My Dad’s Hands

I just bought a used gui­tar, so I wan­na talk about hands.

I’ve always had big hands and even big­ger feet. Today I look like an aver­age-sized guy with big hands and feet, but when I was a kid? Oh boy.

From left to right: First Sis­ter, Thing 1, Thing 2, and holy crap I look creepy!

I have a pic­ture of my sis­ters and me tak­en when I was 4 years old. I didn’t look like a kid with big hands and feet; I looked like a kid wear­ing kayaks on his feet and wear­ing a pair of those giant foam hands they use to play Slap­jack on The Tonight Show With Jim­my Fal­lon.

The used gui­tar I just bought is a Gib­son Les Paul. I’ve always want­ed one, but they’re hel­la expen­sive. Best Half spot­ted a guy on Craigslist sell­ing a Les Paul, though—he was sell­ing a lot of equip­ment, includ­ing the Les Paul, for which he want­ed only $350.

A Les Paul these days can run $2,500 or more, espe­cial­ly if you get chrome PAF Hum­buck­er cov­ers, moth­er-of-pearl fin­ger­board inlays, the sun­burst fin­ish and some of the oth­er good­ies on the one I just bought.

I drove down to Cordes Junc­tion to take a look at the gui­tar. The sell­er was a groovy old­er guy who looked like a cross between Gan­dalf and Jer­ry Gar­cia: gray and white shoul­der-length hair, ZZ-Top beard, tie-dyed T‑shirt, the works. We could have been long-lost twins.

The Les Paul was in beau­ti­ful shape; almost mint con­di­tion. Gan­dar­cia said he had a bad shoul­der and the Les Paul was just too heavy, and he had arthri­tis so he couldn’t play as much as he used to any­way.

He didn’t care about get­ting his mon­ey back as much as he cared about find­ing a good home for the gui­tar. I liked him and I liked the Les Paul, so I bought it.

(He also had a 100-watt Mar­shall amp he want­ed to place in a good home, but I like being mar­ried so I regret­ful­ly declined.)

Click to embiggenate!

Back in 1982, when I was 20, I saved up and bought a Gib­son Invad­er, which was a bud­get Les Paul: It didn’t have the sculpt­ed maple top, the moth­er-of-pearl fin­ger­board inlays, and oth­er pricey options.

But it was still a damn fine gui­tar, and since it was less expen­sive it was like hav­ing a project car: I didn’t mind hot-rod­ding it up. I replaced the bridge pick­up with a Sey­mour Dun­can mod­el I found at a pawn shop; drilled a hole between the knobs and added a phase switch­er; yanked out the stock pots and installed but­ter-smooth CDS (or was it Alpha-Con­trol? Don’t remem­ber) pots with hand­made caps so crys­talline they could make a brave man weep, lock­ing strap buttons—Eddie Van Halen may have coined the term Franken­Strat, but I think I could legit­i­mate­ly claim the name Mutant Invad­er.

My friend Rob, who has a habit of nam­ing things I own, named the gui­tar Sledge. And I played Sledge, to use a tired old cliché, until my fin­gers bled.

Not long after I adopt­ed Sledge, I moved in with my friend George. George is an amaz­ing drum­mer, and our liv­ing room was jammed with both our stere­os, my gui­tar and amp and oth­er accou­trements, and George’s drum kit, which looked like the moth­er ship from Close Encoun­ters of the Third Kind, except it was big­ger and more expen­sive.

Ama­teurs.

And we had a lot of friends who would come hang out: the afore­men­tioned Rob, Tori, Dave, Daniel—who gave me an Elec­tro-Har­monix Gold­en Throat talk box: DAMN Daniel!—Kim, John, and I’m sure there were oth­ers.

And they were all excel­lent musi­cians, and we would jam, which means they would jam, because I was still learn­ing to play, so I stum­bled around in the back­ground on gui­tar, sound­ing like Lin­da McCart­ney sort of play­ing key­boards and kind of singing along with Paul, who was too kind to tell her the sound guy had her micro­phone turned off.

Harsh truth: I loved play­ing gui­tar, but I was caught in that frus­trat­ing trap of hav­ing juu­u­ust enough tal­ent to under­stand what real­ly good gui­tarists were doing, but know­ing I’d nev­er ever be that good.

That was okay. I didn’t need to make a liv­ing play­ing gui­tar, and I was lucky enough to spend time with some real­ly good musi­cians and enjoy both­er­ing the neigh­bors with them.

Like most gui­tar guys, I accu­mu­lat­ed a lot of gear: stomp box­es (although like most gui­tar guys, I had five favorite stomp box­es, but unlike most gui­tar guys, thanks to my size-13 feet they had to be spread out in a 10-foot long line of cables so I could stomp on just one of them at a time), a real live Fend­er tube amp that tried very sin­cere­ly to kill me, but that’s anoth­er sto­ry, and a pink pais­ley Tele­cast­er that yes, looked just like the one Prince played, although I hadn’t heard of him yet.

I mutat­ed the Tele­cast­er even more; pri­mar­i­ly with EMG active pick­ups that were encased in black ceram­ic blocks and looked unbear­ably cool, plus oth­er stuff I won’t bore you with, before I final­ly admit­ted I just didn’t like the Tele­cast­er.

Oh, it looked cool and it sound­ed good when I played it, but it sound­ed GREAT when any of my real musi­cian friends played it. Also, Rob nev­er named it any­thing, even though it looked like it was paint­ed with Pep­to Bis­mol. What was he sup­posed to name it–Dr. Pep and the Toe Biz Maulers? I’m sor­ry, but–wait; that’s actu­al­ly an awe­some name for a band, much less a gui­tar. But I think he knew it wasn’t going to work out for us and he didn’t want to make the breakup any more painful.

It was the neck. A lot of Fend­er gui­tars have one-piece rock maple necks, and the Tele­cast­er was one of them. But it was too skin­ny, and with my freaky huge hands I felt like I was play­ing a pen­cil.

Our pastor’s son was 12 at the time. He’d saved up lawn-mow­ing mon­ey and bought a real­ly beat-up, life­less acoustic gui­tar. He was sav­ing up to buy an elec­tric gui­tar, and then he planned to save up even more and buy an ampli­fi­er.

So I gave him the Tele­cast­er and said he could just wor­ry about sav­ing up for a new amp. I didn’t see any point in try­ing to recoup the mon­ey I’d spent fix­ing it up when I could give it a good home with some­one who need­ed it and was already a far bet­ter gui­tarist than me.

And 30 years lat­er, I found a beau­ti­ful Les Paul that need­ed a good home. Kar­ma, baby.

Not acid-washed jeans. I wore bell-bot­tom jeans because my feet are so big, but no one sold acid-washed bell-bot­toms, so Rob and I would put our jeans in the sink, splash bleach on them, then throw them in the wash­er. Rob called ’em “Cloud Pants.”

I have exact­ly one pho­to of myself from the years I spent liv­ing with George and the musi­cians’ com­mune we oper­at­ed: I think I was 22, and I’m play­ing Sledge. I was about as tall as I am now, but pipeclean­er skin­ny, and my hands are still ridicu­lous­ly big, if not as X‑Man mutant big as they were when I was a kid.

When 1995 rolled around, I’d been mar­ried for a while and No. 1 Son was on the way, so I did what any red-blood­ed Amer­i­can man would do: I quit my job, sold our house and moved us all to Ore­gon so I could go to col­lege.

And while we were pack­ing up to move, I made two bad deci­sions that still haunt me: I looked at the big pile of gui­tars and amps and stomp box­es and oth­er gear I’d accu­mu­lat­ed, and I decid­ed it took up way too much room.

So I loaded up the car with all my gear, except for a grungy old JDS acoustic I want­ed to keep because I liked drag­ging it to con­certs to see if I could get sig­na­tures on it, so Randy Stone­hill, Phil Keag­gy, Ter­ry Tal­bot and Bar­ry McGuire had all signed it.

The oth­er bad deci­sion was that I had an antique bar­ber chair I’d bought from an activ­i­ty ther­a­pist at the men­tal hos­pi­tal where I worked,1 and decid­ed it was just too big and heavy to move all the way to Ore­gon.

Some­times you see these memes ask­ing what you would say to your­self when you were a teenag­er; I would tell myself not to get rid of my gui­tar stuff and not to give away the bar­ber chair. But I prob­a­bly wouldn’t lis­ten. I’m stu­pid that way.

(Speak­ing of the musi­cians who’ve signed my grungy old JDS, I also have a Vil­lage Inn kids’ col­or­ing book/placemat that No. 1 Son and Bar­ry McGuire col­ored togeth­er when No. 1 Son was 3, but that’s yet anoth­er sto­ry).

So I drove to a music store in Tope­ka, the name of which I for­get, but it was on 17th Street behind a no-kill cat shel­ter that used to be a Hardee’s, and I trad­ed in all my gear on a real­ly nice 12-string Wash­burn acoustic, which I still have but play only on the rare occa­sion when I want to play Supertramp’s “Give a Lit­tle Bit,” because my stu­pid-big fin­gers on my stu­pid-big hands make the gui­tar sound like a cou­ple of cats run­ning around fight­ing on top of it.

It didn’t take long to regret my deci­sion. Three days lat­er, as we hit Inter­state 70 west on our way to Ore­gon, I exclaimed “Why the HELL did I get rid of 12 years’ worth of stuff I loved? Why didn’t I just get rid of the sofa or the TV or Best Half?”

Best Half, who was in the car with me, expressed her dis­plea­sure at this remark by giv­ing me a pinch that still hurts today.

And so I went to col­lege and met many oth­er musi­cians who were bet­ter than I’ll ever be, includ­ing Andy Gure­vich (the tit­u­lar guru of the Gure­vichi­an cult, which is also anoth­er sto­ry), Matt, John, and some more folks I hope I don’t offend by not remem­ber­ing them.

And I watched them play and I enjoyed it, but I missed being able to stum­ble around use­less­ly behind them.

And I vowed that even though I was a ho-hum gui­tarist, some­day I would buy anoth­er elec­tric gui­tar and amp and oth­er fun gad­gets, just as soon as I could afford to feed my fam­i­ly with some­thing more than Top Ramen.

But that did­n’t hap­pen until I bought the Les Paul, because I was too busy ruin­ing my hands. Which reminds me of my dad’s funer­al, which I’ll get to in a minute.

I had a series of stu­pid­ly dan­ger­ous jobs in my 20s and ear­ly 30s: I worked night shift in a con­ve­nience store, in a state hos­pi­tal with the men­tal­ly ill, and as a res­cue mis­sion chap­lain before col­lege. No, not as dan­ger­ous as being a cop or a fire­fight­er, but then again cops and fire­fight­ers have train­ing and equip­ment and insur­ance and stuff.

Dur­ing and after col­lege I also worked as a con­crete mason and on secu­ri­ty teams in col­lege and in church and else­where.

After that I got a job doing web devel­op­ment, which I loved, but which also helped me build up a love­ly nascent case of carpal tun­nel syn­drome.

But after all the stu­pid dan­ger­ous jobs I’d had, I got bored with hav­ing a safe office job, so I joined a Kem­po karate school to spend more time with my kids, and wound up lik­ing it enough to get my sec­ond-degree black belt and help­ing teach (even though I was about as good at mar­tial arts as I was at gui­tar). Which also did not do my hands any favors.

Com­e­dy is not pret­ty.

I have some real­ly cool scars and sto­ries about griev­ous injuries to my hands and fore­arms: A spec­tac­u­lar (human!) bite scar on the back of my right hand; a scar and nerve dam­age on my right wrist from being hit with a bro­ken bot­tle; a frac­tured ring fin­ger that healed crooked; a nasty burn scar on my thumb from being splashed with sul­fu­ric acid (yet anoth­er sto­ry), sev­er­al bro­ken knuck­les, assort­ed con­nec­tive tis­sue injuries from break­ing bricks at Kem­po demos, and oth­er stuff I for­get.

That was just my right hand. I abused my left hand even worse:

Dur­ing a Kem­po spar­ring match I blocked a punch with my left pinky fin­ger2, which emit­ted a glo­ri­ous­ly hor­ri­ble snap that made every­one in the room wince; I caught my hand between an engine block and a garage floor; I got hit on the back of my fore­arm so hard it spawned a bunch of gan­glion cysts; and I got mauled by dog who took a cou­ple of good chomps out of my fore­arm and hand and left behind a big numb area.

Oh, and I also got diag­nosed with MS, which caus­es some stiff­ness and numb­ness in my left arm and hand, and to top it all off I’ve got a bit of arthri­tis here and there in both hands that I’m sure will be loads more fun in the future.

(A cou­ple months ago I saw an ortho­pe­dist to look at some arthri­tis in my left hand. They sent me an intake pack­et and want­ed exten­sive, detailed info on any injuries I’d had to my hands. So I wrote down all that stuff you just read. The doc­tor came in, skimmed my stuff on the clip­board, and said, “What’s all this? Are you Jack­ie Chan’s body­guard or what?” I told him I’m just clum­sy.)

Just before Dad’s funer­al two years ago, I… what? No, that’s not a non sequitur; I said I was going to talk about my dad’s funer­al right up there, did­n’t I? Pay atten­tion!

Just before Dad’s funer­al start­ed, Mom and my sis­ters and my kids and Best Half and I all went up to view him in his cas­ket, and to give him some gifts: I gave him a John­ny Cash CD; The Chow­der gave him a lit­tle apple pie (anoth­er sto­ry), and oth­ers I can’t remem­ber.

The funer­al direc­tor was there, dis­cussing Dad’s appear­ance with Mom, and he looked at Dad’s hands and remarked, “These are the hands of a man who worked hard.”

True. Dad was a glazier for more than 40 years; he also did handy­man work on the side for those 40 years and also rebuilt or remod­eled just about every­thing in our house to boot.

After he retired he did handy­man stuff almost full-time (I remem­ber him jok­ing that retire­ment was bor­ing, what with only 40–50 hours of work a week). He was in demand as the main­te­nance guy for a num­ber of rental hous­es and small apart­ment build­ings.

Today I was look­ing at a pic­ture of Dad tak­en in April, 2002: He’s sit­ting on a hotel room bed next to No. 1 Son, who was 6 years old, and he’s hold­ing The Chow­der, who was 7 months old.

Right to left: No. 1 Son, The Chow­der, a cou­ple bags of wal­nuts, and Dad

The hotel room bed was in Chang­sha, Hunan Province, in Chi­na. And the rea­son we were there was to adopt The Chow­der.

Dad’s hands were small­er than mine (hell, Bigfoot’s hands are small­er than mine). But they were thick and cal­lused and cord­ed with mus­cle and scars, and they looked like two lumpy bags of wal­nuts.

Right now I’m the same age Dad was in that pho­to. And while I’ve nev­er made a liv­ing work­ing with my hands, oth­er than the afore­men­tioned stint as a con­crete mason in col­lege, I like to think I’ve inher­it­ed some of his bet­ter traits:

He had a bea­t­up old poster in the glass shop he worked in; it said “If you don’t have time to do it right, when will you have time to do it over?”

He wasn’t preachy or pushy; all he did was set a stan­dard and then demon­strate it.

I deliv­ered the eulo­gy at his funer­al; lat­er some guys he’d worked with, plus his for­mer boss, told me his co-work­ers would gripe at times that Dad was kind of slow and didn’t turn things around as fast as every­one else.

His for­mer boss told me how they answered that gripe: “Yeah; he’s a bit slow­er. But he nev­er, ever has to go back and redo any­thing.”

It’s only been for about the last 10 years of my life that I’ve real­ized just how much that influ­enced me, with­out him lec­tur­ing or preach­ing at me once.

I’ve owned three hous­es; I’ve worked as a writer, a graph­ic design­er, an edi­tor, a web design­er and a web devel­op­er. When I do stuff I try to find a way to do it ele­gant­ly and sim­ply, to avoid quick-and-dirty solu­tions in favor of doing it right the first time.

Draw me. Draw me like one of your French Bull­dogs!

The oth­er day I was sit­ting on the floor in our liv­ing room and tun­ing the Les Paul. Pep­per was lying in front of me with her head on my knee, gaz­ing ador­ing­ly up at me like she was Rose DeWitt and I was Jack Daw­son.

Best Half thought that was cute and took a pic­ture with her phone.

When I saw the pho­to I chuck­led at the way Pep­per was mak­ing eyes at me, but then I noticed that my hands looked like lumpy sacks of wal­nuts, just like my dad’s hands.

Most of the jobs I’ve had in my life don’t cre­ate a tan­gi­ble lega­cy; I can’t point at very many things I’ve made or fixed, or art­work or books I’ve writ­ten or things I’ve built.

But my hands look a lot like my dad’s hands—a coin­ci­dence of genet­ics and life expe­ri­ences for sure, but I can live with hav­ing huge, half-ruined hands if it means I can hon­or my dad’s lega­cy a lit­tle bit.

Oh by the way—my friend Rob named the Les Paul for me: Its name is now More Paul.

A Churnin’ Urn o’ Burnin’ FUNK!

Back in ’82, I went over to my friend Rob’s house one sum­mer day, and for some rea­son he had a black laun­dry mark­er and a bunch of let­ter sten­cils, and he want­ed to put some slo­gans on some shirts.

For some reason—quite pos­si­bly the same rea­son Rob had a black laun­dry mark­er and a bunch of let­ter stencils—we were wear­ing iden­ti­cal gray tank tops, and this all reeked of por­ten­tous fore­shad­ow­ings.

Alco­hol may have been involved.

We had one T‑shirt each, so first drafts and revi­sions were out of the ques­tion. Despite alcohol’s pos­si­ble involve­ment, we had to do some adult­ing and set­tle on our shirts’ mes­sages.

So we sat down and watched an Incred­i­ble Hulk rerun titled “Meta­mor­pho­sis,” in which Bruce Ban­ner lands a sound engi­neer posi­tion for a punk rock­er played by MacKen­zie Phillips, because if you need a sound engi­neer, every­one knows you look for an expert in gam­ma rays and cel­lu­lar biol­o­gy.

Some­one slips Ban­ner acid, so of course he gets scared, and we get to enjoy the Hulk stag­ger­ing around trip­pin’ balls while MacKen­zie Phillips sings her ear­split­ting hit song “Neck­tie Night­mare” in front of a gigan­tic pair of high-volt­age elec­trodes shoot­ing per­fect­ly safe 50-foot light­ning bolts across the stage, and the also-stoned fans think it’s part of the show, so MacKen­zie Phillips ditch­es her punk bonafides to turn into Amy Grant.

No, real­ly. I could­n’t find a clip of it, but as a con­so­la­tion prize, you can enjoy  the Hulk get­ting into a bar brawl, which is almost as sil­ly as the Hulk break­ing Las Vegas or the Hulk land­ing a dam­aged 747.

Mean­while, we got to laugh­ing so hard Rob fell off the couch and I almost wet myself.

After the Hulk was fin­ished with “Neck­tie Night­mare,” and after more con­tem­pla­tion and dis­cus­sion, along with more of the pos­si­bly involved alco­hol, we set­tled upon mes­sages to sten­cil on our shirts, mak­ing them T‑shirts that would have helped Bill and Ted’s music to bring har­mon­ic bal­ance to the uni­verse much ear­li­er if Bill and Ted had been wear­ing shirts with the most total­ly excel­lent and boda­cious sten­cils we cre­at­ed

Rob’s shirt said PRO.

My shirt said DENTAL FLOSS TYCOON.3

With our new world-chang­ing T‑shirts fin­ished, and after some more pos­si­bly involved alco­hol, we decid­ed we need­ed to get out there and let the world see them. The T‑shirts, that is. Not the impres­sive pile of emp­ty beer bot­tles.

So we hopped into my car, aka the leg­endary Charles the Deep Breather, and engaged in one of our favorite pas­times: Dri­ving around and drink­ing beer while enjoy­ing music gen­er­at­ed by the vig­or­ous pelvic thrusts of the renowned Pio­neer Super­Tuner and lusti­ly pumped out through the inim­itable Jensen 6x9 Tri­ax­i­als.

As we cruised up Tope­ka Boule­vard, we saw that the Kansas State Fair was under­way, so we parked and wan­dered around with a cou­ple of warm, over­priced state fair beers rather than the cool­er full of ice-cold rea­son­ably-priced beers wait­ing for us in Charles the Deep Breather’s back seat.

As we passed all the rigged games, a carny guy look­ing for some­one to blow $80 to get a nasty-smelling import­ed ted­dy bear that was prob­a­bly stuffed with asbestos accost­ed us.

Seri­ous­ly? I mean yes, this is played for laughs on a TV show where every­one was in on the joke. But while teenagers can be abysmal­ly stu­pid (watch any hor­ror movie), no one would think an unshaven mid­dle-aged carny with B.O. that could kill Godzil­la was a nice fel­low teen who want­ed to dis­cuss T‑shirts. Yeesh.

“Hey there, fel­las!” he said.

Rob lit a cig­a­rette and crimped an eye at him. “Yo.”

“Those are nice T‑shirts!” the carny guy said, look­ing as con­vinc­ing as that “How do you do, fel­low kids?” meme with Steve Busce­mi, no doubt think­ing the fel­low kids said, “Why, there’s that groovy cat with the skate­board (or nasty-smelling ted­dy bear)!” rather than “Here comes Chester the Moles­ter again–run!”

DENTAL FLOSS TYCOON?” he said, point­ing at me. “What does that mean?”

“It means I might be mov­ing to Mon­tana soon,” I replied.

“Oh, cool!” he said, the way you would say “Oh, cool!” to a guy car­ry­ing a chain­saw and wear­ing a space hel­met who told you he was the lovechild of Carl Sagan and an alien from Prox­i­ma Cen­tau­ri V, hop­ing to dis­tract him long enough to make a run for it. “Does th—“

“Just to raise me up a crop of den­tal floss,” I inter­rupt­ed.

“That’s inter—“

“With a pair of heavy-duty zir­con-encrust­ed tweez­ers!” I inter­rupt­ed again.

He gave up and turned to Rob. Appar­ent­ly he wasn’t a Frank Zap­pa fan. The car­ni­val guy, that is. Rob was a Zap­pa fan. Still is.

“What does PRO mean?” he said, sound­ing des­per­ate.

Rob squint­ed at him again, tak­ing anoth­er drag of his cig­a­rette.

“Pros­ti­tute,” he drawled.

The carny guy turned on his heel and stomped away. I don’t know what got his dud­geon up; you’d think some­one who trav­els with a car­ni­val wouldn’t get offend­ed at the word pros­ti­tute.

It wasn’t always like that, though. If you’re brac­ing your­self for a sto­ry about how I had to walk 10 miles to school bare­foot, relax. What I mean is that you could buy T‑shirts when I was a kid that these days would make woke peo­ple pass out.

Take this charm­ing, whim­si­cal 1970s T‑shirt ad, for instance. Before Rohyp­nol, Jethro Tull T‑shirts were, alas, the only way a lot of guys could get laid.

The strug­gle is real.

Here’s the text:

Reprise leer­ing­ly invites you to win a T‑shirt that will

DRIVE THE GIRLS WILD WITH DESIRE!

You say you’re not mak­ing it with the local lovelies? That when you make Paul McCart­ney eyes at allur­ing lit­tle hon­eys in vio­let hip-hug­gers they respond by frown­ing and sug­gest­ing, “Jerk off, los­er”? That even the offer of a seat next to you at a Led Zep­pelin con­cert is insuf­fi­cient induce­ment for a far-out nubie to spend part of the evening with you?

Then, fel­la, whatch­oo need is a SUPER-OUTTA-SIGHT-JETHRO-TULL-T-SHIRT of the sort worn by the fullest-hand­ed rakes every­where.

These eye-catch­ing sar­to­r­i­al groovies, which are guar­an­teed to reduce even the haugh­ti­est of lovelies to a mound of hot pul­sat­ing flesh, are a divine shade of yel­low designed to to flat­ter even the swarthi­est of com­plex­ion, are the three-but­tons-at-the-neck style recent­ly made all the rage by your sharp­er Eng­lish groups, appeal­ing­ly reveal the wearer’s fash­ion­ably skin­ny arms (being short-sleeved) and fea­ture an entic­ing like­ness of sexy Tull leader Ian Ander­son some­where in the vicin­i­ty of the right boob. Avail­able in the splen­did sizes of medi­um and large, they may be worn with equal suc­cess by mem­bers of any sex.

We, in our cus­tom­ar­i­ly fis­cal­ly unsound way, are giv­ing 1,000 of these won­der away. Free!

All you have to do to win one of your very one is: 1) fill our coupons below; and 2) give it back to us com­plete down to the exact play­ing time of the first side of Jethro Tull’s lat­est hys­ter­i­cal­ly acclaimed album (sure­ly you don’t expect us to give you some­thing with­out first try­ing to trick you into buy­ing some­thing first), which infor­ma­tion may be gleaned from the album’s label, which you have to remove the cel­lo­phane to get to.

So why don’t you in a real hur­ry send us the required so that we can rush you a Tull T‑shirt that’s cer­tain to trans­form you overnight into a churn­ing urn of burn­ing funk.

I like Jethro Tull and I do have fash­ion­ably skin­ny arms, but I’m not sure I’d like Ian Ander­son sit­ting on my right boob. Also, do I want to be a churn­ing urn of burn­ing funk? I hon­est­ly don’t know. A churn­ing urn of burn­ing funk might be a slick-talk­ing studly chick mag­net.

A churn­ing urn of burn­ing funk could also be an over­flow­ing Por­ta Pot­ty doused with gaso­line and set on fire.

In ’77, when I was in Catholic high school—and I must empha­size that this was not just any Catholic high school, but Hay­den Extreme­ly Catholic High School—the math teacher, Sis­ter Rose Celine, called a guy named Bri­an up to do a prob­lem on the chalk­board.

Awww–how adorable!

Now Bri­an had been wear­ing a hoody all day because he was wear­ing a T‑shirt that said “Your Prob­lem Is Obvi­ous” on the back, along with a draw­ing of some­one with his head stuck up his ass. He’d been col­lect­ing snick­ers and gig­gles all day from oth­er stu­dents.

But now it was the last class for the day and it was pret­ty warm out, so he shrugged off the hoody and left it draped over his chair.

And when Sis­ter Rose Celine called him up to do a prob­lem, Bri­an for­got about the hoody.

Just as he was about to pass by Sis­ter Rose Celine, he real­ized why the rest of us were sti­fling gig­gles and whis­per­ing “Pssst!” at him, and with­out miss­ing a beat he piv­ot­ed 90 degrees to the right, fac­ing Sis­ter Rose Celine, and sidled up to the board. He filled out the math prob­lem with his left hand, fac­ing Sis­ter Rose Celine all the while.

“Very good, Bri­an,” Sis­ter Rose Celine said. “You may sit down.” Bri­an began slid­ing side­ways back the way he came as the muf­fled snick­ers neared a crescen­do. Sis­ter Rose Celine glanced up at us, then at Bri­an. Being a math teacher, she put 2 and 2 togeth­er and stood up.

And because nuns are ter­ri­fy­ing, Sis­ter Rose Celine didn’t yell or throw things or grab a ruler or any­thing like that. All she did was to qui­et­ly say, “Stop.”

Bri­an froze in place; every­one else stopped gig­gling. We stopped breath­ing, in fact.

“Why are you walk­ing side­ways, Bri­an?” Sis­ter Rose Celine said.

Bri­an said, “…eep?

“Turn around,” she said.

Bri­an turned and showed her the back of his shirt. She stud­ied it for a moment and said, “Class, you will work on the rest of the prob­lems in your books until the bell rings and class is over.”

She walked to the class­room door, opened it, and wait­ed. Gulp. This meant Sis­ter Rose Celine and Bri­an were about to vis­it the prin­ci­pal, Father Ax, a vis­it. Dead man walk­ing.

No, that’s not a joke. His last name real­ly was Ax. Father Ax was the prin­ci­pal and the school’s box­ing and wrestling coach.

Clar­i­fi­ca­tion: Father Ax was prin­ci­pal of Hay­den East, which was in down­town Tope­ka, across the street from the state capi­tol. Hay­den East was for 9th and 10th graders.

11th and 12th graders, on the oth­er hand, went to Hay­den West, which was across the street from Gage Park. And the Hay­den West prin­ci­pal was (I’m still not mak­ing any of this up) Father San­ta.

And I just real­ized Father San­ta looked an awful lot like Prin­ci­pal Carter in the movie Porky’s, and that the actor play­ing Prin­ci­pal Carter was named Eric Christ­mas.

Okay, I’m hav­ing a pan­ic attack here. I’m gonna go lie down.

Don’t let the teeth fool you. He’s not smil­ing; he’s bar­ing his fangs.

I didn’t attend Hay­den after 10th grade, so while I have no direct 411 to share about Father San­ta, I sus­pect he was even scari­er than Father Ax. But let’s get back to Father Ax:

Father Ax was about 5 1/2 feet tall, 3 feet wide, and weighed about 220 pounds, all of it sol­id mus­cle.

Father Ax was not the kind of guy to have an avun­cu­lar chat with a way­ward stu­dent and invite the way­ward stu­dent to come see him if he ever want­ed to talk.

If Father Ax answered the phone instead of Liam Nee­son in Tak­en, Father Ax would not threat­en to kill the kid­nap­pers. The kid­nap­pers would drop dead the instant Father Ax picked up the phone.

The rea­son you hear all those jokes about Chuck Nor­ris being so tough and also about how Bruce Lee killed Chuck Nor­ris in a movie is only because they were both way too smart to even joke about fight­ing with Father Ax.

Father Ax had a large pad­dle in his office made of 3/4‑inch oak. It was labeled “Board of Edu­ca­tion.”

Father Ax was a Viet­nam vet, but he was not rumored to have been a Navy SEAL or in Spe­cial Forces or a sniper. Father Ax was rumored to have tak­en the Board of Edu­ca­tion to Viet­nam and sin­gle­hand­ed­ly end­ed the war in less than a week.

Father Ax had no inter­est in, patience for, or mer­cy upon any wiseass churnin’ urn o’ burnin’ funk T‑shirt, and even less for the stu­dent wear­ing it.

The next morn­ing, every­one was whis­per­ing about poor Bri­an. No one knew what tran­spired in Father Ax’s office; Bri­an wasn’t talk­ing about it and every­one else was afraid to ask, although we did notice Bri­an winc­ing when­ev­er he sat down, so we assumed Bri­an had had a talk with the Board of Edu­ca­tion.

Any­way, Mom and Dad had 4 chil­dren, but I was the only one they sent to Catholic school. I have no idea why.4

First Sis­ter did­n’t care; She’s three years old­er than me, so we nev­er saw each oth­er in school.

Thing 1 and Thing 2, on the oth­er hand, are a year younger than me, so when I was sent off to Extreme­ly Catholic school, they wel­comed not hav­ing to say yes, that weirdo is our broth­er but he was adopt­ed because his birth par­ents dropped him on his head a lot.

A lit­tle Extreme­ly Catholic high school would­n’t have hurt them, though. I mean, thanks to Sis­ter Rose Celine and Father Ax and Father San­ta, I stayed out of trou­ble (or was care­ful enough not to get caught). And thanks to Bri­an’s ter­ri­fy­ing fate I espe­cial­ly avoid­ed provoca­tive T‑shirts (at least until after grad­u­a­tion).

Sec­u­lar pub­lic school, on the oth­er hand, deprived Thing 1 and Thing 2 of impor­tant, nur­tur­ing, eter­nal val­ues; val­ues like cor­po­ral pun­ish­ment, sheer ter­ror, and flu­en­cy in raunchy slang and raunchi­er T‑shirts.

And so one sum­mer when they were maybe 13 or 14, Thing 1 and Thing 2 went to Worlds of Fun with some friends. Worlds of Fun was okay, but it was real­ly just Acres of Fun.

Be that as it may, it was still fun, and that evening their friend’s mom dropped them off; they were sweaty, dirty, sun­burned, over­stim­u­lat­ed, greasy, and sug­ary from eat­ing junk food all day. Job well done, Worlds of Fun.

Mom was sit­ting on the couch read­ing a mag­a­zine while Dad and I watched a movie. She said, “Go get a show­er before you sit d…”

She trailed off as she glanced up and saw what Thing 1 and Thing 2 were wear­ing. They’d saved up their mon­ey and bought match­ing T‑shirts. And this is what was print­ed on their match­ing T‑shirts:

I laughed so hard it made me snort and then hic­cup; Dad was shak­ing his head and try­ing unsuc­cess­ful­ly to look stern.

Thing 1 and Thing 2 were still look­ing hap­py, but a lit­tle puz­zled.

Mom fold­ed down the page she was read­ing, set the mag­a­zine down gen­tly, and said very qui­et­ly, “Where did you get those shirts?”

Uh-oh. She sound­ed just like Sis­ter Rose Celine. I’d for­got­ten: Mom and Dad had both grad­u­at­ed from Hay­den Extreme­ly Catholic High School in 1958. Back then, things weren’t as kind and for­giv­ing and touchy-feely as they were 20 years lat­er when I was there.

“We got them at Worlds of Fun,” Thing 2 said. “Um… is some­thing wrong?”

“They had those shirts at Worlds of Fun? They let you buy those shirts at Worlds of Fun?”

Thing 1 and Thing 2 have this thing they do. They’ll glance at each oth­er; maybe one of them will raise an eye­brow and the oth­er one will shrug. It’s like all the hand sig­nals in base­ball, except instead of a short mes­sage like “Walk this ass­hole,” they exchange an ocean of info in the blink of an eye.

“Did­n’t your friend’s mom say any­thing?” Mom asked.

Thing 1 and Thing 2 glanced at each oth­er to dis­cuss their strat­e­gy. It’s impor­tant to note here that Thing 1 is a prac­ti­cal, take-action type, while Thing 2 is more intro­spec­tive and philo­soph­i­cal.

“Well, no,” said Thing 2. Mean­while, Thing 1 qui­et­ly left the liv­ing room and head­ed down the hall.

“I see. Do you know what that means?”

“What what means? Oh, on the shirt? It’s, uh…”

By now Dad and I were des­per­ate­ly try­ing to keep straight faces. Mom glared at us for a sec­ond, and look­ing back I just now real­ized this sit­u­a­tion was eeri­ly sim­i­lar to a famous scene in the movie Porky’s:

A group of horney—I mean, horny—guys were caught peep­ing into the girl’s lock­er room show­ers. One them sticks his, um—can we please call it a tallywacker?—he sticks his tal­lywack­er though the peep­hole and almost gets caught by Girl’s PE Coach Beu­lah Bal­brick­er.

Bal­brick­er wants Prin­ci­pal Carter to arrange a line­up of naked teen boys so she can iden­ti­fy the scoundrel. Mean­while, the Boy’s Coach­es Good­e­nough, Brack­ett and War­ren are des­per­ate­ly try­ing to keep straight faces as Prin­ci­pal Carter says no, a short-arm inspec­tion is absolute­ly out of the ques­tion.

Coach Brack­ett says, “Mr. Carter, we can just call the police, and we have ’em send over one of their sketch artists. And Miss Bal­brick­er can give a descrip­tion. We can put up Want­ed posters all over school: ‘Have you seen this prick? Report imme­di­ate­ly to Beu­lah Bal­brick­er. Do not attempt to appre­hend this prick, as it is armed and dan­ger­ous. It was last seen hang­ing out in the girls’ lock­er room.’”

At which point every­one, includ­ing Prin­ci­pal Carter com­plete­ly los­es it, and Miss Bal­rick­er stomps out. I still admire Nan­cy Par­sons, who played Miss Bal­brick­er, for keep­ing a straight face. I would have had a stroke.

This all hap­pened years before Porky’s was released. And it’s worth not­ing that Thing 1 liked Porky’s so much she had a per­son­al­ized license plate say­ing “PORKY1” for a num­ber of years.

But I digress. Thing 2 was try­ing to come up with a def­i­n­i­tion for hor­ney that would would keep her and Thing 1 out of trou­ble, espe­cial­ly since they didn’t know what it meant any­way.

“It means,” Mom start­ed. “It means, uh, well.. *ahem.* When some­one is “hor­ney,” it means they’re… um… sex­u­al. I mean, excit­ed in a sex­u­al way.”

Thing 2 rumi­nat­ed on that for a few sec­onds. “Sure, I’ve heard that,” she lied, “but it’s kind of like the word ‘crazy.’ There’s ‘crazy,’ where you see things and stuff, but it’s also like, you know, ‘wild and crazy guy.’”

“So what’s the oth­er mean­ing of hor­ney?” I man­aged to choke out between snick­ers. Mom glared at me again, and I real­ized I might have to explain how I knew what hor­ney meant if I didn’t shut up. So I shut up.

Thing 1—who is, as I said, the prac­ti­cal take-action type—came back down the hall, say­ing, “Hey, what if we just wear them like this?”

She’d hitched her jeans up as high as she could, then tucked in the Smile If You’re Hor­ney shirt so tight it was stretched out of shape, so instead of this:

 

It looked like this:

And we all—Mom, Dad, me, Thing 1 and Thing 2—we all lost it as thor­ough­ly as the coach­es in Porky’s.

It’s not fair. When­ev­er Thing 1 or Thing 2 got into trou­ble, they’d do some­thing to make Mom or Dad laugh and they’d get away with it.

“Go take a show­er,” Mom said, pick­ing up her mag­a­zine. “Change clothes and bring me those shirts.”

Thing 1 and Thing 2 sur­ren­dered with dig­ni­ty, glad they were off the hook.

And by “sur­ren­dered with dig­ni­ty,” I mean “exe­cut­ed a strate­gic retreat to dis­cuss flank­ing maneu­vers.”

The next day, when we were all called to the kitchen for din­ner, Thing 1 was last to arrive. She strate­gi­cal­ly exe­cut­ed a not-quite-late arrival, dur­ing which she showed up just as Dad was about to repeat Mom’s chow call, mean­ing every­one would be wait­ing to see what was going on.

She stepped into the kitchen, wear­ing the “Smile If You’re Hor­ney!!” shirt that she’d been ordered to destroy, and said, “Hey Mom! How about this?”

She’d secret­ly rum­maged through Mom’s sewing sup­plies and found some embroi­dered let­ters, one of which she’d sewn onto the offend­ing shirt. And this is what it looked like:

Dad, who hero­ical­ly man­aged to keep a straight face, said, “Smile if you’re CORNEY?

Golf clap to Thing 1. I’m still in awe.

I don’t remem­ber if Mom and Dad let Thing 1 and Thing 2 keep the shirts.5

John Denver Was an Alien and He Accidentally Killed Himself and All I Got Out Of it Was This Boring Childhood

I owe John Den­ver a debt of grat­i­tude, and not just because he did us all a favor when he acci­den­tal­ly killed him­self in a plane crash.

No, wait. That’s entire­ly too snarky and cyn­i­cal, even for me. Den­ver was an amaz­ing song­writer, musi­cian and per­former; real­ly he was. Let’s just say my rela­tion­ship with him was a bit rocky6 for a few years.

Our sto­ry begins with Den­ver’s birth: John Den­ver was his stage name; his giv­en name was Hen­ry John Deutschen­dorf Jr., and he was alleged­ly born in 1943, in Roswell, New Mex­i­co.

Based on his giv­en name and place of birth, there are only two pos­si­ble con­clu­sions that can be drawn:

  1. He was a Nazi, and smart enough to get out of Ger­many a few years before his com­pa­tri­ots, change his name, get a fake birth cer­tifi­cate, but not hide in South Amer­i­ca, or
  2. He was an alien who got strand­ed on Earth, like E.T.

I’m firm­ly in the alien camp, and here’s why: No Nazi could release 33 albums of award-win­ning music with­out a sin­gle tuba or accor­dion appear­ing in any of his songs.

And maybe he died in a plane crash. Or maybe it’s like Elvis in Men in Black, and he just went back home.

But as fur­ther proof I offer his album cov­ers. About half of them were, I believe, cod­ed dis­tress sig­nals to his home plan­et. He was try­ing to “phone home,” to coin a phrase.

No, real­ly. Check out these high­lights:

John Denver Sings, 1966:

Looks like a col­lage of Most Want­ed mug shots. But Den­ver was still learn­ing how to mim­ic humans; it’s pos­si­ble he thought Most Want­ed meant Most Pop­u­lar.

Take Me to Tomorrow, 1970:

What’s he doing here, stalk­ing the Unabomber? It sure looks like he’s peek­ing into the Unabomber’s cab­in. And that soul­less, blank stare could have belonged to Jef­frey Dah­mer.

But the title’s the clinch­er: Take Me to Tomor­row. Yeah; that’s an alien ask­ing the Unabomber if he can build a time machine or maybe a warp dri­ve engine.

Whose Garden Was This, 1970

Some peo­ple can get away with bare-chest­ed por­traits. John Den­ver was not one of them. Espe­cial­ly not when his scrawny, pale geek chest was super­im­posed over some ancient rel­ic look­ing a lot like the alien ship in Indi­ana Jones and the King­dom of the Crys­tal Skull.

Aerie, 1971

Den­ver cud­dles with his pet vul­ture and watch­es the sun­rise. He appears to be shirt­less again.

Or giv­en the album title, maybe it’s an eagle and they’re sit­ting in the eagle’s nest. Which would make Den­ver an eaglet.

This is get­ting creepy.

Farewell Andromeda, 1973

Def­i­nite­ly a cry for help. He’s star­ing off into space with a bunch of ghost ani­mals sit­ting on his hat, and some­where along the way he stole Kirk Dou­glas’ chin.

But now we at least know which galaxy he was from.

Den­ver released some new mate­r­i­al over the next ten years or so, but most­ly he coast­ed on great­est hits and hol­i­day albums, until…

One World, 1986

Neptune’s nose nuggets! What the hell is he doing? Stand­ing on the sur­face of the Sun?

(Now we know where James Cameron got the idea to kill both Ter­mi­na­tors in a bath­tub of melt­ed steel at the end of T2: Judge­ment Day.)

Hav­ing now proven John Den­ver was an alien, lemme loop back to the part about how I owe him a debt of grat­i­tude.

In Sep­tem­ber 1975, Den­ver released Wind­song, the cov­er art of which looks most­ly human. The tracks did include a cou­ple of alien hints, such as “Look­ing for Space” and “Fly Away.”

In Wind­song, Den­ver also sang a song to a boat. Not a song about a boat; a song to a boat. It was titled “Calyp­so,” which was also the name of a boat owned by famous oceanog­ra­ph­er Jacques Cousteau (not to be con­fused with the bum­bling detec­tive in the Pink Pan­ther movies).

Yep—“Calypso” was a love song to the boat of the same name, com­plete with nau­ti­cal sound effects: seag­ulls, waves, bells ring­ing, cab­in boys get­ting bug­gered, crew mem­bers puk­ing over the rail; all that fun stuff.

First Sis­ter and Mom had both been hope­less­ly in love with Den­ver ever since he released Rocky Moun­tain High, but Mom went thor­ough­ly insane over “Calyp­so.” She want­ed to lis­ten to “Calyp­so” All. The. Time.

I can’t crit­i­cize her for that; we’ve all got­ten obsessed with a song or album and played it around the clock. It’s eas­i­er when you’re stoned, but still. I was 12 that fall; I liked John Den­ver too, but not quite at the Beat­le­ma­nia lev­el Mom and First Sis­ter did. Thing 1 and Thing 2 liked him too, but with­out any scream­ing or faint­ing.

Mom had bought the album, but she also bought the sin­gle for “Calyp­so.” It was the B side of “I’m Sor­ry,” which you should con­sid­er dra­mat­ic fore­shad­ow­ing.

Like this, except ugli­er.

And every morn­ing when Mom roust­ed us all out of bed to get ready for school, “Calyp­so” was already on the record play­er in the liv­ing room. (Remem­ber the huge TV-radio-record-play­er con­soles pop­u­lar at the time?)

She would put the sin­gle on the turntable, put the lit­tle arm doohick­ey in the mid­dle so the record play­er played the sin­gle over and over, wake us all up, then bus­tle around like a Step­ford wife, hum­ming and singing and fix­ing break­fast so cheer­ful­ly it tempt­ed me to stick a fin­ger down my throat, barf on my break­fast, and claim I was sick so I could go back to bed.

It wasn’t just the abom­inable cheer, though. It was “Calyp­so.” I liked the song at first. But it usu­al­ly took every­one about 45 min­utes to get up, have break­fast, apply teeth­breesh and get out the door. Dur­ing which time “Calyp­so” played at least a dozen times.

After a cou­ple days of this, I hat­ed wak­ing up, I hat­ed “Calyp­so,” I hat­ed John Den­ver, I hat­ed Jacques Cousteau, I hat­ed Jacques Cousteau’s stu­pid boat, I hat­ed the record play­er, and I hat­ed break­fast. My sis­ters didn’t seem to mind the song, but I have the atten­tion span of a squir­rel on crack, so it didn’t take long for me to get tired of “Calyp­so.” I didn’t want to ruin it for every­one else, so I didn’t say any­thing.

I’m not sure how many days we break­fast­ed to “Calyp­so”; maybe four or five. But one morn­ing, 10 min­utes into yet anoth­er “Calyp­so” marathon, Dad got up, went into the liv­ing room, opened the record play­er lid, and scut­tled “Calyp­so” with that glo­ri­ous teeth-on-edge SKVRRRRYK! sound of a record being ter­mi­nat­ed with extreme prej­u­dice.7

[embedyt] https://www.youtube.com/watch?v=TkWWLpfYDkw[/embedyt]

Dad came back into the kitchen, grabbed his lunch box, kissed Mom and wished us all a good day, and left for work as my sis­ters and I sat open­mouthed in shock.

Mom and Dad weren’t per­fect; they dis­agreed or argued occa­sion­al­ly. They nev­er had any seri­ous dra­ma or the kind of fights that make the kids hide under their beds. If any­one had said they want­ed to lis­ten to some­thing else, Mom would have been hap­py to put on some­thing else. She isn’t the self­ish type of per­son who wants what they want, but doesn’t care about any­one else. She loved “Calyp­so” and found it joy­ful and uplift­ing and she want­ed every­one else to feel joy­ful.

And Dad rarely raised his voice, much less lost his tem­per or start­ed break­ing things.  He’d obvi­ous­ly had his fill of “Calyp­so,” but I think he was just being ornery and sil­ly when he stopped the record.

I do know he didn’t scare any of us; we were just gob­s­macked, and it took about 3 min­utes for the inci­dent to become a fam­i­ly joke: Some­one would turn on the TV or ask Mom or Dad per­mis­sion to play a record; the rest of us would yell, “Not ‘Calyp­so’!”

So yeah, John Den­ver got a lot of air­time in our house.

A few years before The Calyp­so Inci­dent, a song on one of Denver’s alien-art albums caught my atten­tion: It was Farewell Androm­e­da, and the song title was “Please, Dad­dy (Don’t Get Drunk This Christ­mas).”

It’s from the per­spec­tive of a lit­tle boy whose Christ­mas mem­o­ries were of Dad­dy com­ing home at mid­night Christ­mas Eve and pass­ing out under the tree, or his mom smil­ing brave­ly and shoo­ing the lit­tle boy upstairs as his dad arrived home, laugh­ing and hol­ler­ing drunk­en­ly; the impli­ca­tion being Daddy’s going to be smack­ing Mom­my around a bit.

Here’s an odd thing: I thought the song was hilar­i­ous. I was 10 and when the song played I thought it meant Dad­dy was up too late assem­bling gifts and fell asleep under the tree. I pic­tured Dad­dy as a lov­able doo­fus, not a vio­lent alco­holic.

There’s an old say­ing, rumored to be a Chi­nese curse: “May you live in inter­est­ing times.” It almost sounds like a bless­ing until you think about it. Thanks to World War II, for exam­ple, the 1940s are far more inter­est­ing than the 1950s.

I had no frame of ref­er­ence with which to under­stand “Please, Dad­dy (Don’t Get Drunk This Christ­mas)” because my child­hood was not interesting—no vio­lence, no alco­holics, no abuse. Noth­ing inter­est­ing at all.

I’m bor­ing, but that’s not a bad thing. Some­times bor­ing is good.

I guess it’s not John Den­ver who deserves that debt of grat­i­tude.

I still won­der if he was an alien, though, what with all his bare-chest­ed weird album cov­er art.

There’s a posthu­mous col­lec­tion of his best music that came out in 2004, 7 years after his fatal plane crash. It’s even titled as such: John Den­ver: Defin­i­tive All-Time Great­est Hits.

This offered a price­less oppor­tu­ni­ty to define his body of work and career, to shape his lega­cy once and for all, so here’s hop­ing they chose cov­er art that avoids the weird­ness of some of his ear­li­er albums, and—

Oh for fuck’s sake! Real­ly?

A Hell of a Band

This post is about a song by The Right­eous Broth­ers. I don’t know if they real­ly were right­eous, but I do know they weren’t broth­ers, so I guess I report, you decide. If you’re the churl­ish tl;dr type who can’t wait till the end of this post to hear the song, it’s down at the bot­tom, but if you skip the whole post like that you can’t be my friend or come up in my tree fort any­more.

If you’re under 45, chances are the only time you’ve been exposed to the Right­eous Broth­ers was in the movie Ghost, or pos­si­bly in Top Gun.

In Ghost, The Right­eous Broth­ers’ “Unchained Melody” plays while Demi Moore is sculpt­ing a vozz, and Patrick Swayze sits down behind her and the vozz gets ruined and they get slimy wet clay all over them­selves.

In Top Gun, The Right­eous Broth­ers’ “You’ve Lost That Lovin’ Feel­ing” plays on a juke­box once or twice, along with the fight­er pilots singing “Great Balls of Fire” and Ken­ny Log­gins singing “Dan­ger Zone” and the pilots play­ing half-naked vol­ley­ball and fly­ing around real­ly fast and in gen­er­al slosh­ing buck­ets of sweat and testos­terone off the screen and all over the audi­ence.

The Right­eous Broth­ers were were a huge­ly suc­cess­ful white crooner/extremely white doo-wop duet in the late ‘50s and ear­ly ‘60s. And since this post is about The Right­eous Broth­ers, I’d like to talk about The Par­tridge Fam­i­ly.

The Par­tridge Fam­i­ly was a TV show about a fic­tion­al musi­cal fam­i­ly loose­ly based on the real musi­cal fam­i­ly The Cowsills, who not only had a hit with the song “Hair,” from the musi­cal with the same name, but also got me very con­fused when was a kid, because it seemed to me that if a cow has sills, it should also have win­dows.

So any­way, The Par­tridge Fam­i­ly was nei­ther a fam­i­ly nor a band. It was a TV show with a bunch of actors pre­tend­ing to be a band that didn’t exist, except they did kind of exist because you could go to Wool­co or Sears and buy 45 RPM sin­gles labeled The Par­tridge Fam­i­ly, even though the songs were per­formed by David Cas­sidy with a band of gener­ic musi­cians, which con­spic­u­ous­ly lacked a 10-year-old bassist and a 7‑year-old drum­mer.

My dad hat­ed The Par­tridge Fam­i­ly. He also hat­ed The Jack­son 5, The Osmond Broth­ers, The Car­pen­ters, the Mon­kees, The Right­eous Broth­ers, and Bob­by Sher­man (who, on a side note, orig­i­nal­ly leased the cus­tom-built Boe­ing 720 that Led Zep­pelin used and was seen in the 1976 film The Song Remains the Same, which was about a Led Zep­pelin con­cert in New York City in 1973).

Dad did not hate any of these musi­cians for their music. As far as he was con­cerned, they were just noise. Dad was like Bob’s wife, who worked at Bob’s Coun­try Bunker in The Blues Broth­ers and who, when asked about what kind of music she liked, replied, “Both kinds: coun­try AND west­ern!”

What Dad hat­ed was their faces. He also hat­ed 3M, the com­pa­ny that pro­duced Scotch Tape, and the mag­a­zine Tiger Beat.

Cowsills and God?

Tiger Beat pro­filed young musi­cians and actors as long as they were safe-look­ing rel­a­tive­ly short-haired guys (which is why Led Zep­pelin and Alice Coop­er and The Doors nev­er appeared there­in).

Scotch Tape sold the tape my sis­ters used when they scis­sored Tiger Beat into con­fet­ti once a month in order to tape head­shots of that month’s dreami­est teen idols all over their bed­room doors, then rip them all off to tape up the head shots from the next month’s issue, which was rapid­ly strip­ping the fin­ish off the doors.

After school one day my mom asked me to go fetch her cig­a­rettes from her room. The cig­a­rettes were on her night­stand; as I picked them up I glanced at a 45 RPM sin­gle next to the cig­a­rettes. It was a sin­gle by The Par­tridge Fam­i­ly titled “One Night Stand.”

I was 9 and not too sharp on the sub­tler nuances of gram­mar and spelling, so when I saw the sin­gle “One Night Stand” on the night­stand, my first thought was Why would any­one sing a song about a piece of fur­ni­ture? 8

So I grabbed the sin­gle, along with the cig­a­rettes, and asked Mom why The Par­tridge Fam­i­ly had a song about a night­stand, which led to an awk­ward, unsat­is­fy­ing expla­na­tion about how a one night stand was when two peo­ple went to go see a movie togeth­er, but then decid­ed not to see any more movies togeth­er.

I nev­er did find out why the sin­gle was on Mom’s night stand.

Fast for­ward two years to the sum­mer of ’74. I was 11 and had vague­ly fig­ured out that a one night stand was a very brief romance, and the rea­son the guy and the girl didn’t want to see any more movies togeth­er was because they didn’t like kiss­ing. Pre­pu­bes­cent me under­stood that, because girls were yucky and kiss­ing was stu­pid.

We vaca­tioned in Col­orado that sum­mer. The Right­eous Broth­ers had just released a song titled “Rock and Roll Heav­en,” and it was get­ting heavy air­play, at least once an hour all the way there, all day every day we were there, and all the way back.

If you’ve nev­er heard “Rock and Roll Heav­en,” it’s a trib­ute to the lega­cy of musi­cians who had passed on, includ­ing Jimi Hen­drix, Janis Joplin, Jim Mor­ri­son, Jim Croce, Bob­by Darin, and Otis Red­ding.

I did­n’t get most of the ref­er­ences oth­er than Jim Croce and Janis Joplin; “Bad Bad Leroy Brown” had been a big hit the pre­vi­ous year. Joplin had appeared on the Tom Jones vari­ety show, which my mom loved (and I snick­er a lit­tle bit now, but at least she did­n’t throw panties at the TV).9

I also rec­og­nized the ref­er­ence to “Light My Fire,” but I’d seen Antho­ny New­ley singing it on a vari­ety show and I thought it was his song.

I loved “Rock and Roll Heav­en” on its own mer­its; still do. But what made it so cool at the time was the cho­rus:

If you believe in for­ev­er
Then life is just a one night stand.
If there’s a rock and roll heav­en
Well you know they got a hell of a band!

Part of it was the puerile thrill of some­one on the radio singing the word “hell,” which was still mild­ly naughty, but what made the biggest impres­sion was that for the first time I can remem­ber, I con­nect­ed with lyrics that used a sim­i­le to touch on a much deep­er truth: Com­pared to eter­ni­ty, life is short. Blink-and-you’ll-miss-it short. And maybe some­day those who touched our lives but have since passed on—well, maybe some­day we’ll see them again. And in the mean­time we can remem­ber them by cel­e­brat­ing their lives and lega­cies.

MTV didn’t exist in 1974, but thanks to Mid­night Spe­cial and Amer­i­can Band­stand, you could occa­sion­al­ly see a music video or live per­for­mance of hit songs.10

I didn’t know “Rock and Roll Heav­en” had a music video until the oth­er day, when I stum­bled across it on YouTube. And just like that, a song I hadn’t thought of for more than 40 years was back, with all the influ­ence and emo­tion it gen­er­at­ed back then.

So I now present to you, all the way back from 1974, The Right­eous Broth­ers’ “Rock and Roll Heav­en.”

Time trav­el can be bru­tal, though: In this case, try not to think about how unbut­toned shirts and bell-bot­tomed leisure suits and lapels wider than your shoul­ders were once unbear­ably cool.

Dur­ing our ’74 sum­mer vaca­tion, Dad found “Rock and Roll Heav­en” annoy­ing, even though The Right­eous Broth­ers weren’t Tiger Beat mate­r­i­al, and he kept tun­ing to some­thing else when it came on. I would yell, “Turn it back on! I love that song!” from the back seat.

Made him grouchy but it was worth it.