Month: November 2025

Zeitgeist 11/25/25

It’s been 62 years and a couple of days since Kennedy was shot and killed, most likely by the CIA. Just this morning, I was thinking about how it feels to me like we’re living in the 125th year of the 20th Century, especially here in the US. I think all of the concerns of post-WWII America are still with us. We just keep dancing around the same old things — burgeoning fascism and the plight and willingness to fight of everyday people in this country to keep what we and our forebears have fought for in the past. I honestly can’t say what we’re headed for, but I know we’re still recycling our past, which is not sustainable.

I hope we manage to break the cycle of resentment and corruption that seems to be the biggest impetus acting on what’s going on in the world, but there’s no guarantee that we ever will. I’m convinced that if we don’t manage the feat, we’re in for a hellish time going forward – not that the 20th century has been such a picnic up until now.

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I’m playing my bass again

That’s been interesting. It had been long enough that my fingers wouldn’t do precisely what I wanted them to when I picked the thing up after a decade away from it. It’s nice to have the thing in my hands again, and this little combo practice amp I bought sounds better than my old live rig did.

I got it cleaned up and restrung by the guy over at Replay in Turner’s… Ray, I think his name is? I may be wrong about that. He has not been super-supportive, but he did do a moderately good job cleaning up my bass. He seems sure I’m not going to stick with it, and told me when I’m ready to sell my Rick to let him know. Thanks dude, I’ll keep that in mind.

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I just finished a revision to the novella I’m working on, and resisted the temptation to go right back to it. I definitely have more work to do on the thing, but I think that the story will benefit from my taking a little time to process. That being said, I admit it might be a year before I get back to that particular story.

In the meantime, I’m beginning the selection process for a chapbook. My conception of the thing right now is that it will look like a volume of poetry, and it will contain a few short poems, perhaps, but most of it will be prose. My idea is to walk the line between fantasy and creative nonfiction. Some pieces will be clearly on one side or the other of that line, but I’m hoping to find some way to synthesize the two things together. Based on the work I’ve found so far, I should be able to accomplish the feat for the 16-20K words I’ll need. Once I get that done, then I will go back to the novel for another pass.

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Finally, my wife’s health struggles continue. She’s keeping up her spirits as she spends sooo much more time interfacing with the health care industry than anyone would ever want to, feeling the impact of the various problems she’s in the midst of fighting. She’s still active and hardworking, which is amazing.

I am so glad we are together, she makes my life better in countless ways. She says I do that for her, and I am trying to believe her. I’m skeptical sometimes, but I do try my best to be helpful and supportive. I love her like nobody’s business.

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That’s about all I have for now. I’m going to try to be a better correspondent. People seem to like when I post here, so I promise to try. Do me a favor and leave a comment once in a while? The occasional like and subscription are also much appreciated.

TTYL.

The Texts of Yesterday

A show-and-tell by Diane Griffin

Mick Farren published a dystopian science fiction novel called The Texts of Festival back in 1973. From that vantage, he saw a doomed, far-future world where people worshipped Gods with names like Dhillon, Djeggar, and Morrizen the Lizard King.

When I was a kid back in Yuma, Arizona, there were some of my brother’s friends who had both a cover band and a Kiss tribute band called “Kiss Theatre.” The cover band was the thing they cared about, but on occasion, for parties, they would wear all black and put on Kiss makeup and play a set of Kiss’s songs. When they did that show for the first time, people talked about it for weeks afterwards. The Yuma Daily Sun wrote about them.

 It seemed to me that these guys in Kiss Theatre considered it a schtick. It was too unserious for a band with larger ambitions. Even playing a set of hits-of-the-day was more dignified and relevant than pretending to be a famous band and doing a knock-off of their whole concept, regardless of the extra attention it garnered them.

I agree with them. If I were to start a band now, I think I would want to do mostly or even all cover songs, but I would not want to pretend to be someone else. I understand that people want familiarity, but I think – maybe I only hope – that they also want authenticity, some kind of connection to the artist they’re in the room with.

I’m not a purist about this, however.

Standing just on this side of the line is the band Beat, which is half members of the 80s version of King Crimson, half the two highest-level “ringers” there could possibly be. I saw Beat last year and found the show transcendent. They don’t call themselves King Crimson, as lead guitarist and founder Robert Fripp is not involved.

They ‘re often called a “tribute band” in the press, even with the involvement of two original members. Guitarist Steve Vai – one of the ringers — has taken great pains to learn Fripp’s original parts but adds as much of his own style as he can without breaking the vibe. Is this a tribute to or a continuation of King Crimson? I’m hoping for a CD of new original music, which would tip the scales away from “tribute band.”

Let’s move a little closer to that line between “tribute” and “continuation.” You may have heard, in a previous rant of mine, that the current touring and recording version of Yes has no original members. Another whole band playing this music exists. Jon Anderson, founding member of Yes, has done a couple of tours, a live album, and an album of original music in the 70s Yes style with a youtuber band called The Band Geeks. I think Jon and the Band Geeks are much truer to the spirit of Yes than Steve Howe’s band. So which is the tribute, really?

There are ways to put a twist into the notion of a “tribute band” without crossing the line. For example there’s Lez Zeppelin, the all-female Led Zeppelin tribute band, who play faithful renditions of the Zeppelin catalogue, without switching the gender of the original lyrics or toning down the cock-rock attitude.

I have friends who do a B-52’s tribute under the name Bikini Whale. They’re a straight-up note-for-note copy of the original, entirely competent and, to be fair, as high energy as the records. I roll my eyes at them, though. I’ve also talked to guitarist Kevin Coombs about some of the more technical aspects of what he does, and it’s clear he’s done quite a bit of research into the peculiar alternate tunings and gear the original guitarists – Ricky and then Keith – used to get the distinctive, and not-as-simple-as-you-might-think sound of the B-52’s. I admire the effort involved, but it makes me wish they would devote that energy to putting something new into the world.

Surprisingly, there are still a lot of rock music fans. However, what used to thrive on adventure and innovation seems to be made for comfort or identity confirmation now. The biggest touring bands have been around for forty, fifty, or sixty years. The guitars still scream, the singers still smile or snarl, with dentures to fill in for all the missing teeth.

Soon, there won’t even be that. All that will be left is the texts, the worshippers, and the tribute bands.