Tag Archives: rock and roll

Kurt Cobain’s Journals Reveal a Man Worthy of No Admiration

Kurt Cobain, the front man of the groundbreaking 1990s Seattle grunge band Nirvana has been considered the “spokesman for a generation” though his fame only lasted for roughly two and a half years before his inevitable 1994 suicide. His music was revolutionary and his fashion quickly became imitated by the mainstream, but Cobain was far from worthy of adulation. He was an extremely troubled person. He was depressed and angry, narcissistic, hateful, antisocial, poorly educated, hypocritical and self destructive with a major drug addiction, but a knack for writing catchy tunes.

I’ve always liked Nirvana’s music, but I’ve never cared much for Cobain as a person. I did eventually acquire all five Nirvana albums, but I have never worn their t-shirt. I say this to illustrate that I’m not just some Nirvana hater. I can separate the man from the music, and this article is about the man as he chose to present himself, his thoughts, ideas and values in his own words. I just don’t think there is much to admire about Kurt Cobain outside of his musical success. That was my opinion at the height of his fame, and after reading his “Journals,” published in 2002, that opinion wasn’t changed. It simply provided more evidence and details to confirm my earliest thoughts.

The Positive

I’ll begin with a positive note regarding what was admirable about Cobain. He was driven and he did seem to have a plan which he followed unwaveringly to eventual commercial success. He did what a lot of musicians and bands don’t do but should; he wrote out his vision for Nirvana. He crafted his business mission statement as it was – he thought out his distinct musical identity, his image and the values he wanted to project. He clearly identified his influences and what he wanted to influence his music. He wrote out steps and tactics in his journals. He thought about distribution, exposure, and reaching fans in an era before the internet made this much easier. He didn’t just do this once; as time went by he revisited and revised his plan as he figured out more about his tastes, styles and abilities instead of just drifting aimlessly in a chaotic musical landscape. Sadly, however this one paragraph is all that I found admirable in Cobain’s journals. The rest of his character was tragically flawed, and ventured into dark and evil places.

Obsessed with Grief

The most noticeable character trait displayed in Cobain’s journals is his overwhelming obsession with grief. His early preoccupation with suicide is evident by page 5, written no later than 1989, exclaiming “kill yourself,” a sentiment that is repeated multiple times throughout the Journals. He was fixated on everything “bad” to the point it seems he had no room left in him for joy. He hated everything. He hated himself. He was ashamed to be white, ashamed to be male, and ashamed to be American. I think this grief and self-hatred is the root of all his many other issues. When a person hates himself it leads to an inability to enjoy anything. It leads to nihilism, self abuse and eventually if left untreated to complete self destruction. Kurt Cobain eventually became dark, uninspired, and hopeless.

Obsessed with Division

Cobain was obsessed with creating division in the world. Though he portrayed himself as an advocate for love, tolerance and inclusion, it’s obvious he thrived on strife and division. He was especially preoccupied with creating division between the generations. This seems to originate from his personal issues with his own parents and upbringing. He wasn’t satisfied with his own sense of isolation; he wanted everyone else to feel that isolation too. He hated his parents therefore everyone of his generation should also hate their parents. Misery loves company.

Rape Fetish

Cobain was obsessed with rape, conflating it with traditional masculine sexuality to which he claimed to be opposed. He mentions rape repeatedly. He even imagines himself as a rapist, and writes about a time in high school when he tried to take advantage of a young girl who was considered “retarded,” though supposedly undiagnosed. At a later point he decided it was Nirvana’s job to “teach boys not to rape.” Apparently his method was to write songs like “Polly” and “Rape Me” that are so ineffectual they sound as if they are romanticizing rape. He later acted perplexed when listeners didn’t comprehend these were supposedly “anti-rape” songs.

Between pages 90 and 95 Cobain wrote the most bizarre part of his journals, a story about a fictional serial murderer, rapist a child molester he named Chuck Taylor. Apparently Chuck became this monster due to his father’s influence. It includes a very graphic scene in which Chuck is forced to watch as his father beats, rapes and sodomizes his mother while extolling the virtues of being a “man” and abusing women. In another entry (pg 109) he says he likes to make incisions on an infants’ stomach and then “fuck the incision until the child dies.” It’s another peek into Kurt Cobain’s grotesque dysfunction.

I got the sense that Cobain had a rape and murder fetish that haunted him, contributing to his self-hatred. He related this to himself “as a man,” and projected that upon the idea of masculinity. Since he saw “right wingers” as representing traditional masculinity he could project his sickness and self-hatred onto them as an “other” thereby gaining a false sense of virtue and self-righteousness for hating them instead of addressing his own demons.

Hypocrisy, Self-delusion and Terrorist Advocacy

Hypocrisy was another of Kurt Cobain’s worst traits. In multiple entries, Cobain says that to him “punk rock means freedom.” It’s another recurring thought in his journals. This would seem to be a motive for his hatred for “right-wingers,” because he saw them as trying to restrict his freedoms through pro-life and other religiously based legislation. But he wasn’t very considerate of other people who chose to live in a manner in which he disapproved.

There are multiple entries in which Cobain expressly advocates for and glorifies Left-wing terrorism. Amongst the many examples of people Cobain said he wanted to kill, he wrote a disturbing passage describing how he wanted to go through high schools and put guns to the heads of popular kids and force them to renounced their “gluttonous” lifestyle or be killed (132). He didn’t write this as a frustrated teenager. He was a grown man well into his twenties expressing a desire to murder kids who simply used their freedom to make different choices than he made. Here, Kurt Cobain’s reoccurring hypocrisy is on full display in one of the most disgusting of ways.

Cobain’s writings also show a strange obsession with the KKK and outlandish caricatures of “right wingers” and misogynists. He really was a product of the west-coast’s socio-political atmosphere and ideology which helped warp him into someone who seemed to be barely clinging to his humanity.

Cobain’s self-delusion is most evident when he wrote about his place in the music industry. Of course he wanted to be successful as a musician, but he felt guilty for that so he tried to rationalize his ambition to fit his radical ideology. Rather than honestly admitting he was desirous of fame and fortune, he instead tried to portray his major-label aspirations as some form of punk-rock Trojan horse strategy. He liked to say he was working on the inside to “rot” and destroy the industry, while in reality he was sitting as the cherry on top of Geffen Records, raking in all that gluttonous money he wanted to shoot children for enjoying.

He liked to pretend that he was in polar opposition to the rockstar excesses of the 1980s, but that was really just his form of gluttonous stardom. He wasn’t the wild, pussy slaying, private jet flying party animal. Instead he portrayed himself as the neopunk rock star; prepackaged rebellion, and feigned social consciousness. He knew he was playing a role that didn’t align with his real identity, and he felt pressured by the image he constructed of himself. That kind of cognitive dissonance must certainly be hard to live with.


Lack of Depth

There was a common misconception in the 1990’s that Cobain’s lyrics were mystical script of otherworldly genius that had to be decoded in order to truly perceive their great depth. I never bought it. While I could enjoy the energy of his music, I always thought his lyrics were haphazardly written, sloppily thrown together into a reckless word-salad. In his journals and other interviews he clearly reveals that his lyrics were quite often retched out at the last minute or adlibbed onstage until something stuck. He was frustrated by people who tried to analyze his lyrics because he knew there was nothing there worth analyzing. Cobain’s lyrics seem disjointed and jumbled because they are disjointed and jumbled. He mumbled and slurred a lot of his words because it really doesn’t matter if you understand them. Don’t look for depth and insight in Cobain’s lyrics because there is none.

He Loved His Ignorance

One of the more disappointing aspects of Cobain’s personality is that he preferred to remain ignorant. He mentions repetitively that he is not particularly well educated, and the grammar, and spelling throughout his journals is evidence enough of this. He wrote “I purposefully keep myself naïve and away from earthly information because it’s the only way to avoid a jaded attitude” (pg 125). That’s just dumb. Cobain liked to have strong opinions that resulted in a radical ideology and violent attitude, but didn’t want to actually have the knowledge by which to evaluate those ideas. He preferred to keep his miseducated opinions that fueled his desire to murder children because it made him feel good. Kurt Cobain was an idiot.

To go along with his multiple displays of ignorance and irrationality, Cobain liked to disparage musicians who actually bothered to learn music. He specifically ridiculed Eric Clapton who not only helped to forge modern rock and roll, but also managed to survive the test of time even while battling the same vices (heroin) that Cobain was too weak to overcome. Cobain regurgitated the same clichéd wannabe punk rock jargon that music theory is “bullshit.” The irony seems lost on him when he also complains about not being a very prolific songwriter. He never made the connection that music theory gives a person more tools to work with to create more original music instead of rewriting the same song over and over again while feeling like a fraud. Cobain’s inability to write new, significant music after “In Utero” contributed to his final mental breakdown and eventual suicide. It’s an example of how Cobain consistently made decisions and embraced attitudes that lead him steadily down a path of self-destruction.

To his credit, I suppose, Cobain knew all this about himself and through all his ignorance, hypocrisy, self-deception, delusions and his antisocial personality he freely admitted it. He told us as much in his lyrics.

“I’m a negative creep”
“I’m a liar and a thief”
“I think I’m dumb”
“I hate myself and I want to die.”

Rooted in self-hatred, fear, ignorance, left wing politics and drugs every decision he made was another step toward his early suicide.

Maya Angelou said “When someone shows you who they are believe them; the first time.” Kurt Cobain showed us time and time over again. There is nothing there to be admired.


Keith Richards: Life, a Candid Autobiography

Keith Richards’ 2010 autobiography Life is a solid exposé and memoir on the life lived by the Rolling Stones guitarist. Weighing in at 547 pages of narrative, it’s clear that the Rock and Roll Hall of Famer intends for the reader to come away with a full picture of himself, not just as a founding member of one of the greatest rock bands in history, but as an individual apart from that legend.

The autobiography kicks off with a scandalous story from the road of when Keith and Stones’ rhythm guitarist Ronnie Wood were arrested with a number of illegal substances in Fordyce, Arkansas in 1975. It’s one of the more exciting stories in the book and it sets the tone for numerous tales of drugs and legal issues to follow it.

After that, Life immediately shifts to Keith’s childhood, adolescence until he meets and begins playing music with Mick Jagger (p. 77). This was the hardest part of the book for me to get through. It seemed overburdened with trivial details about Keith Richards the child. While some meaningful events and information is relayed her such as his initial introduction to music and guitar a lot of it seemed unnecessary, but then it is the story of his life, not just of his adult music career.

This makes for an autobiography that is well balanced between the author’s personal life and ideas and his superstar music career. It’s not written in a manner that tries to glorify the rock and roll lifestyle or to revel in fame, but it doesn’t shy away from it or wrap itself in false humility. Keith opens up and tells us quite a lot of personal information about himself, his origins, his philosophies, his loves, his strengths, and his weaknesses. He writes intently on the subject of music and how he came to it with passion, the origins or the Rolling Stones, his often adversarial friendship with lead singer Mick Jagger, his addiction, resulting arrests and subsequent rehabilitation.

The book is chocked full of stories and candid details. Some of the points I liked the most include the following.


The Rolling Stones didn’t write their first song until 1963 when their manager Andrew Loog Oldham locked Keith and Mick in a kitchen together in Willesden and told them to “come up with a song.” Before that, Keith thought songwriting was someone else’s job. This is easy enough to understand since up until this time in music history it was very common for the songwriters to be different people from the performers. Truthfully before the Beatles made it fashionable popular bands rarely composed any of their own music.

Keith makes it quite clear that there was never any rivalry between the Rolling Stones and the Beatles, or between any of their respective members. They were friends. Keith refers to the two bands as being a “mutual-admiration society.” He even says that they would call each other up and plan their single releases so to not compete with each other (pg 141). Any amount of rivalry that may have seemed to exist was nothing more than media hype.

As mentioned above, Keith speaks very candidly about his drug addiction. Early on in his life, Keith experimented with recreational drugs, alcohol and cannabis. He was introduced to amphetamines while on tour in the US with R&B acts including Little Richard and Bo Diddly. He talks a bit about LSD in the 60s and a particular three-day trip he took with John Lennon which was so significant that neither of them could quite remember what all had happened. His terrible addiction to heroin however came about in a far less cavalier manner. It happened the same way it seems to happen with the opiate epidemic plaguing the US today; from an injury and overmedication. He was in a car wreck and afterward was in such pain, having a nurse come to clean his wounds everyday that he was prescribed morphine. After several weeks on the drug he became hooked. When the doctor took him off the medication he had severe withdrawals which he treated with underground opiates and eventually heroin which he continues using for the next several years.

I really love that Keith talks about his experiences with Reggae and Rastafarians in Jamaica where he lived for some time. He speaks very highly of the culture, philosophy and most especially the music of the Rastas he became friends with, and how that was a major influence on him and helped him get his head straight from years of excess.

If gleaned properly there is probably a solid handbook’s worth of advice and information on beginning in music, theories on how to approach playing guitar, songwriting, performing live, recording and band dynamics. Keith doesn’t come across with any rock star pretentiousness to speak of. He does get a little preachy and high minded at points, but otherwise stays well-grounded even when telling tales of times when Keith was anything but grounded.

Life is a thorough trek through the years of Keith Richard’s history. It’s sometimes a little wordy, a bit snide, and long. It isn’t always a page turner, but it does hold a reader’s attention fairly well and it delivers all the juicy, candid details a fan of the Rolling Stones, or just rock and roll history will enjoy.


Motley Crue’s The Dirt Movie is a Wild Ride

The Dirt hit Netflix several days back and it’s pretty killer. I’ve only watched it four times since then.

To say “the book was better” is pretty cliché even if it’s true, but I have to respect the process and the logistics involved in making a film of this scope. It’s difficult to fit a 428 page memoir into an hour and forty minute movie. It’s probably even harder than fitting a 20 year career (at the time of publication) into a 428 page memoire.

I have to say I didn’t have a lot of high expectations for this movie. It’s easy to be cynical. Band biographies are often hit or miss and I didn’t care for some of the updates I saw of The Dirt as it was being produced.

Upon the first viewing, my concerns were mostly squashed. It’s a fun ride through the debauchery and maturing process of one of hard rock’s most notorious and most popular bands. Aside from a few minor timeline issues and some soft-balling of major tragedies, I can’t much complain.

I can easily forgive the timeline issues, as I said above it’s a 20 year career reduced to less than two hours. What more can we expect? We’re even afforded a scene when manager Doc McGee arrives in which guitarist Mick Mars informs us it didn’t actually happen that way. The Dirt acknowledges from within that there’s only so much time to make the important points and still have an entertaining movie.

The Dirt really captures the spirit, the attitude, and more than anything the personalities and the differences between them of the members of Motley Crue as I came to understand them over the more than three decades I’ve been a fan.

We get to see Nikki Sixx (Douglas Booth) as the dark, angry, creative force that he was and to some extent still is today.

There’s Tommy Lee (Colson Baker) as the young, naive, goofy, party animal he was always known to be.

Vince Neil (Daniel Webber) is as he was the rakish, blond, southern Californian playboy.

Mick Mars (Iwan Rheon) is the older, grumpier, dry, no time for bullshit guitar slinger struggling with his crippling degenerative arthritic condition.


Highlights from The Dirt include a scene wherein the early pre-Motley Crue three-piece arrives at a party to try to recruit singer Vince Neil, and the stark contrast between the dark, grungy borderline punks, and the blond, glam rocking lady’s man is almost comedic.

Tommy Lee’s narrated scene on “a day in the life” of a drummer on tour would probably be almost unbelievable for anyone who hadn’t kept up with the reported antics of the band throughout the 80s and some of the 90s. Still, it’s among the funnier parts of the movie.

And of course, the tour with Ozzy Osbourne poolside scene when the Oz snorts a line of ants which is so infamous even The Family Guy had a segment about it is one of the more memorable and entertaining parts of the film.

However, it’s the soft-balling of two major tragic moments that bothers me the most for a movie that is supposed to be a tell-all expose of the best and worst of the Crue’s career.

For starters;
Vince Neil’s tragic car wreck that killed Hanoi Rocks’ drummer Razzle is presented in a far less incriminating light than the actual accident. In the movie it appears as if it was little more than a silly conversation that distracted Neil, causing him to drift into oncoming traffic resulting in a wreck that ended the drummer’s life and stopped Hanoi Rocks in its rise to fame. In reality Vince Neil was very drunk, speeding at 65 mph in a 25 mph zone and swerving around a fire truck when he crossed into oncoming traffic and hit two other vehicles, killing Razzle and permanently crippling the two people in the other vehicle. It was an avoidable tragedy for which Vince only spent 19 days in jail.

Secondly;
Bassist, primary songwriter and visionary of the band, Nikki Sixx’s overdose in the movie is also a gloss job. The movie doesn’t shy away in the least bit from the crippling heroin addiction that nearly killed him. Well, technically it did kill him for about two minutes, but the paramedic managed to get his heart pumping again. Missing from the story is the reportedly cavalier attitude with which he injected the deadly dose. Also missing were the other prominent actors in the scene. It’s fairly well known that Guns N’ Roses guitarist Slash and drummer Steven Adler were at the party, but the movie completely leaves this out except for a brief shot of a figure strung out on the couch who resembles Slash. It’s a significant point considering it was Slash’s girlfriend Sally McLaughlin who performed mouth-to-mouth on Sixx before the ambulance arrived. Maybe these details were left out of the movie to avoid infringing on the reputation of the other band, but their image as heavy heroin users is well established in Slash’s self-titled autobiography anyway. On top of that, The Dirt didn’t mind depicting Van Halen’s David Lee Roth using cocaine in the band’s party pad earlier in the film.

The Dirt skips almost everything regarding the Crue’s time in rehab, but I didn’t mind because as Vince Neil says in the film “you don’t want to see any of that shit.”

They also skim through the John Corabi years as if it took place over little more than a few months, but since most real Motley Crue fans don’t care much for that period it’s fine. In fact, I can’t name a single song from that album. The main problem is that The Dirt completely neglects Vince Neil’s solo career as if the only thing that happened to him during that time was the tragic death of his daughter, Skylar.

The Dirt is a great ride, and a damn good biopic. It delivers well on the best and worst of Motley Crue’s history. It touches the perspectives of all four members of the band, as well as their manager Doc McGee and it experiments with nontraditional styles of story-telling, with fourth-wall breaking segments, cross-narration, comedy, and very candid representations of some of the darkest points of the bands lives.

Any fan of band biopics should enjoy The Dirt.

Lojah on the Musician’s Guild

I was recently a guest on the Musician’s Guild, a great internet show run by Richard Dunlavy and Darryl Oehmsen in Pensacola, Florida where they discuss the local music scene and promote the various players and performers in it.

In this episode 5 of the series I was honored to be a guest on the show where I played a few tunes, talked about my musical upbringing and how and why I came to use the moniker Lojah for my music.








Tyla J. Pallas, One Creative Dog

Few artists have had as much of an influence on me as Tyla J. Pallas.  It wouldn’t be too far of a stretch to say that I learned to sing by listening to this man.

I first discovered Tyla when I saw an ad for his band the Dog’s D’Amour and their album release In the Dynamite Jet Saloon in Hit Parader Magazine in 1988.  I acquired the album through some means after that, and was fairly pleased by the record.  Though you couldn’t tell by looking at the album cover, the Dogs D’Amour were doing something in strong contrast to all the other hard rock bands that were making a name in the mid and late 80s.  The songwriting was a striking and refreshing twist on the blues-infused rock and roll pioneered by classic bands such like the Rolling Stones, and Aerosmith.

On top of guitarist Jo Dog’s phenomenal slide guitar work on In the Dynamite Jet Saloon, Tyla’s gritty, bourbon-wrecked vocals defined the sound and personality of the Dogs D’Amour.  His fluctuation between growling, mumbling, and quirky melodic deliveries helped create a dynamic and distinct sound.  As the primary songwriter, Tyla’s lyrical approach was infused with the dark poeticism of Charles Bukoski, romantic and desperate.  It was quite a departure from the party-anthem bands that defined the decade.  Tunes like the ballad “How Come It Never Rains” and the acoustic “Billy Two Rivers” stand out the most.

While Dynamite Jet Saloon is a great album, it was only a couple years later when a friend moved to my hometown from England and brought with him the follow up and mostly acoustic albums Errol Flynn and A Graveyard of Empty Bottles that I really became the die-hard fan I still am to this day.  These albums were amazingly written. Everything that was good about Dynamite Jest Saloon was doubled-down on and made great. To me, these albums are what the Dogs D’Amour were all about.

The Dog’s D’Amour, A Graveyard of Empty Bottles, 1989

Each song on those records is so good it’s difficult to shine a light on any of them over the others, but “Comfort of the Devil” and “Ballad of Jack” probably stand out the most. Both exemplify the mixed styles of blues-rock and country with a distinctly recognizable English interpretation that defined the Dogs.  Not only did these acoustically dominated albums convince me of the viability of the approach in an era defined by electric guitar, it reacquainted me with my native County and Western music and put a mark on my musical delivery that is still with me to this day.

    

 

Second to the music, of course were the album covers featuring Tyla’s distinctive artwork, mostly paintings.  They were personal interpretations of the band in a style that was a mix of naïve and almost comic art, and expressionism.  As an aspiring singer and visual artist myself, I found this approach inspiring..

Over the years since these early Dog days, Tyla has produced a host of solo projects and collaborations, while his artistic abilities have developed into a well-crafted, distinct and recognizable style that is the natural visual counterpart to the wicked western blues rock that is Tyla’s legacy.

The Dog’s D’Amour, Errol Flynn, 1989

Pub Songs on Palafox by Jay Moody

Pub Songs on Palafox is a four song, lo-fi EP recorded in the raw as a live-air production that captures the energy and sound of a Jay Moody solo performance while busking downtown Pensacola, Florida in competition with the various sounds of a bustling city street.

Jay begins with a rowdy Irish pub tune, Dicey Reilly, about a lush of a woman who spends her life crawling from pub to pub; a sailor’s favorite. The Black Velvet Band is another classic Irish ballad about infatuation, deceit and injustice which takes us out of the pub and away from the Emerald Isle to a penal colony in Australia. Following up is Looks Like Jesus, a rockabilly-blues styled piece and a Jay Moody original tells the story illustrating the conflict between despair and ambition, shroud with esoteric imagery, set in the Southern atmosphere he calls home. Miss Constance concludes the record, a naughty Caribbean-styled tune about the perils of running with younger women.

Jay’s Creolized Swamp-Roots Music is a style deeply influenced by Caribbean rhythms, Celtic melodies, and blues.

Download Pub Songs on Palfox here.


Gene Simmons, Profile of a Rockin’ Capitalist

Gene Simmons is best known as the fire-breathing, blood spitting demonic bass player of the record breaking rock and roll band KISS.  With multiple millions of fans the world over and across no less than three generations, Gene Simmons and KISS have experienced success that far surpasses that of the majority of eccentric musical acts that sprung up throughout the 1970s. Though many rock and rollers have come and gone in the years that KISS has rocked the earth, Gene Simmons is richer and more popular now than he ever during his band’s classic era.

Rock stars are typically not the best examples of financial wisdom; in fact they are usually the worst.  The unrelated natures of musical talent and financial wisdom detract from the music business as a viable path to wealth as it is.  Couple that with the unlikelihood of success and the well known frivolous spending habits and legal antics of those in the field.  This is why I get certain skeptical looks and responses when I cite Gene Simmons as inspiration for financial strategy.

There is a distinct line between Gene Simmons and most of the rockers that came before him or have shown up since.  This line is what has kept him and his partner in KISS, Paul Stanley on top for more than three decades.  While many millionaire rock stars squandered their wealth on extravagant lifestyles, Simmons conserved his money for future investments while slowly building the phenomenon that is KISS.

gene simmons photo: Gene Simmons e8f9f32c.jpg

Until the success of his hit show Gene Simmons Family Jewels, few people have had the chance to see just how financially savvy and down to earth the legendary rocker truly is.  Having taken the time to listen to Simmons’ message and philosophies, I have no doubt that even without KISS, rock and roll or a single musical note; Gene Simmons would have become a wealthy man one way or another.

Simmons was born in Israel in 1949 as Chaim Witz to Flora Klien, a poor holocaust survivor from Hungary.  In his book Sex, Money, Kiss, Simmons recounts the experience that would set the tone for his financial future.  At the young age of five, he decided to earn some money by selling cactus fruit.  He would go into the desert and gather the fruit, wash it, chill it in ice water and remove the spines.  He would then cart it to the bus stop in time to meet the afternoon bus and sell the fruit to the workers unloading after a hard day on the job.

The future superstar came to the United States at the age of nine.  Even as an impoverished immigrant who couldn’t speak English, nothing stopped him from finding creative ways to earn an honest living.  Whether playing in local rock bands, typing term papers in college, dealing in classic comic books, or running his own science fiction fanzines, Simmons always kept his best financial interests in focus.  He avoided drugs and alcohol and all the other vices on which young people are prone to waste money.  When it came time to form KISS, Simmons and his partner Paul Stanley were financially stable enough to walk away from a deal with their band Wicked Lester in order to pursue their dream of forming the world’s most legendary rock band.

             

After achieving international fame with KISS, Simmons didn’t just revel in the spotlight.  He worked the business end of his craft to the best of his abilities.  Even with millions of dollars coming in, he budgeted, cut his expenses and planned for future opportunities or possible misfortunes.  He expanded his horizons.  He managed Liza Minelli for a time.  He acted as a talent scout, discovering Van Halen and eventually founding Simmons Records.

Gene Simmons has never stopped learning about business and building his financial future.  He has continually found new avenues to keeping KISS relevant and advancing.  He has acted in feature films such as 1984’s Runaway and in 2010 he played the voice of the Spirit Dragon in The Last Airbender.  He created the animated series My Dad the Rockstar for Nickelodeon, Mr. Romance for Oxygen, and he starred in the UK series Rock School.  The hit series Gene Simmons Family Jewels is beginning its 5th season.  Now, in 2011 Gene Simmons is a co-founder of The Cool Springs Life Equity Strategy, an estate planning service.

So how exactly does Gene Simmons represent a lesson on success?  Starting with the cactus fruit; even when he had nothing to invest, he found something he could acquire for free, and with some work others would pay him money for it.  When he had some capital to invest he pursued avenues that he was truly interested in; comic books, science fiction, rock and roll, and eventually KISS.

Even with the success of KISS, he has always kept his eye out for other opportunities to expand his business and market his brand.  Some might say that Gene Simmons’ wealth was acquired by luck.  But Gene would probably say to them “the harder I worked the luckier I got.”  As a result of his discipline and tenacity, today Gene Simmons is amongst America’s wealthiest people.

A person does not need to come from established financial means to achieve wealth.  All one needs is an economic atmosphere that encourages entrepreneurs, and the internal wealth that provides the psychological resources required to act wisely, decisively, experimentally, and consistently.  From a poor Israeli child to an American citizen in the highest tax bracket, Gene Simmons is an example of how Capitalism Saves.


The Pine Hill Haints – Ghost Music in a Punk Scene

The Pine Hill Haints

The Pine Hill Haints are a bit of a modern rockabilly jug-band mixed with a punk rock spirit.  Though singer and primary songwriter, Jamie Barrier might call it “The Spirit of 1812.”

I first saw the Haints at Sluggo’s a few years back, and they have been all over the world and accrued quite a following since their 2000 debut.  Such an innovative musical concoction as the Haints has an appeal much broader than the “folk-punk” category they are often associated with.

The Haints describe their sound as “Alabama Ghost Music.”  It’s a mixed assortment of southern roots music from bluegrass, to ragtime, rockabilly and honky-tonk, upbeat and with eerie and supernatural themes. Named after the Pine Hill Cemetery, the Haints are inspired by local Alabama legends and ghost stories. A haint is after all a particularly deep southern term for a ghost or haunt.

But the Haints aren’t dreary and gothic.  To me, they have a sound that seems to just emanate from the ground of the American South, like the past 250 years of Southern history and culture has taken the form of band.  With songs like “Whisper in the Dark,” and “Tennessee River Rambler” you get a real sense of backwoods punkabilly that would make Buddy Holly proud, while tunes like “Bordello Blackwidow” and “Walking Talking Dead Man” could be Calypso numbers straight from the repertoire of the Mighty Sparrow.

A PHH show is a hootenanny, rowdy and with an anachronistic flair, with lead singer and guitarist Jamie Barrier energetically jumping and jiving behind a handmade wooden mic stand reminiscent of the Grand Ole Opry.

           

The whole show is reminiscent to a bygone era with an unmistakably modern twist. The sound texture developed by the hodgepodge of Jamie’s guitar, Matt Bakula’s washtub bass and banjo, Ben Rhyne’s snare drum, Katie Barrier’s mandolin and washboard can’t help but make you feel like you’re witnessing an old rock and roll show just upon the invention of electric amplification.

The Haints are a band to see, and hear with wide appeal and a timeless sound that can be appreciated by punk rockers and hillbillies alike, between the ages of 5 and 105.  They are one of those few musical acts that can truly bring different genres, generations and social groups together.