catastrophe. Still, they seem to say that we can only expect terrible catastrophe in our future. Referring to Maslow’s famous Hierarchy, there’s not a lot of room for art and self actualization when mere survival is at stake, a situation far too many people in the real world find themselves in daily without the threat of Zombies or irradiated mutants.

Odd then that our fictions often present a world where there would be no opportunity for fictions to exist (though maybe visions of a Utopian future would thrive in a wasteland).

The early days of Science Fiction, and I’m speaking in general terms here because there are always exceptions, regularly portrayed the future as a positive thing. Technology was going to save us from drudgery. Flying cars and teleportation and the elimination of death and disease were recurring themes. But somewhere our relationship with technology changed. It brought us cars and TV and medical advances but it also brought us the Atomic Bomb. Suddenly the possibility of mass destruction was a reality instead of a fiction.

So our fictions changed to make our fears manifest, and fear is always more palpable than hope (which explains a lot of our politics, but that’s a separate blog I’ll probably never write).

Star Trek is one of the hopeful SciFi futures that has endured. It predicts a world where science has solved the world’s problems and people live in a diverse, multicultural society where actual progress thrives. The original Enterprise, and to varying extents the all of the subsequent settings, was a community where you wanted to live. There was the same sense of belonging and acceptance there that we see in Northern Exposure. They are communities where you are valued for who you are, not discriminated against because of who you are.

It’s not just Science Fiction and visions of the future. To come back to television a lot of the most popular shows carry an element of the Dystopian Present. Looking at examples of things I watched and thoroughly enjoyed I can see the pattern. The motorcycle club of Sons of Anarchy was a community, but certainly not one I would want to belong to. For all of their ideals of the freedom of the road and freedom from societal norms, the rules of belonging to their community were incredibly limiting and stepping outside of those rules could have fatal consequences.

The cast of Northern Exposure, all alive at the end of the series.

The cast of Sons of Anarchy. 8 of these 10 characters died.

There was a patina of brotherhood that covered them, and as a viewer I could respond to these bonds on a visceral level. But time and again one of these ‟brothers” would have to be eliminated ‟for the good” of the club. There was no real acceptance of differences or diversity. There was a pretty strict party line that had to be followed. There was no room for true individuality.

Which holds true for a lot of subcultures that claim to be about individuality.

So what am I saying with this rambling set of connections? I’m not exactly sure. The image of the artist and those who don’t understand him can be seen as metaphor for anyone who simply wants to be seen and heard by his community. It’s something everyone can relate to, whether they are an ‟artist” or not. Maurice and Mr. Spook want their places in their community to be respected as much as Chris and Beanish do.

To quote Chis from the Burning Down the House episode:

     ‟Look at this – This is beautiful! We are standing at the center of the primordial ooze. It’s like the world at the dawn of creation...

     ‟This is the answer, right here. Destruction and creation. The scarred battlefield of life. From the ashes rises the Phoenix! From the skin rises a new snake!

     ‟You look and you look and it’s dark and you don’t even know what you’re looking for, or if you’ll even see it, or if it even exists. And then, all of a sudden...”

Just thought I’d fling this out there.

Dennis Dunaway Interview

On Friday night, June 19, 2015, Dennis Dunaway and Michael Bruce of the original Alice Cooper Group, along with Joe and Albert Bouchard, founding members of Blue Oyster Cult, played a house party at the infamous Evaline Hotel in Pittsburgh. I wrote an article about how the whole thing came together for the Pittsburgh Post Gazette. You can read it HERE.


I plan on writing about the actual party and experience here soon. In the meantime, here's the rest of the short interview I did with Dennis.

How was the experience of writing the book? Did you keep a journal back then or was a lot of this an excavation of your memory?

DD: Like everything I do, I approached this book as a creative person that believes that all art forms are related. As a kid, I learned to paint, then as a teenager, I learned to play bass, and how to conceptualize lighting and staging. So writing a book was just another outlet for me to be creatively passionate about. Throughout my years with the Alice Cooper group, I jotted things down that I thought were interesting. At the end of each tour, I'd have piles and piles of notes in the bottom of my suitcase. When you write things down, you tend to remember them, even though every few years I'd flip through them and see things I'd forgotten. And my wife Cindy kept diaries.

From what I’ve read over the years it seems that you and Cindy had a lot of influence on the look and thematic elements of the Alice Cooper Group. It was a mix of the shiny glitter and glam with darker imagery coming through in the lyrics and stage show. I would like to hear your comments on these elements.

DD: Cindy grew up loving glitter and sequins, and always liked the shimmering razzle-dazzle of Hollywood films like Busby Berkley. I had a different take on it. I loved the shock value of guys dressing in a way that shook up society. And I loved the concept of spotlights reflecting off a stage so brightly that it would be difficult for the audience to see everything that was going on. But perfect sequin outfits wouldn't do. That was too happy. Ours had to be ripped and stained and threatening.

So I know you’ve been working with Blue Coupe for the last few years, and I know that you and the rest of the original band briefly carried on as Billion Dollar Babies... what other projects have you been involved with over the years?

DD: Neal Smith and I had a band called the Flying Tigers. The great Jerry Wexler took us in the studio for a 4 song demo. Then personal issues side tracked us. Later on, as Bouchard, Dunaway and Smith, we did a couple of CD's with Joe Bouchard of Blue Öyster Cult fame. Then I had a band called Dennis Dunaway Project that released Bones From The Yard. Ian Hunter was involved with that. Blue Coupe is a trio with Joe Bouchard and his brother Albert. The Bouchard brothers wrote a lot of the BÖC classics. We've been friends since they toured with the Alice Cooper group in '72. So we have tons of songs in our respective catalogs. We're all songwriters, and we love playing live. We released a couple of CD's of new songs. Tornado on the Tracks and Million Miles More. Our backup singers are Tish and Snooky of Manic Panic, the famous hair dye company.

At the Rock and Roll Hall of Fame induction performance you looked like you were having the time of your life. If you can pick one, which of your contributions to Rock are you most proud of?

DD: I really was having the absolute time of my life. After years of feeling like I had been erased from my own history, that night validated my contribution. And more importantly, I was on stage with my favorite musicians, who happen to be my lifelong friends. I'm infinitely proud of our lasting music, and our pioneering achievements in bringing the feeling of danger and spectacle to rock shows.

How did Dereck talk you into coming to Pittsburgh and playing this event?

DD: After years of looking for the right publishing deal, Dereck showed up and, with his girlfriend's expert help, everything fell into place. Dereck had told me about his amazing concert parties. Then when he heard that the R&RHoF would be hosting my book signing event for Snakes! Guillotines! Electric Chairs: My Adventures in The Alice Cooper Group, he mentioned having Blue Coupe swing by his place. I hope he was serious because I took him up on it! And now he's gone hog-wild on making it into a blow-out extravaganza. As the Alice Cooper group would say, he's setting his chickens free!