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		<title>College of Coastal Georgia</title>
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<p><a href="http://michaelrayfitzgerald.com/wp-content/uploads/2012/01/Helpful-hints-for-putting-together-speech-proposals-quickly-and-efficiently.doc">Helpful hints for putting together speech proposals quickly and efficiently</a></p>
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		<title>The Permanent War: Militarism and the American Way of Life</title>
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		<description><![CDATA[Originally published in The Utne Reader &#8211; March/April 2005 It&#8217;s no secret that the &#8220;military-industrial complex&#8221; represents one of the most powerful forces in American economic and political life. What is less talked about is just how dependent on the &#8230; <a href="http://michaelrayfitzgerald.com/?p=237">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<p>Originally published in The Utne Reader &#8211; March/April 2005</p>
<div><em>I</em><em>t&#8217;s no secret that the &#8220;military-industrial complex&#8221; represents one of the most powerful forces in American economic and political life. What is less talked about is just how dependent on the war machine we have become. Approximately six percent of the U.S. workforce is employed or supported directly by companies or government agencies in the business of preparing for war—as soldiers, civilian professionals, factory workers, and military retirees. That is to say nothing of the countless others supported indirectly by this juggernaut in restaurants, retail stores, schools, and other services in communities across the country. In this essay Michael Fitzgerald examines how we got here.—The Editors</em>&nbsp;</p>
<p>IT’S TEMPTING TO BELIEVE that a change in which political party is in power could bring about a major change in U.S. foreign policy. But it isn&#8217;t really so. The problem isn&#8217;t in the White House or Congress; it&#8217;s structural, built into our economy. The fact is, there are just too many peo ple in the United States who are dependent on war for their livelihoods. I was once one of them: My father helped kill children in Vietnam in order to feed his own kids.</p>
<p>Being from working-class Boston, my father was a registered Democrat. And Democrats can be just as hawkish as—often more so than—Republicans. My father wanted to nuke Vietnam.</p>
<p>To be considered &#8220;electable,&#8221; Democrats have to appease the large number of voters who depend on war for a living. Some of the most pro-war presidents have been Democrats. Woodrow Wilson presided over wholesale imprisonment of citizens who opposed U.S. entry into a war that he had solemnly promised to keep Americans out of. Harry S. Truman made the decision—many say the unnecessary decision—to drop the atomic bomb on Japan. John F. Kennedy essentially won the 1960 election because he &#8220;out -hawked&#8221; Richard Nixon. And Lyndon B. Johnson—who beat Barry Goldwater by labeling him a &#8220;warmonger&#8221;— turned out be hawkish himself.</p>
<p>Or take Dwight D. Eisenhower: He was a career military man, not to mention the supreme Allied commander of the European theater during World War II. You would expect him to be in favor of handouts to the military. Yet he made several valiant attempts to rein in bloated military budgets. For an army commander and a Republican, he said some pretty remarkable things. He opposed Truman&#8217;s dropping &#8220;the big one&#8221; on Japan. In his 1961 farewell speech he warned of what he termed the military- industrial complex, adding, &#8220;The potential for the disastrous rise of misplaced power [by this unseen force] exists and will persist.&#8221; Who would know better than the outgoing president and a five-star general about the dangers of an &#8220;iron triangle&#8221; of defense contractors, politicians, and the military?</p>
<p>I WAS A CHILD LIVING IN BOSTON the day Ike turned the presidency over to Kennedy. There was a triumphant celebration in the city because Kennedy was a native son. My parents, who shared his middle name, were particularly thrilled.</p>
<p>My mother and father were both born in Boston during the Great Depression. Official unemployment hit</p>
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<p>25 percent in 1933, the year my mother was born. My father came from an Irish American family of six children, all boys. There is no way to adequately express the punishment poverty laid upon his family. During the worst years of the Depression, the younger boys, including my father, were placed in an orphanage because my grandparents simply couldn&#8217;t support them. After a time things improved for my grandfather and the younger boys were retrieved; the older ones had already joined the military to escape the grinding poverty.</p>
<p>The sting of the Depression would affect my parents all their lives. My father parroted the conventional wisdom that World War II was &#8220;the only thing that could have gotten the country out of the Depression.&#8221; The war turned out to be the ultimate jobs program. The results were swell: Not only did it get the U.S. economy revved up, it got all the uneducated, unemployed young men off the streets, put them to work (as cannon fodder), and tamed labor unrest all at the same time.</p>
<p>With the war&#8217;s denouement at hand, U.S. industrialists feared the return of the Depression. In 1944</p>
<p>Charles E. Wilson, president of General Electric and director of the War Production Board, told the Army Ordnance Association the answer to economic instability was &#8220;a permanent war economy.&#8221; If anyone ever needed proof that imperialism and war are the end results of capitalism run amok, Wilson&#8217;s speech would be exhibit A.</p>
<p>Soon Wilson and his cronies got their wish. In 1946 George F. Kennan, American charge d&#8217;affaires to Moscow, cabled a telegram to President Truman painting the Soviet Union as evil incarnate. The telegram was published a year later in <em>Foreign Affairs </em>and the article helped stir elite opinion against our former allies, the Soviets. Less than a year later Congress passed the National Security Act, the bill that turned Franklin D. Roosevelt&#8217;s welfare state into Truman&#8217;s warfare state.</p>
<p>That same year my father joined the Navy at age 17 and was assigned to a squadron that included his eldest brother. My father, too, became a career military man, retiring as a chief petty officer after 29 years. Then he worked another 10 years for the Navy as a civilian.</p>
<p>I AM A BENEFICIARY OF Charles Wilson&#8217;s vision of a permanent war economy. My first eight years were spent in &#8220;the projects&#8221; while my father was away on sea duty most of the time. The neighborhood was dangerous, and my mother was anxious to get herself and her four kids out. We finally got transferred to sunny California, where, courtesy of the U.S. Navy, the government put a roof over our heads, food on our table, and a car in our garage.</p>
<p>There are millions of Americans whose livelihoods depend on the permanent war economy. You rarely hear it mentioned, but there is a substant ial militarist class in the United States—people who make their living preparing for war. This group consists of not only military personnel but also people who work for companies like General Electric (the nation&#8217;s 11th-largest defense contractor in 2002 and owner of NBC and media conglomerate Vivendi-Universal), Lockheed Martin, Boeing, Honeywell, Raytheon, Exxon, Bechtel, and even the Massachusetts Institute of Technology. In his 1961 farewell speech, Eisenhower estimated that there were about 3.5 million people employed by the defense establishment, not including military personnel. By 1988, aided by Ronald Reagan&#8217;s evil-empire rhetoric, their numbers had doubled. These folks quickly became alarmed and angry when the Justice Department began conducting a large- scale investigation into widespread corruption in the Pentagon and the defense industry.</p>
<p>My family bid farewell to rusty old Roxbury the same year Eisenhower gave his farewell speech. I joined the burgeoning California teen culture and became a Beach Boys fan. My new friends and I hadn&#8217;t a clue that the carefree lives and good times the brothers Wilson celebrated in song were courtesy of the permanent war economy. In fact, Los Angeles and the suburban lifestyle the Beach Boys sang about were built on the aerospace industry. The nucleus of the Beach Boys consisted of three teenage brothers— Brian, Dennis, and Carl Wilson. Their father, Murry Wilson, made airplane parts for Boeing bombers. During the war years, aircraft manufacturing had become the largest defense industry in the United States, and it still is. As of 2002 the top three defense contractors were Lockheed Martin, Boeing, and Northrop Grumman.</p>
<p>My own father&#8217;s connection with death and destruction was a little more overt: He loaded rockets, bombs, and missiles onto jet fighters aboard the frantic carrier deck of the USS <em>Oriskany</em>, just off the coast of Vietnam. My dad—a dyed-in-the-wool Democrat—was completely gung ho. He couldn&#8217;t understand why President Johnson didn&#8217;t just &#8220;drop the big one&#8221; and get it over with.</p>
<p>Members of the militarist class have to be gung ho—otherwise they might wind up facing the fact that to feed their own kids they must kill someone else&#8217;s. It helps if the enemy looks different or can be seen as subhuman. &#8220;We had to dehumanize our victims before we did the things we did,&#8221; said Stan Goff, former master sergeant in the U.S. Special Forces in Vietnam. &#8220;We knew deep down that what we were doing was wrong. So they became dinks or gooks, just like Iraqis are now being transformed into &#8216;ragheads.&#8217; &#8221;</p>
<p>In 1965, when Johnson was commencing escalation, I was in seventh grade. &#8220;Why are we in Vietnam?&#8221; I heard one kid ask. &#8220;Because they asked us to help them,&#8221; another glibly replied. It sounded reasonable at the time. The Vietnam War put clothes on my back and food on the table. By 1970, nearing the apex of President Nixon&#8217;s bombing campaign, which he disingenuously called &#8220;Vietnamization,&#8221; my father was making a killing—literally and figuratively—drawing hazardous-duty pay. And it was hazardous; a fighter plane once ran over his heel. When he came home I was wearing long hair and bell-bottom jeans. My father saw this as a betrayal, and maybe it was. I didn&#8217;t realize then that having long ha ir was an antiwar statement.</p>
<p>Thirty-five years later I live in Jacksonville, Florida, a town built largely with defense dollars. Our most prominent congressional representatives are praised for their dedication to keeping bases open and military budgets as high as possible. BRAC (base realignment and closure) is a four-letter word here.</p>
<p>After the Soviet Union disintegrated in 1991, things really started looking bleak for the local economy. Nationwide, nearly 7 million people—approximately 6 percent of the U.S. labor force, whose jobs depended on defense spending—were suddenly faced with an uncertain future. The bogeyman was gone. &#8220;I&#8217;m running out of villains,&#8221; quipped Colin Powell, then chair of the Joint Chiefs of Staff. &#8220;I&#8217;m down to Castro and Kim Il Sung.&#8221; Luckily, another credible threat would present itself in time to put the next generation of suburban kids through college.</p>
<p>THE MILITARY-INDUSTRIAL ESTABLISHMENT hijacked the theories of British economist John Maynard Keynes and misapplied them. In the 1930s, while Marxists pointed to the Great Depression as a sign that capitalism was going down the tubes, Keynes argued that recessions are part of a natural &#8220;business cycle&#8221; and can be managed. In his 1936 <em>General Theory of Employment, Interest and Money </em>he addressed the problem of the Depression. Keynes pointed out that the government, rather than balance the budget every year, could ameliorate capitalism&#8217;s typical boom-bust cycles by keeping jobs available through deficit spending. Keynes&#8217; theories became the foundation for President Roosevelt&#8217;s New Deal and the basis of economic policymaking worldwide for decades.</p>
<p>Keynes&#8217; theories were even adopted by militarists—but with a twist: Whereas Roosevelt&#8217;s work programs were designed to benefit the general population directly, military Keynesianism turned defense contractors into middlemen, administering government funds privately. It became a bonanza for defense industries, a veritable orgy at the trough. True, it does create jobs—just the wrong kind of jobs.</p>
<p>War or the threat of war is the ultimate economic stimulus. It&#8217;s capitalism on steroids. Prolonged use creates unprecedented growth, but the upside isn&#8217;t worth the risks. The steroids metaphor is especially apt—side effects include euphoria, confusion, pathological anxiety, paranoia, hallucinations, and even violent criminal behavior—and users can easily become addicted. Let&#8217;s face it: We&#8217;re addicted to the money.</p>
<p>Somehow this doesn&#8217;t seem like what Keynes had in mind. He never suggested that government go $7 trillion in debt, mostly for the benefit of war profiteers. If the economy needs to be goosed every once in a while, shouldn&#8217;t the government support peacetime industries along the lines of education, health care, day care, and mass transit?</p>
<p>Truman was no match for the militarists in the administration he inherited from Roosevelt. Ultimately, says political science professor Michael Hogan, Truman &#8220;failed to assert his authority&#8221; over them. By going around the president and directly lobbying Congress, Secretary of the Navy James V. Forrestal (a former Wall Street investment banker) and his iron-triangle cronies successfully sandbagged Truman&#8217;s attempts to rein them in. The party line was that the war wasn&#8217;t really over yet and the evil Russians were turning on us—despite the fact that reliable intelligence estimates indicated no hostile actions from the Russians.</p>
<p>Despite the Cold War rhetoric, the economic-stimulus factor, recognized by General Electric&#8217;s Wilson and his cohorts, was never far from the surface. It was spelled out in a 1950 National Security Council document, NSC 68, drafted by Paul Nitze, head of policy planning for the State Department. Like Forrestal, Nitze too was a former investment banker. Deep in the document is a line stating that, without the expansion of military spending, the United States would face &#8220;a decline in economic activity of serious proportions.&#8221;</p>
<p>As they say in military parlance: There it is. Without more war another depression would be upon us. Or put another way, we must continue to inflict massive death and destruction somewhere in the world in order to avoid disruptions in retail spending at home—the whole U.S. economy depends on it. NSC 68 threatened to turn the United States into a &#8220;garrison state,&#8221; Hogan adds, &#8220;a society dominated by military institutions, a military economy, and a military mentality.&#8221;</p>
<p>In 1963 Lyndon Johnson faced a situation similar to Truman&#8217;s, but he apparently didn&#8217;t bother to res ist. At a December meeting with the Joint Chiefs he reportedly pleaded, &#8220;Just get me elected and then you can have your war.&#8221; But he told confidants that Vietnam wasn&#8217;t worth fighting for and was &#8220;just the biggest damn mess I ever saw.&#8221; Both Truman and Johnson, facing elections, knew the vast political clout Pentagon lobbyists wielded on Capitol Hill. Johnson said privately that he feared impeachment if he pulled out of Vietnam.</p>
<p>Much has been made of the notion—particularly in Oliver Stone&#8217;s controversial 1991 film <em>JFK— </em>that the military-industrial cabal killed President Kennedy because he was planning to pull the plug on its gravy train. But it didn&#8217;t need to kill Truman or Johnson to get what it wanted: continuous war.</p>
<p>In his farewell address, Eisenhower echoed the sentiments of another outgoing president and former army general 165 years earlier. George Washington, in his farewell address, said Americans should &#8220;avoid the necessity of those overgrown military establishments, which, under any form of government, are inauspicious to liberty, and which are to be regarded as particularly hostile to Republican Liberty.&#8221;</p>
<p>It&#8217;s no wonder Washington and his compatriots felt that a standing army during peacetime posed a threat to democracy. The idea of having lots of professional military personnel looking for ways to justify their existence is truly scary. &#8220;A standing army in time of peace is an evil,&#8221; wrote Robert Yates, a New York judge and delegate to the federal convention, in the New York Journal in 1787. &#8220;The nations around us, sir, are already enslaved. . . . By means of their large standing armies they have lost every one of their liberties.&#8221; History proves Yates correct in saying that creating a class of people dependent on the defense payroll erodes liberties at home. Jingoism, groupthink, and even vigilantism become infectious. Mussolini and Hitler both capitalized on this reaction.</p>
<p>William D. Hartung, director of the Arms Trade Research Center, part of the World Policy Institute, advises in his article &#8220;The Hidden Costs of War&#8221; that, at the very least, jingoism undermines U.S. diplomacy:</p>
<p>One of the greatest potential costs of relying on war and preparations for war as a centerpiece of U.S. foreign policy is the danger of distorting the U.S. role in the world from that of a vibrant democracy that is ready to defend itself and its allies when necessary, to that of a garrison state that uses force to get its way on a wide range of issues that have little to do with self-defense.</p>
<p>Or, as Dan Briody put it in his 2003 book <em>The Iron Triangle</em>, the result is an American juggernaut &#8220;trolling the planet in search of enemies.&#8221;</p>
<p>BENITO MUSSOLINI SAID FASCISM wasn&#8217;t the correct term for his blend of corporate ownership and government muscle: &#8220;It should more properly be called &#8216;corporatism,&#8217; since it is the merger of state and corporate power.&#8221; The blueprint for the military-industrial complex didn&#8217;t originate in fascist Italy, however. It began in England prior to World War I with the government seizing control of the country&#8217;s oil industry.</p>
<p>Corporate socialism in the United States began with the development of radio. The Wilson administration effectively nationalized the electronics industry by sponsoring a cartel, Radio Corporation of America (RCA), privately owned by four well-connected corporations: AT&amp;T, Westinghouse, United Fruit, and General Electric. The government was more than happy to dole out research dollars, since radio was considered too vital to national security to allow German companies to surpass us in its development. This same government-corporate alliance was extended to the oil companies—also for national security reasons—since oil had long been considered a primary defense resource (you can&#8217;t sail destroyers or fly planes without fuel). After World War II the national security rationale was extended to hundreds of companies—the military-industrial complex identified by Eisenhower. The bottom line is this: The public funds these projects while corporations keep all the profits.</p>
<p>Some call this the New Economy. We&#8217;ve had socialized radio, socialized automobiles, socialized computers, socialized hamburgers, even socialized football—but not socialized medicine. It&#8217;s the biggest swindle of all time. Companies don&#8217;t even bother with the national security angle anymore. They cite &#8220;job creation.&#8221;</p>
<p>But fear is still the great lubricant of the wallet: Bogeymen appear on the horizon, and taxpayers thr ow magic money to hold them at bay. The intermediary is a defense contractor with a wheelbarrow and a shovel. Most of the time threats do the trick, but every once in a while a real war is necessary to justify the fat handouts. The Bush administration had to come up with the weapons-of-mass-destruction argument because it needed a credible threat in order to attack Iraq. Liberating that country and bringing democracy to the Middle East were mere afterthoughts.</p>
<p>The militarists will make the &#8220;war on terror&#8221; last as long as they can. Korea, Vietnam, and the Cold War effectively extended World War II by another forty-odd years and put trillions of dollars into defense industry coffers—not to mention putting hundreds of thousands of military brats like me through college. The current crop of defense contractors is gambling that the war on terror will last at least as long.</p>
<p>Today, there are approximately 7.5 million people dependent on the U.S. war machine for their livelihoods—certainly enough to swing an election. Then there are probably at least as many people in the retail, real estate, automobile, and service industries in military and other regions whose paychecks indirectly depend on defense spending. War is good for their wallets.</p>
<p>In the 2004 presidential election, voters basically had a choice of two pro-war candidates. Democrats declared John Kerry electable—which is a trope, a figure of speech, a code word that in fact means he&#8217;s &#8220;strong on defense&#8221;—in other words, he isn&#8217;t the sort of person to cut the military budget and, if anything, is the sort who&#8217;d probably expand it. That&#8217;s what it takes to get the votes of those millions of people who depend on war for a living.</p>
<p>And even among those not directly involved in the war industry, there are still plenty who feel that war is good for the economy. They forget that the economy was in pretty good shape during the 1990s after the Soviet Union disintegrated and cutbacks in military spending were being implemented. When the Cold War ended, Americans began thinking of a &#8220;peace dividend&#8221; that would free up government funding for domestic spending.</p>
<p>The militarists, of course, didn&#8217;t regard a peace dividend as encouraging. That&#8217;s why they came up with the Project for the New American Century (PNAC) and the war in Iraq, and why the right -wing media machine geared up to get rid of Bill Clinton. Despite authorizing bombing campaigns in Iraq, Sudan, and Kosovo, Clinton wasn&#8217;t pumping out enough military money to suit them. What&#8217;s more, Clinton didn&#8217;t buy the PNAC&#8217;s war in Iraq when it was proposed to him in 1997.</p>
<p>Hard-core militarists like a bad economy. Poverty and insecurity lead to more recruits, which enlarges militarists&#8217; numbers and electoral clout. There really is a &#8220;poverty draft.&#8221; My father and all five of his brothers joined up to escape the slums of Roxbury. The military was the only job security they&#8217;d ever known. &#8220;It was a guaranteed paycheck twice a month,&#8221; Specialist Edward Platt of Harrisburg, Pennsylvania, told the <em>The New York Times </em>in November 2003. &#8220;There&#8217;s not that kind of guarantee anywhere these days.&#8221; Platt, who enlisted right out of high school, left one of his legs in Iraq.</p>
<p>THERE ARE BASICALLY TWO SCHOOLS of Western imperialism: one that seeks to dominate the world through global commerce and economic power (the internationalists) and another, cruder clique (the expansionists) that expects to go wherever it pleases with both barrels loaded and seize whatever it likes— for example, Iraq&#8217;s oil reserves and its treasury.</p>
<p>British economist John Hobson noted the difference between the two schools in 1902. Hobson explained that direct military imperialism is largely a losing proposition that costs more than it gains. However, he noted, it does benefit a few &#8220;powerful and well placed groups [such as] ship builders, international bankers, investors, and arms merchants&#8221;—those elites whom Eisenhower, 20 years after Hobson&#8217;s death, described as making up the military-industrial complex.</p>
<p>The PNAC&#8217;s advocacy of military muscle went out of fashion during the Clinton administration, which preferred to sell its occasional military adventures couched in &#8220;humanitarian&#8221; rhetoric. Globalism was the ticket during the Clinton years. It took several years and a shady election, but the militarists finally got their open-ended war.</p>
<p>It doesn&#8217;t matter who was inaugurated president in January: The war will remain. These things are <em>supposed </em>to be quagmires. The longer they last, the more steroids for the economy. The Vietnam conflict lasted through five administrations. Ultimately, an estimated 3 million to 4 million Southeast Asians were killed, along with 58,000 Americans. But a lot of money was made, and we staved off who knows how many recessions.</p>
<p>The fact is that both the Republican and the Democratic parties are subject to the same economic and electoral pressures. Presidents don&#8217;t get reelected during recessions (&#8220;It&#8217;s the economy, stupid&#8221;), so they have to prod the beast somehow. Most Americans care more about keeping their jobs than about foreigners losing their lives. But war doesn&#8217;t solve the economic problem; it merely defers it. It&#8217;s like paying bills with a credit card; we&#8217;re just making a bad situation worse. Most presidents don&#8217;t mind creating a mess for the next guy to clean up. But the Truman, Johnson, Reagan, and Bush II administrations appear to have been vying for some kind of record.</p>
<p>THERE&#8217;S NO WAY THE UNITED STATES can continue to spend this kind of money on defense and keep its domestic commitments. In the long view it would have been smarter to rebuild the domestic economy—as was attempted in the 1990s—and tough it out through the inevitable recessions. But greed never takes a long-term view.</p>
<p>Eisenhower was certainly no saint. He authorized covert attacks in Southeast Asia, Iran, the Dominican Republic, Guatemala, and Cuba and sent U.S. troops into Lebanon in 1958. But these adventures seem tame compared to what has come since.</p>
<p>Unlike today&#8217;s neoconservatives—who actually have more in common with militarist Democrats such as Wilson and Truman—Eisenhower was a true conservative who believed in less government, a smaller military apparatus, and a balanced budget. He took the long view that runaway military spending would ultimately weaken the economy and that a strong domestic economy was the best engine with which to lead, or dominate, the world. In that sense, Eisenhower was more a globalist than a militarist.</p>
<p>Having a career military man like Eisenhower as president should have been a scary proposition, but it just goes to show that you never can tell; sometimes the lesser of two evils turns out to be the greater evil.</p>
<p>And once in a while the military person turns out to be the most forthright. Eisenhower may have been the only president to blow the whistle on the great American swindle. Perhaps he said it best in an April 1953 speech: &#8220;Every gun that is made, every warship that is launched, every rocket fired, signifies, in the final sense, a theft from those who hunger and are not fed, those who are cold and are not clothed.&#8221;</p>
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<p><strong>War and Work”: Military, military-related, and defense-related personnel</strong></p>
<table border="0" cellspacing="0" cellpadding="0">
<tbody>
<tr>
<td valign="top" width="230">Military industry</td>
<td valign="top" width="146">2,240,000</td>
</tr>
<tr>
<td valign="top" width="230">Active military</td>
<td valign="top" width="146">1,434,377</td>
</tr>
<tr>
<td valign="top" width="230">Civilian Department ofDefense employees</td>
<td valign="top" width="146">664,666</td>
</tr>
<tr>
<td valign="top" width="230">Military retirees</td>
<td valign="top" width="146">1,995,382</td>
</tr>
<tr>
<td valign="top" width="230">Military reserves</td>
<td valign="top" width="146">1,188,860</td>
</tr>
<tr>
<td valign="top" width="230">Other</td>
<td valign="top" width="146">52,018</td>
</tr>
<tr>
<td valign="top" width="230"><strong>T</strong><strong>otal</strong></td>
<td valign="top" width="146"><strong>7,575,303</strong></td>
</tr>
</tbody>
</table>
<p>&nbsp;</p>
<p><em>Sources: </em>Center for Defense Information Military Almanac, 2001-2002 <em>and the Department of Defense Directorate for Information Operations and Reports. Updated to reflect the most current available numbers</em>.</p>
<p><em>R</em><em>e</em><em>printed from </em>The Humanist <em>(Nov./Dec. 2004), a magazine of &#8220;critical inquiry and social concern.&#8221; Subscriptions: $24.95/yr. (6 issues) from 1777 T St. NW, Washington, DC 20009; </em><a href="http://www.americanhumanist.org/"><em>ww</em><em>w</em><em>.</em><em>americanhumanist.org</em><em>.</em></a></p>
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		<title>Slumdog Millionaire vs. The Wrestler</title>
		<link>http://michaelrayfitzgerald.com/?p=234</link>
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		<pubDate>Fri, 06 Jan 2012 13:49:10 +0000</pubDate>
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		<description><![CDATA[Slumdog Millionaire’s not-so-surprising sweep at the 2009 Academy Awards showed that the U.S. film-going public is, as usual, far more interested in fantasy than in any message that could actually be of some benefit. Perhaps this is especially true during &#8230; <a href="http://michaelrayfitzgerald.com/?p=234">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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<p><em>S</em><em>l</em><em>u</em><em>m</em><em>do</em><em>g Millionaire</em>’s not-so-surprising sweep at the 2009 Academy Awards showed that the U.S. film-going public is, as usual, far more interested in fantasy than in any message that could actually be of some benefit.</p>
<p>Perhaps this is especially true during economic downturns. The 1930s was a period of almost pure escapism at the movies. In times like these, few people want to be reminded of reality.</p>
<p>Enter <em>Slumdog Millionaire, </em>a rags-to-riches, Horatio Alger-style story. Its message is that</p>
<p>if you believe hard enough in your dream and hang in there long enough, it will come true. This will become an even more popular escapist message as the economy goes further down the toilet—like winning God’s (or Allah’s) lottery. In the sequel, Jamal and Latika create their own TV talk show and become the Jim and Tammy of Islam, selling their ideas to millions—no, billions—of less-fortunate Muslims. Americans lap it up too.</p>
<p>On the other hand, <em>The Wrestler</em>, which made barely a ripple at the awards—yet is a far better choice for best movie of 2008—tells us the opposite: don’t live in Hollywood’s symbolic order created. Even if <em>Slumdog </em>wasn’t a Hollywood movie, it’s still a Hollywood story. Like <em>Rocky</em>, like Bolie Jackson in <em>The Twilight Zone </em>(“The Big Tall Wish,” April 8, 1960), and a hundred others: Hope for the best, keep the faith, show your true colors, everything will work out somehow. The darkest hour is just before dawn. Everything happens for a reason. Yada-yada- yada.</p>
<p>Unfortunately, life rarely works this way, and the people who fall for this myth often end up like <em>The Wrestler</em>’s Randy “the Ram” Ranzinski—stranded with no Plan B.</p>
<p>Mickey Rourke, like Ranzinski, was not so long ago a Hollywood has-been himself and therefore a prescient choice for this role. Rourke’s comeback adds to the mystique and makes it even more tempting for us to swallow the myth of the Big Break. It’s easy for us to identify with his character, and the documentary-like camera work invites us to do so. We see life from the Ram’s point of view. We even see his <em>exact </em>point of view.</p>
<p><em>T</em><em>h</em><em>e Wrestler </em>is not your usual gotta-believe hero’s tale. It says a lot about the state of</p>
<p>U.S. society. For example what happens to uneducated people in marginal, no-benefits occupations, like wrestlers, strippers, actors, and musicians, even construction workers, who find themselves physically unable to continue? How are they going to change careers with no job training? Where can they find decent jobs in a decaying industrial region? How might they retire with no savings and only the most meager contributions to their Social Security funds? Where</p>
<p>are they going to get health insurance?</p>
<p>With the economy experiencing a massive downturn, these are critical questions for millions of people, not just wrestlers and strippers. But this movie does not offer the escapist fantasy that the populace craves in times like these.</p>
<p>The fact that the Ram’s problems are structural social issues exacerbated by a heartless</p>
<p>economy does not let him off the hook here: What happens to the Ram is mostly his own fault for refusing to face—much less deal with—problems he could have foreseen had he been paying attention. His biggest flaw is that he can’t seem to think beyond the next few days, if even that. He is too busy dreaming, waiting for his next Big Break, living in The Imaginary and ignoring The Real.</p>
<p>He has seen <em>Rocky </em>too many times. He has fallen, hook, line and sinker for the Hollywood dream that success is right around the corner. Having had 15 minutes of fame, his whole life is dedicated to getting another taste. This dream of fame is the painkiller that keeps him going; it keeps him focused on one, singular goal, to the detriment of all other aspects of his life, including his family—or what’s left of it.</p>
</div>
<p>Both <em>Slumdog </em>and <em>The Wrestler </em>invite us to look at life near the bottom of the social</p>
<p>ladder (of course, the bottom in Mumbai is much worse than in New Jersey). While <em>Slumdog </em>disingenuously tells us that there is nothing for us to do but keep the faith at all costs, <em>The Wrestler </em>tells us that faith and fifty cents will get you a cup of coffee. Which message is more useful?</p>
<p>In an economy in which the U.S. is losing more than 500,000 jobs per month, millions of which are being shipped overseas, is it any wonder that the media offer us get-rich-quick</p>
<p>fantasies such as <em>Who Wants to Be a Millionaire, American Idol</em>, and Horatio-Alger-style success stories? Most working Americans have as much chance of “making it” as they do of winning the lottery, and I would be willing to bet that Lotto sales are at an all-time high these days. Many Americans are living in the symbolic and ignoring the reality right in front of their eyes.</p>
<p>My mother always told me that it’s okay to dream big dreams—but have a backup plan. What is not okay is wasting all your waking hours substituting dreams, movies and TV programs for action.</p>
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		<title>Jacksonville Blues</title>
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		<pubDate>Fri, 06 Jan 2012 13:44:56 +0000</pubDate>
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		<description><![CDATA[Originally published in Cowford, June, 2004 Reprinted in Canopic Jar, June 2004. http://www. canopicjar.com /Canopic12/fitzgeraldessay.htm &#160; I HEARD MY FIRST JACKSONVILLE BAND on the radio in 1967. The song was “Spooky,” a No. 2 nationwide hit by the Classics IV. I &#8230; <a href="http://michaelrayfitzgerald.com/?p=231">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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<p>Originally published in Cowford, June, 2004</p>
<p>Reprinted in <em>Canopic Jar</em>, June 2004. <a href="http://www/">http://www.</a><span style="text-decoration: underline;"> canopicjar.com /Canopic12/fitzgeraldessay.htm</span></p>
<p>&nbsp;</p>
<p>I HEARD MY FIRST JACKSONVILLE BAND on the radio in 1967. The song was “Spooky,” a No. 2 nationwide hit by the Classics IV. I was 14 years old, living on the world&#8217;s largest Naval Air Station in Lemoore, California. My father my father loaded bombs onto jet fighter planes aboard the USS Oriskany, bombs that would rain over Vietnam.Like many teens of my era, I had caught the music bug, But there wasn&#8217;t much live music action in Lemoore, just a ratty five-piece called The Leftovers I followed around religiously, but the band fell apart after the lead singer got killed in a car crash.</p>
<p>When my father got orders to NAS Jacksonville, a high school friend who had moved to Lemoore from Jacksonville told me I would love it — it was “really happening.” Man, was he right.</p>
<p>On April Fool&#8217;s Day, 1968, six of us — my mom and dad, two brothers and a sister, plus the family Dachshund — crammed ourselves into a Ford Falcon station wagon for four miserable days. Texas was interminable. Fortunately, the dog was on tranquilizers — and my mother should have been. When we finally arrived, we could smell the ocean — or was it the Glidden paint plant? My father missed the turnoff to U.S 17, and went over the Fuller Warren bridge twice before finally asking a toll-taker for directions to the base.</p>
<p>IT WAS A HEADY TIME for a Northern Navy brat to be arriving in cracker country. Jacksonville was then — and pretty much still is — the capital of South Georgia. This was the Deep South. Talk about culture shock. The bus station still had the corrugated fiberglass partitions that had not long before had separated whites from blacks.</p>
<p>We arrived on April 4, the day Martin Luther King got shot. I was sitting in the bathtub in the base hotel when the news from Memphis came over the radio. Uh-oh, I thought.</p>
<p>My folks had gone to nearby Orange Park to look for a house. They wound up buying a cheap, cinderblock house exactly like thousands of other cheap cinderblock houses in Jacksonville. The total price was $12,900. Thanks to the V.A. Bill, they only had to put $10 down.</p>
<p>Duly ensconced at Orange Park High School, I was surprised to discover there were young bands all over the place. There were half a dozen rock groups at Orange Park Senior High alone: The Daybreakers, The Nu-Sounds, The Six Teens, The Sound Vibrations and others. The Daybreakers even had a local hit single. Coincidentally, my new friends in The Daybreakers recorded at the same Edgewood Avenue studio The Classics had started their careers in.</p>
<p>Something was indeed happening, but none of it made any sense to me. Middle-class, white kids in penny-loafers, with no socks, in love with soul music. At the same time, blacks rioting downtown. I overheard a group of rednecks entertaining the idea of forming a vigilante gang to head downtown and “teach &#8216;em rioters a lesson.”</p>
<p>But if you were a music lover, Jacksonville in the late 1960s was a great place to be. The music scene was hitting critical mass and was set to explode.</p>
<p>BEING A ROCK MUSICIAN  in Jacksonville had its dangers. Having long hair in those days was an open invitation to having your ass kicked. Packs of rednecks — apparently with nothing better to do — cruised around town in “muscle cars,” looking for longhairs to terrorize. If you were hitchhiking and spotted a car with its rear end jacked up, the best thing to do was make yourself scarce — quick.</p>
<p>There was only one area where you could be left alone: Riverside, Jacksonville&#8217;s answer to Greenwich Village, where rents were low and people were open-minded. Thank God I discovered Riverside. I loathed Orange Park then — even more now.</p>
<p>My dad had taken me to Paulus Music downtown and co-signed for my first professional guitar, a Gibson SG Standard, which we bought for the princely sum of $348.40 — I„d wanted a Les Paul, like my buddy, Page, in the Daybreakers had, but it was out of my price range. I was to make the $22 monthly payments with wages I earned at the Navy base, busing tables at the enlisted men&#8217;s cafeteria for $1.65 an hour. I hated that job because the goddamn jarheads constantly hassled me about my hair, which was an inch — maybe — over the tops of my ears.</p>
<p>Despite setting me up with my new guitar, things got progressively worse between me and my military dad. Music was OK as a hobby — kept me off the streets, my mom reasoned — but he thought I was an ignoramus to even dare think anyone could make a living at it. He may even have a bit jealous: He&#8217;d had to work his ass off all his life, he complained — what made me think I was any better?</p>
<p>So he certainly didn&#8217;t object when I moved in with my grandmother, who had moved down from Boston to get away from the gray slush and the cold. She bought a trailer and rented a lot in a nice, little trailer park close to school. She wound up making most of the payments on my guitar — God bless her — when I quit my job to take another stab at school, this time at Central Adult High School, downtown, where all the pregnant girls, juvenile delinquents and other misfits went to finish school.</p>
<p>Central Adult was a long drive from Orange Park. But I met a lot of cool, hippie types there, like Riverside denizen “Coconut Harley.” Harley was one of the first hippies in Jacksonville — you could tell, because he had the longest hair. Harley was mostly known for his pet coconut. He talked to it and carried it with him everywhere he went.</p>
<p>IN THE TRAILER PARK where my grandmother and I lived, there was another local legend: Paul Glass. His black, stringy hair was already fairly long. He had quit school a year before to become a rock musician with a band called Marshmellow [sic] Steamshovel. But he spent most of his days at home, shades drawn, practicing his Epiphone ES-335 replica.</p>
<p>Skipping school, I brought my new SG by one day, hoping for some pointers. Never one for niceties, Glass sneered, “You don&#8217;t deserve this guitar,” as he lovingly fondled it. He wanted to borrow it, but of course, I wouldn?t let it out of my sight. So we struck a bargain: He&#8217;d bring me along on his gigs; I would let him use the guitar and, in return, I would get to meet his band mates and other musicians (like Jeff Carlisi, later of .38 Special, and Leon Wilkeson of Lynyrd Skynyrd). I might even get to “sit in” once in a while.</p>
<p>Glass became my teacher and mentor. As part of my instruction in guitar lore, he took me to see a Riverside band called The Second Coming, which featured a virtuoso picker from Bradenton by the name of Dickey Betts. If Clapton was God, as the saying went, then Betts was Jesus — he could play Clapton&#8217;s solo on “Crossroads” note-for-note.</p>
<p>For us, Betts&#8217; guitar playing was a drug. We would go almost anywhere to get it. We hitchhiked all over Northeast Florida — as far as Ravine Gardens in Palatka — to hear Betts at every possible opportunity. One night, the two of us set out on a hitchhiking excursion into one of Jacksonville&#8217;s toughest blue-collar neighborhoods. This was a risky proposition for semi-longhairs, but we braved our way to the Woodstock Teen Center on Beaver Street to get our regular dose of Betts&#8217; magic.</p>
<p>It was not the band&#8217;s best performance. The group had a mystery guest that evening: Betts stood by as most of the solos were taken by a strange,  diffident young man who looked like the Cowardly Lion and spent most of the show staring down at his unfashionable Fender, his stringy hair draped over his face.</p>
</div>
<p>We were outraged. We couldn&#8217;t understand why Betts was letting this guy hog the solos. “We came to hear Dickey!” we shouted. “Dickey can play circles around this dude!” It would be months before we found out that this dude was Duane Allman, and that he was already famous.</p>
<p>Adding his younger brother, Gregg, to the lineup, Allman incorporated the foundations, the format and the fan base of The Second Coming. The new lineup played a previously scheduled show at the Jacksonville Beach Coliseum as The Second Coming. Second Coming fans had no inkling that this was actually the debut of The Allman Brothers Band.</p>
<p>Then they disappeared.</p>
<p>LATER THAT YEAR, another musician friend and I were browsing at Hoyt Hi-Fi in Roosevelt Mall (right next to site of the old Scene nightclub, where the Second Coming had been the house band). In a display you couldn&#8217;t miss was an album bearing a figure that looked a lot like [Second Coming bassist] Berry Oakley doing his best Jesus imitation. Here he was in a dark robe, standing with both arms outstretched, as if he were blessing a group of sinners below him — most of whom looked familiar.</p>
<p>“Is that — ?” I stammered as I pointed to the album. The store clerk, who had obviously been asked this question many times, interjected, “It sure is!”</p>
<p>There they were, The Second Coming, reincarnated as The Allman Brothers Band. The biggest surprise, though, was that the group had an album out on a major label.</p>
<p>Our necks snapped as my friend and I shot looks at each other. Suddenly anything was possible. Success in the music biz for local dudes was a reality, not just some pipe dream — as my dad had declared. As usual, the parents were wrong. Lynyrd Skynyrd, Blackfoot, .38 Special, Johnny Van Zant, Molly Hatchet,</p>
<p>and others would follow in the ABB&#8217;s path. Actually, the path from Jacksonville to rock stardom had been blazed in 1966 by The Classics.</p>
<p>Leon Wilkeson of Lynyrd Skynyrd [who died of a heart attack in 2002] told author Lee Ballinger he&#8217;d had the same experience. “The Allman Brothers showed us that it would work, that it was worth pursuing — you know, putting your head on the chopping block.” A band of Westsiders called One Percent were able to pick up a lot of loose fans as the Second Coming and its spin-offs left town. But being a big fish in small pond was never enough for Lynyrd Skynyrd, either.</p>
<p>TO BE SUCCESSFUL, musicians must be nomads — ready to travel whenever and wherever the siren of success beckons. Betts and his compadres had bolted Tampa for Jacksonville and had just as quickly left Jacksonville for Macon. Glass and I chose to stay in Jacksonville, where the living is easy.</p>
<p>We&#8217;re still here.</p>
<p>I often wonder why I stay. I did a three-month stint in Los Angeles once, and I hated it so much I thought I might “go postal.” I hated Atlanta, too. And Orlando. What is it about this place?</p>
<p>The main thing, I guess, is my family. Even though it&#8217;s not cool for musicians to be close to their parents, apparently, I&#8217;m more sentimental than I care to admit — I still see my mother every week. Musicians tend to live hand-to-mouth, so it was always nice to know there was a couch somewhere to sleep on if things went badly.</p>
<p>I&#8217;m guessing that pure laziness — the hallmark of any musician worth his salt — has a lot to do with it. Jacksonville had a good music scene, nice weather, the ocean — and it was cheap. Housing is relatively inexpensive, so I don&#8217;t have to work that hard to pay my rent. Anywhere else, I&#8217;d have to get a real job to live this well.</p>
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		<title>Brother Ponder</title>
		<link>http://michaelrayfitzgerald.com/?p=228</link>
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		<pubDate>Fri, 06 Jan 2012 13:40:18 +0000</pubDate>
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		<description><![CDATA[Originally published in Cowford, Fall, 2004Reprinted in Juke Jar, December 2007. http://www. canopicpublishing.com/jukejar.htm&#160; THIS SUBDIVISION ON SIBBALD AVENUE  in Jacksonville, Florida&#8217;s, northside looks and feels like any working-class suburb: cinderblock tract homes with chain-link fences, nice lawns, people gathered in their &#8230; <a href="http://michaelrayfitzgerald.com/?p=228">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<div>Originally published in <em>Cowford</em>, Fall, 2004Reprinted in <em>Juke Jar</em>, December 2007. <a href="http://www/">http://www.</a><span style="text-decoration: underline;"> canopicpublishing.com/jukejar.htm</span>&nbsp;</p>
<p>THIS SUBDIVISION ON SIBBALD AVENUE  in Jacksonville, Florida&#8217;s, northside looks and feels like any working-class suburb: cinderblock tract homes with chain-link fences, nice lawns, people gathered in their yards for Saturday-afternoon barbecues. The only unusual sight is the burglar bars on nearly every window and door.</p>
<p>Further up Sibbald, at the corner of Gilchrist, sits a stately, brick building, the Greater Grant Memorial African Methodist Episcopal (AME) Church. There are steel security grates attached to the entrance of the church. A tour bus sits in the parking lot with its engine running, curtains drawn.</p>
<p>In the church&#8217;s lobby, a road manager arranges a table arrayed with CDs, tapes and photographs waiting to be autographed. In the sanctuary, sunlight streaming through the skylights illuminates the red carpet and matching upholstery with a golden aura. A full house has assembled here in its finest regalia: women in bright outfits and big hats, men in dark suits with bold, bright ties. A few people wander about with video cameras rolling, flashes pointing, teeth flashing.</p>
<p>Brother Walter Ponder sits patiently in the front pew, hands folded, waiting for his cue. He is a huge man, 6 feet, 7 inches, broad-shouldered, sporting a dark-green suit. His dyed-black hair is slicked straight back. He smiles and extends his hand—it&#8217;s the size of a catcher&#8217;s mitt. For a preacher, he seems remarkably subdued. Returning to the dressing room, his head nearly grazes the door frame.</p>
<p>Ponder has produced and appeared in his own local cable-access show for more than two decades. He recently retired from his administrative job with the city after 22 years—now he can devote himself full time to his TV show, his singing and his prison ministry. He is here this afternoon to warm up the crowd for the Dixie Hummingbirds—and possibly sell a few CDs of his own.</p>
<p>The pastor of the church, a small man in a navy-blue banker/s suit and goggle-like glasses, comes out and asks the congregation to rise for the singing of “What a Fellowship.” The piano player strikes up an intro; everyone joins hands with the person on either side and sings.</p>
<p>A woman in a shiny, gold dress and a big wig—sort of a sepia Tammy Faye Bakker— takes the stage and begins preaching feverishly, eyes squinched, as if in a trance. Her words aren&#8217;t clear; they have transcended meaning. Her rhythm is infectious—jazz musicians might call what she is doing scat singing.</p>
<p>When she&#8217;s finished, the pastor returns and exhorts the crowd to “get into it and have a good time.” He introduces Ponder, “the Thunderbolt of the South.” Ponder makes his way to the stage with the help of a black cane, to great applause. Beside him sits an Ampex bass rig and two Fender guitar amplifiers. But no band.</p>
<p>“Hello, I&#8217;m Brother Walter Ponder,” he banters. “I&#8217;m T-T-T: tall, tan and terrific!” Ponder tells the amused folks exactly how tall, “but don&#8217;t ask me how much I weigh,” he says. “That&#8217;s nunyo bidniz.” They laugh. “I hope you&#8217;ll be seeing a slimmer Walter Ponder soon,” he adds, patting his belly. “Can&#8217;t keep going up—too expensive buying new clothes all the time.” The crowd loves it.</p>
<p>Ponder pauses, then asks how many remember the Gospel Caravans? A whoop goes up. Mahalia? Another whoop. Ponder leads the gathering through a series of rhetorical questions—a traditional call-and-response.</p>
</div>
<p>Track music from a tape begins. It sounds like a Stax record from the 1960s—but as any musicologist can tell you, it&#8217;s the other way around. Ponder pulls back about a foot from the mic and holds up an index finger the size of E.T.s, signifying an auspicious moment. A huge, powerful sound emanates from his head. People gasp.</p>
<p>At 60, Ponder is still an amazing talent, a treasure. He alternately soothes, croons, and shouts, using a dozen different tones and characterizations. Once in a while, for effect, he lets out a high, guttural gurgle; it galvanizes the crowd&#8217;s attention. In a matter of a few minutes, Ponder leads the audience through a journey of emotions. He&#8217;s got „em in the palm of his humongous hand.</p>
<p>Suddenly, he stops, and the mood comes crashing back to earth. “Wait a minute.” He doesn&#8217;t know where he is in the song. He complains that the sound man “started the tape in the wrong place.” He makes a smarmy joke, then asks to go to the next song. His own “Ready to Serve the Lord,” from his recent CD, gets the crowd wound all the way up.</p>
<p>Sepia Tammy traverses the stage behind him, shimmying and shaking a tambourine. “Come on,” Ponder urges, beckoning. People jump up and sing, clapping, swaying, sweating. Even without a band, Ponder&#8217;s going to be a tough act to follow.</p>
<p>After a third song, a ballad Ponder performs <em>a cappella</em>, he introduces the headliners:</p>
<p>“Ladies and gentlemen, from Greenville, South Carolina, by way of Philadelphia, Pennsylvania, it is my pleasure to introduce—Grammy award winners—The Dixie Hummingbirds.” Six dignified-looking men, wearing long, black frocks, a few of them in their 50s or 60s, file in. The balding one with the salt-and-pepper beard looks like a college professor.</p>
<p>This configuration is not the original Hummingbirds. The lead singer starts by apologizing. “You&#8217;re seeing a lot of new faces here because of sickness.” He also apologizes for being an hour late. No matter. In a few minutes, no one will care about either issue—even if the personnel are different, the music is true to form. The four singers replicate the original Hummingbirds&#8217; sound and style exactly. They use the standard two-guitars-bass-drums backing, except the drummer is a machine. In spite of their personnel problems and last-minute adjustments, they&#8217;re polished and professional. The crowd is ecstatic.</p>
<p>As the group whips into its signature hit, Paul Simon&#8217;s “Loves Me Like a Rock,” Ponder leans his long arm over the pew, looks back over his shoulder and grins.</p>
<p align="center">#          #          #</p>
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		<title>Animals</title>
		<link>http://michaelrayfitzgerald.com/?p=225</link>
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		<pubDate>Fri, 06 Jan 2012 13:36:09 +0000</pubDate>
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		<description><![CDATA[A big yard like this needs a dog, I tell her.Susan and I are living in separate apartments, and it’s gotten pretty expensive, so we decide to pool our resources and buy a house. We’ll get married later—this is a &#8230; <a href="http://michaelrayfitzgerald.com/?p=225">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<div>A big yard like this needs a dog, I tell her.Susan and I are living in separate apartments, and it’s gotten pretty expensive, so we decide to pool our resources and buy a house. We’ll get married later—this is a big enough commitment for now. The house is a run-down, ramshackle affair on a death-defyingly busy street. But it’s affordable, and it has a huge back yard with lots of big trees.</p>
<p>The air conditioner creaks and groans with age. The off-white carpeting sports pet stains in every room. The plumbing leaks. One of the septic tanks—the homemade one consisting of a 55-gallon drum with rocks in the bottom—has tree roots growing through it, and besides, it’s illegal. But the place has a huge yard, nearly an acre, that Susan can garden in.</p>
<p>This Jacksonville subdivision was built in 1950, with most of the wood-frame houses having one of three pre-fab designs, but today they look quite varied.  That’s because the neighbors have put up funky, lopsided—sometimes comical—additions. The favorite modification is turning porches into foyers. Our own addition, with its cheesy, plastic siding, looks like a tornado plopped a trailer in front of the house.</p>
<p>There’s an old saying: you don’t pay for your house, you pay for your neighbors. Teenage boys seem to think our street is a drag strip. Every day I have to clean up broken beer bottles and fast-food bags in my front yard. There are rows of chain-link fences surrounding junk cars and lots of big, mean dogs. At first Susan and I wonder why the black people from the project up the road walk in the street instead of using the sidewalk. We find out when we try using it ourselves. The sidewalks are strewn with broken glass, but that’s not the only reason. Using the sidewalks is an exercise in terror— huge dogs race out to the chain-link fences, barking and snarling, and if the gates happen to be open, you’d better be carrying a big stick.</p>
<p>I sing and play guitar in a little alt-country band called Gatorbait. We could rehearse in the studio I’m building out back, but Alan, our bass player, would rather rehearse at his place near St. Augustine. So the other two players and I trek about 25 miles down to the backwoods of St. Johns County every week to rehearse in a double-wide trailer on a dusty, dirt road in a neighborhood behind Cornwell’s general store off U.S. 1. Alan says he prefers to rehearse at his place because he has to get up early for work—but the main reason is because he can’t afford another DUI. This way he can have a few beers and won’t have to risk driving home under the influence.</p>
<p>I met Alan in December of 1974. I was at the downtown Hilton playing a Christmas party with a little three-piece outfit led by a bass player I had dubbed Filthy Phil. As I was setting up my little Kustom P.A., this stocky, wild-haired guy looking like a hippie version of Fred Flintstone sauntered in with a bass guitar. No case.</p>
<p>“Phil sent me,” he said. “He can’t make it.”</p>
<p>At first I was angry, but Alan turned out to be a much better bass player than Phil and a decent singer too. In fact, before the gig was over, the drummer and I decided to can Phil and hire Alan.</p>
<p>Alan had spent several years in Panama—his mother was Panamanian—and could curse in Spanish like a fiend. He stood 5 feet, 9 inches, but had huge arms and legs and loomed much larger. Alan quickly became the band’s unofficial bodyguard—anyone dumb enough to pick a fight with him had better pack a lunch. Tony, the drummer, nicknamed him “Animal” because Alan was completely fearless, especially when he was drinking, which—seeing as how we mostly performed in dives—was much of the time.</p>
</div>
<div>
<p>Alan immediately ratcheted up the band’s barroom theatrics. Tony and I started telling audiences he was a Panamanian wrestler who didn’t speak English and had been kicked out of the World Wrestling Federation for being gay. He ranted over the microphone in angry Spanish. His favorite trick—his <em>piece de resistance </em>—was to take bite out of a cocktail glass, chew it up, and spit out the shards.</p>
<p>Years later at a showcase in Atlanta (with Filthy Phil on keyboards), Alan upstaged all of us. I gave the audience the usual spiel about Alan’s colorful background while he cursed the audience in Spanish. They loved it. The crowd began chanting, “Animal! Animal! Animal!” During the closing song, he tackled me, grabbed me by my ankles and literally mopped the stage with me. I begged him to stop.</p>
<p>“Alan, please, you’re gonna break my neck!” He put me in a headlock like a vise.</p>
<p>“You shouldn’t have told everyone I was a wrestler,” he cackled in my ear.</p>
<p>Finally, he turned me loose. As I got up, dazed and sore, the crowd was still chanting: “Animal! Animal! Animal!”</p>
<p>Several years later I had made a record that got a lot of DJ play in a couple of well- known New York City nightclubs. To take advantage of this, Alan and I started yet another band and snagged a few showcases in Manhattan. The three of us plus our roadie, Barry, from Vidalia, Ga., tooled up in my ratty, old Ford van. Part of Barry’s job was to keep the van running. We had to stop in South Carolina and wait for a parts store to open so Barry he change the water pump in the parking lot.</p>
<p>It was early morning, so everyone went back to sleep as we headed out. I drove for a while, then turned the wheel back over to Barry. Then I climbed into the back, popped a Valium, plopped down on the mattress, and pulled my denim jacket over my head to shut out the light. Just as I was beginning to doze off, I heard this loud singing in Spanish and what sounded like 10-pound hailstones hitting the roof of the van. Alan was banging on the inside of the bare, metal roof with his fist.</p>
<p>“Alan, what the f**k is wrong with you!” “I can’t sleep.”</p>
<p>“Well, do you have to wake everyone else up too, you asshole?” “Yes!”</p>
<p>He is clearly in need of medication, and he knows it. Alcohol seems to be his sedative of choice; unfortunately, its effects are erratic and unpredictable.</p>
<p>During our show at the Peppermint Lounge, there was a heckler. We tried to get a silly sing-along thing going with some audience members, but they just stared blankly back at us. The heckler kept up his harangue. Alan suddenly leapt off the 4-feet-high stage, tackled the guy and put him in a headlock. Sticking the mic in the heckler’s face, he commanded, “Sing, motherfucker!” The guy sang.</p>
<p>Scott, the drummer, and I gawped at each other. “That’s show biz,” Scott said.</p>
<p>After our set, as the headlining act performed, Alan took to the dance floor. He flailed around for a few minutes, then pulled off his wide, leather belt with its huge buckle and started swinging it around his head like a mace. His pants fell down around his ankles. With his other hand, he began to empty his beer bottle over his head. There was Alan in his white skivvies, dancing in place and dousing himself with beer. The floor was packed except for a 10-foot radius around him. “What kind of dance is this?” Scott tittered.</p>
</div>
<div>
<p>Then Alan started dousing the dancers around him. Scott, Barry and I started slinking off as if we didn’t know him. Two bouncers came over; one put his arm around Alan and whispered something in his ear. Alan grinned sheepishly, pulled his pants up, snapped his belt back in</p>
<p>place, and met us at the door. The four of us sauntered out, laughing our way down Sixth Avenue.</p>
<p>It was about 4 a.m. Alan yanked a radio antenna off a parked car and started whipping it around like a fencing foil, smacking the ground. People coming toward us crossed the street to avoid us. Sore from laughing, we stopped at an all-night grocery store, bought some sandwiches and chips and ate them, squatting on the curb. No one said a word to us. We felt as though we had conquered the city.</p>
<p>At another show at CBGB a few years later, Alan was approached by a female singer with one of the other acts on the bill. She lived in a neighborhood near the Lower East Side and asked Alan to walk her home. Good choice. The rest of us were in the van, ready to head back to our motel in Jersey City.</p>
<p>“Are you sure you want to do this?” I asked him. “Sure; what could happen?”</p>
<p>“Alan—this is New York. A lot could happen.” “Nah,” he scoffed as he sauntered off.</p>
<p>As we tooled off toward the Holland Tunnel, Alan walked Dobie Danger back to her Lower East Side crib. Good thing Alan loves dogs. She had a gigantic Doberman, he later told me. He stayed a while, then trudged all the way back the PATH train and then from the train station in Jersey City to the Holland Motor Inn, where we were staying. At 8 a.m. or so I was awakened by sound of someone in bed next to me crunching Chee-Tohs and reading a newspaper.</p>
<p>“I can’t sleep,” he said.</p>
<p>The only time I ever saw Alan scared was when we took the Chesapeake Bay Bridge</p>
<p>back to Florida. Our timing couldn’t have been worse: there was a hurricane coming up the coast, and the wind was whipping my creaky, old van all over the road. The bridge seemed 100 miles long, and at one point there was nothing on either side but water—all the way to the horizon. As I struggled to hold on to the steering wheel, Alan’s eyes went wide, and for once, it was quiet in the van.</p>
<p>Another fifteen years come and go. Alan has mellowed considerably. He’s a hard-working, dedicated, family man and has managed to hang on his job delivering propane gas despite having gotten a convicted of DUI and gotten his license suspended. His married daughter and her husband live with him in the double-wide, along with his ex-wife and her five miniature dachshunds. Tonight there’s an unusual-looking sixth dog.</p>
<p>“My son-in-law found her at the construction site where he works,” Alan explains. No one knows what breed she is. She looks to me like an English springer spaniel, maybe six months old. Alan’s wife thinks she’s a cocker. Alan just shrugs.</p>
<p>Smallish, speckled in black and white, she’s happy, playful and loves everyone. She’s wearing a diaper—probably in heat. She’s freshly clipped; her claws are painted red. I get down on the Linoleum, and she comes right over. We play a bit; then she puts her forehead on my chest—a doggie hug.</p>
<p>Then it hits me: I have a house now and a big yard; I can have a dog. I immediately offer to take her home with me. Then I realize I ought to check with Susan first—she doesn’t appreciate my making these kind of decisions without consulting her.</p>
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<p>When I get home I wake her up and tell her I’ve found <em>the </em>dog.</p>
<p>“Don’t be silly,” she groans.</p>
<p>“You don’t understand,” I reply. “This is THE dog. We’ve gotta have this dog.”</p>
<p>“Hmmm,” she concedes, still skeptical, after I launch into a lengthy description. “Okay, but we have to get a fence first. I don’t want her getting hit by a car.”</p>
<p>I call Alan the next day to tell him we’ll definitely take the dog.</p>
<p>“We’ll come get her as soon as we get a fence for the yard. Can you keep her for a week?”</p>
<p>“Sure,” he says.</p>
</div>
<div>
<p>Before the fence is finished, I get a call from Alan’s daughter, Carmen. “Umm—we’re gonna keep the dog,” she says sheepishly. “Carmen, you can’t do this,” I seethe.</p>
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<div>
<p>“It’s not me!” she whinges. “Mom wants to keep her.” “Then why didn’t your mom call me?”</p>
<p>“I dunno. She asked me to call.” “Yeah, right.”</p>
<p>Immediately I call Alan at his day job, and he calls me back an hour or so later. “Alan, Susan and I have spent two thousand bucks on a fence for this dog!”</p>
<p>“I’ll see what I can do,” is all he’ll promise. I turn to Susan. “This sucks.”</p>
<p>“We can get another dog, Michael. This isn’t the only dog on the planet.”</p>
<p>The next day, Carmen calls back. “Dad says we have to keep our word,” she oozes. “Besides, I’m pregnant. A baby and a dog might be too much work.”</p>
<p>“We’d better get down there before she changes her mind again,” I warn Susan as I’m hanging up the phone.</p>
<p>“Michael, this isn’t the only dog on Earth.” “This dog is special,” I explain. “You’ll see.”</p>
<p>We race down to Alan’s trailer, grab the dog, then haul ass back to Jacksonville. Maggie sits in Susan’s lap while I drive home. The airport runways backlight the two figures through the car window. Maggie licks Susan’s face, then sighs and lies down. Susan pets her head lovingly.</p>
<p>“I see what you mean,” Susan says.</p>
<p>The old house comes alive. Before Maggie, it was just a bunch of walls and windows.</p>
<p>During a visit to the vet to get her shots, we discover she’s a parti-colored cocker spaniel, about a year and a half old—not a puppy. They just look puppyish with those wide-set eyes, the doctor says.</p>
<p>Intensely curious, Susan pokes around on some Web sites and discovers this is an unusual breed, bred for companionship, with a playful, “clownish” disposition. Great with kids. There are only a few breeders who raise these. Pups go for about a grand.We look at the screen, then at each other. It would be a simple matter of calling a few kennels to find her owners.</p>
<p>“Don’t even think about it,” I bark. “She’s ours now.”</p>
<p>“What if her owners happen to drive by while we’re walking her?” Susan asks. “Lie.”</p>
</div>
<div>
<p>True to the breeder’s claim, Maggie is remarkably obedient. She’ll do anything we want; it’s just a matter of getting the point across. It helps if there’s food involved. She’s so docile she’s even afraid of puppies—yet more than anything she loves to play rough and act tough. In one sitting I teach her to stay. She stays put even when I leave the room. She learns quickly where the boundaries of our yard are. We don’t really need the fence—she won’t venture more than 20 yards from her food dish.</p>
<p>As the breeder’s site says, she likes children. Susan surmises that Maggie’s former owners must have had kids, because every time she sees a woman with children, she strains on the leash to get near them. Then, after a few sniffs, she loses interest.</p>
<p>One afternoon, I take Maggie for a walk on the beach. She doesn’t like getting her feet</p>
<p>wet and is afraid of the waves. A gray-haired woman strolls up to me, eyes big as clamshells. “Oh, shit,” I think to myself. “Here it comes.”</p>
<p>“What a beautiful cocker,” the lady says. She seems to know something about this dog. “What’s her name?”</p>
<p>“Her name’s Maggie,” I reply, ready to bolt.</p>
<p>“Oh, my God,” she says. “I’ve had five cocker spaniels—every one named Maggie.” It’s such a common name, she explains, that the American Kennel Club won’t let cocker owners name their dogs Maggie anymore.</p>
<p>Later that summer Alan and I are playing a gig at the beach, just a few blocks from where I ran into the old woman. Alan and I get into an argument over his leaving the gig early to go back to St. Augustine so he can eat and then drive <em>back </em>to Jacksonville Beach for a gig with another band. The owner doesn’t like this at all.</p>
<p>“This is ridiculous, Alan,” I complain. “Why drive to St, Augustine and then turn back around again? Eat here, you dummy.”</p>
<p>“I have to take a shower.”</p>
<p>“Use the shower at Charlie’s house.”</p>
<p>He’s implacable. On top of that he’s cranky—he’s recently been diagnosed with diabetes and has quit drinking—he hasn’t had his usual two beers per set. We hurl recriminations at each other. Alan packs up his gear and leaves in the middle of the set. The other members just stand there stupified.</p>
<p>Four years later, I still haven’t spoken to Alan. Susan and I are settled into our house with Maggie. Charlie, the band’s other guitarist, has been rehearsing with Alan and the drummer, trying to get the band back together. Charlie comes by a few times to do some electrical work for me and tries to talk me into working with them again. It’s too late, I tell him; I’ve already started another band.</p>
<p>Another year slips by. Charlie’s wife calls and tells me Alan has pancreatic cancer and the doctors give him three months. Some mutual friends are staging a benefit to raise money for his medical bills. Will I perform? After hanging up I explain the situation to Susan. “If nothing else, we need to thank Alan for the dog.”</p>
<p>“Yeah, we do.”</p>
<p>The benefit is really just a big party. This is the first time I’ve seen Alan in five years. He’s up on stage jamming with every band he’s ever played with, seems like. He’s completely sober and has been since the week we split up. Finally I catch him on break and ask him how he feels. He shrugs, turning up his palms.</p>
</div>
<p>“Ya know, it’s funny—I feel great. No pain or anything. Like there’s nothing wrong.” “Maybe the doctors are wrong,” I offer. “Maybe you’ll make it.”</p>
<p>“I hope so,” he says and saunters off.</p>
<p>Shaken, I forget to thank him for the dog. I look around; Susan is nowhere in sight.</p>
<p>Carmen, his daughter, strolls by and says hey. So I thank <em>her </em>for the dog. “Wish I’d kept her,” she says.</p>
<p>“You’re not the only one,” I mutter to myself.</p>
<p>Three months later, I get a call from Alan’s brother, David. The doctors were right—</p>
<p>almost to the day. “He didn’t suffer long, thank God,” David says.</p>
<p>Why do people thank God when they should be cursing him, I want to shout but I don’t. I</p>
<p>am finally learning to keep some thoughts to myself.</p>
<p>It’s amazing how many people at Alan’s funeral, including his sister, go on and on about how religious he was. Alan was raised a Catholic, but in the entire 31 years I knew him I never heard him say a word about God or religion, and I never heard him mention going to mass.</p>
<p>Susan and I finally get married. We still live in the ratty house on Forest Boulevard. We’ve added an entryway to the front so it doesn’t look so much like a trailer. It’s funny how we manage to find the money to fix it up to sell, but skimp out while we’re living in it. One of the reasons we want to move is because walking Maggie around this neighborhood is dangerous— there is only one sidewalk, and it’s on the other side of the street. Twice Susan was nearly hit by speeding cars.</p>
<p>But we’ll miss this huge yard. One Sunday afternoon, climbing out of the shower after sleeping ‘til noon, I roll up the bathroom blind and peer out the window. I see Susan and Maggie in the backyard, gardening. Susan yanks at a couple of weeds; then Maggie rips one out with her teeth. She growls and shakes her prey furiously. Susan laughs so hard she nearly drops her watering pail.</p>
<p>I laugh, too, but they don’t hear me.</p>
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		<title>Joan Jett: &#8220;I know what it&#8217;s like to be really depressed.&#8221;</title>
		<link>http://michaelrayfitzgerald.com/?p=191</link>
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		<pubDate>Fri, 30 Apr 2010 00:51:50 +0000</pubDate>
		<dc:creator>Michael</dc:creator>
				<category><![CDATA[Stuff I've written]]></category>

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		<description><![CDATA[Southeast Entertainer, January 19, 1985, p. 5 Joan Jett Joan Jett is, if nothing else, a survivor. She has carved out a solid niche for herself in the music business for 35 years and sold millions of records. She and &#8230; <a href="http://michaelrayfitzgerald.com/?p=191">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<p><em>Southeast Entertainer, </em>January 19, 1985, p. 5</p>
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<dd class="wp-caption-dd"><em>Joan Jett </em></dd>
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<p><em></em></p>
<p><em>Joan Jett is, if nothing else, a survivor. She has carved out a solid niche for herself in the music business for 35 years and sold millions of records. </em></p>
<p><em>She and her manager, Kenny Laguna, recently produced a movie about The Runaways, an all-girl band she helped form in 1975. The movie is distributed by Apparition and is now in theaters nationwide.</em></p>
<p><em>Following is an interview I conducted with her in 1985 for the </em>Southeast Entertainer,<em> where I began an erstwhile career as a music journalist.</em></p>
<p><span style="text-decoration: underline;">From the original article:</span> Meeting and talking with Joan Jett was more than a pleasant surprise. Fully expecting to confront a gum-smacking, smartass, street urchin, I encountered an intelligent, alert and well-spoken entertainer who takes her career and the responsibility it entails very seriously. Jett was polite, calm, attentive and above all astonishingly honest and forthright-as is her music. Telling the truth is always a dirty job, but Joan Jett is gonna do it.</p>
<p>Our conversation took place on her tour bus outside Jacksonville nightclub Playground South on Arlington Road.</p>
<p>MRF:     What kind of guitar do you play? Is that a Melody Maker?</p>
<p>JJ:          I play what&#8217;s called a California-style Melody Maker. I didn&#8217;t know that until about a year ago. It&#8217;s a special kind; (Gibson Guitars) only made about 4,000 of them.</p>
<p>MRF:      I wasn&#8217;t sure and I own one myself.</p>
<p>JJ:          Some people think it&#8217;s an SG (a Gibson model designed by Les Paul). They think it&#8217;s a Les Paul Junior-it&#8217;s a Melody Maker; it&#8217;s great.</p>
<p>MRF:     Do you think many of your fans remember the Runaways? They may be too young.</p>
<p>JJ:          <em>I&#8217;m</em> not too young; they shouldn&#8217;t be.</p>
<p>MRF:     When was that?</p>
<p>JJ:          We formed in 1975, but we were out on the road from &#8217;76 to New Year&#8217;s Eve of &#8217;78-pertty constant touring.</p>
<p>MRF:     Are the Runaways still friends? Do you still see each other?</p>
<p>JJ:          Let&#8217;s see-I still see Sandy West, the drummer [West died of lung cancer in 2006 at 47], most. &#8216;Cause we were, I guess, best buddies in the band.</p>
<p>MRF:     You were how old, 15 or 16 then?</p>
<p>JJ:          Yeah, I was 15 when we joined. When I met Sandy it was a real coincidence-it wasn&#8217;t a contrived thing, like everyone makes it.</p>
<p>MRF:     Kim Fowley [a Los Angeles-based producer-manager] didn&#8217;t put the band together?</p>
<p>JJ:          Oh, no! No, I called Kim and said, &#8220;I play guitar and I want to form and all-girl band.&#8221; He went through all the stuff: &#8220;Do you have a demo tape,&#8221; da, da, da&#8230;.</p>
<p>MRF:     He likes to take credit for it, doesn&#8217;t he?</p>
<p>JJ:          I really haven&#8217;t seen him in years, so I don&#8217;t know. I don&#8217;t want to say anything bad because it could just be the press rehashing old stuff they keep reading.</p>
<p>MRF:     You were living in L.A. at the time?</p>
<p>JJ:          Yes.</p>
<p>MRF:     You live in New York now?</p>
<p>JJ:          Yeah.</p>
<p>MRF:     Do you mind if I ask a personal question?</p>
<p>JJ:            Depends-I might not answer it.</p>
<p>MRF:     What is your real name?</p>
<p>JJ:          Joan Jett!</p>
<p>MRF:     Is it really?</p>
<p>JJ:          I swear to God. [According to publishing-company documents, her given name is Joan Larkin--MRF.]</p>
<p>MRF:     I thought maybe you named yourself after your hair color.</p>
<p>JJ:            (Laughs) Oh.</p>
<p>MRF:     How do you keep yourself in such good shape?</p>
<p>JJ:          Watch tonight and you&#8217;ll see.</p>
<p>MRF:     Is that all?</p>
<p>JJ:          Yeah, pretty much-yeah.</p>
<p>MRF:     No workouts, no weightlifting?</p>
<p>JJ:          No drinking! No heavy partying! Beer puts on the weight, ya know? I consider [performing] like being an athlete. You go out there to put on a show for people who paid money. You got no right to go out there drunk, you know what I mean?  That&#8217;s the way I feel. And I&#8217;ve seen it from both sides, so I know from experience. And I don&#8217;t really work out; every once in a while I&#8217;ll do some sit-ups or punch Elliot [Saltzmann, her road manager] for a while.</p>
<p>MRF:     In the video for &#8220;Do You Wanna Touch Me&#8221; you look like a bodybuilder.</p>
<p>JJ:          A lot of people think that.</p>
<p>MRF:     So you feel it&#8217;s not worth your while to do drugs or alcohol, in terms of staying healthy?</p>
<p>JJ:          Well, yeah. For instance, I don&#8217;t drink when I&#8217;m working, because alcohol is bad for your vocal cords. It screws up my voice; I can&#8217;t, personally, drink and go put on a show-I&#8217;ll lose my voice. So I have to be really careful. I could say yeah if I wanted to, yeah, I&#8217;ll have a beer after the show, but we got five shows in a row starting tonight, so that&#8217;s five nights in a row my voice has to be right on.</p>
<p>MRF:     If you get sick, the whole tour is out of work.</p>
<p>JJ:          Yeah, so I have to be careful. Is that one beer gonna be worth it? It&#8217;s like, you really should wait; there&#8217;s a time and a place for it. You know, I enjoy getting&#8217; off on the audience, and the people, and what I&#8217;m doing; I don&#8217;t need, necessarily, to get high that way-I get high just hangin&#8217; out with everybody.</p>
<p>MRF:     Are you toning down your image?</p>
<p>JJ:          First of all, there<em> is</em> no image. What you see is what you get, you know.</p>
<p>MRF:     I always admired you for being so outrageous, especially your song &#8220;Bad Reputation.&#8221; It just seems to me that maybe you were outgrowing that or toning it down for mass consumption.</p>
<p>JJ:          No, oh, no! We don&#8217;t look at things that way. See, people can&#8217;t talk me into things like that. I have to do what I have to do, otherwise I get sick, I feel ill inside. I&#8217;d rather not work than do something phony that wasn&#8217;t really me. If someone told me, look, change your style of music&#8230;</p>
<p>MRF:     What if [Jett's manager and producer] Kenny Laguna said, &#8220;Look, Joan, we can sell a lot more records if we did this or that, maybe watered it down a little&#8230;.&#8221;</p>
<p>JJ:          Kenny is as much a renegade as I am!</p>
<p>MRF:     So nobody tells you that?</p>
<p>JJ:          Well, you get it from different places. I mean, all over, people talking about, &#8220;What, are you trying for the <em>garage</em> sound still?&#8221; [I believe she is referring to record-label execs here -MRF]. What do you mean the &#8220;garage sound&#8221;? It&#8217;s the rock-and-roll sound! I&#8217;m not using all the technology and slicked-up stuff. It&#8217;s what you hear when you go see our live show It&#8217;s a real compliment to me when I hear people who have seen the show say, &#8220;Man, you guys sound just like the album.&#8221; You know, that makes me feel good.</p>
<p>MRF:           You&#8217;re shooting for a live sound in the studio, then?</p>
<p>JJ:          There ya go.</p>
<p>MRF:     One more, okay? I get the impression that your very concerned about young people, especially people your own age and younger, teenagers too. They have a rough time in our society; there&#8217;s an epidemic of teenage suicide going on in this country, and I gathered that you&#8217;re particularly concerned about these young people. That&#8217;s true, isn&#8217;t it?</p>
<p>JJ:          Oh, yes, very true.</p>
<p>MRF:     I get the impression that you&#8217;ve been through some of this stuff yourself. I was wondering what your message to distraught young people might be if you could put it in a nutshell.</p>
<p>JJ:          [Long pause.] Well, I know what it&#8217;s like to be really depressed, you know, and have everything <em>not</em> going your way, because when the Runaways broke up, I was completely alone. It was like, my friends really didn&#8217;t want to hang out with me; there was like, nothing. There was no more band, no more manager-there was <em>nothing</em> [long pause]. So it was a deep depression time, and I mean, I thought about a few things [such as suicide], but then-I didn&#8217;t go through with it. And look what happens!</p>
<p>MRF:     You came out of it in a very defiant way.</p>
<p>JJ:          That&#8217;s what you have to do; you have to dig down, look inside, and say, &#8220;I&#8217;m not gonna let these people make me lose my life! I&#8217;m gonna live the life I wanna live.&#8221;</p>
<p>MRF:     Stick around and irritate them some more.</p>
<p>JJ:          Yeah, exactly. I mean, how can that person-remember this is a free country; we&#8217;re not livin&#8217; in some place where they can tell you what to do every two seconds. You can do what you wanna do. It&#8217;s just getting the <em>balls</em> to do what you wanna do.</p>
<p>MRF:     In other words, always stand up for yourself.</p>
<p>JJ:          You <em>must</em> stand up for yourself, otherwise you&#8217;re lost. People will just push you around for the rest of your life.</p>
<p>MRF:     So you think a lot of your music stands for that message?</p>
<p>JJ:          It stands for: be yourself, be independent.</p>
<p>MRF:     Your whole career stands for that, really-your very success, because if you hadn&#8217;t believed that you would never have made it.</p>
<p>JJ:          Yeah, it&#8217;s do what you want to do [with your life], be an individual. You don&#8217;t have to go with the flow-if that&#8217;s what you <em>wanna</em> do, if that&#8217;s what you&#8217;re into, that&#8217;s fine-but if you want to be different, there&#8217;s nothing wrong with that. Because all the different people are what makes the world go &#8217;round.</p>
<p>MRF:            Mainly, be strong and hang in there.</p>
<p>JJ:          Yeah, be strong. Hang in. Stay tough.</p>
<p>MRF:     Nice talking with you, Joan.</p>
<p>JJ:          Nice talking with you too.</p>
<p align="center">#     #     #</p>
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		<title>Curriculum Vitae</title>
		<link>http://michaelrayfitzgerald.com/?p=187</link>
		<comments>http://michaelrayfitzgerald.com/?p=187#comments</comments>
		<pubDate>Mon, 01 Mar 2010 03:42:37 +0000</pubDate>
		<dc:creator>Michael</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://michaelrayfitzgerald.com/?p=187</guid>
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		<title>Stuff I&#8217;ve written</title>
		<link>http://michaelrayfitzgerald.com/?p=175</link>
		<comments>http://michaelrayfitzgerald.com/?p=175#comments</comments>
		<pubDate>Tue, 24 Feb 2009 01:50:52 +0000</pubDate>
		<dc:creator>Michael</dc:creator>
				<category><![CDATA[Stuff I've written]]></category>

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		<description><![CDATA[I started writing about music and arts for the Southeast Entertainer  in 1984. I had my own columns in Orlando' s JAM magazine and Boston's Musicians Trade Journal. I've written reviews and features for Folio Weekly and more than 150 stories for the Jacksonville Business Journal. I have also contributed to national publications The Humanist, Free Inquiry, Utne, and Left Curve. <a href="http://michaelrayfitzgerald.com/?p=175">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<p>Below are links to some of my work.</p>
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