Who is The Greatest Hard Rock/Metal Band of All Time, Second Round Part 2

HardRockMetal

Rather than delve into the delusion that currently is supposed to oversee this country (and trust me, there’s plenty to call the Tangerine Ignoramus out on simply from this last weekend alone, such as his foray into international diplomacy at the end of a Tomahawk missile), I’ve decided to start something that will be much more fun. Since college basketball just recently completed the NCAA Basketball Championship, I thought it would be fun to do the same but in a different arena – the genre of hard rock/metal music.

What are the criteria for consideration? First, the band/singer would have to have some sort of longevity to their career – you don’t see many bands or singers that are considered “legendary” if they were only around for a couple of albums (Amy Winehouse is a rare exception, but that’s a discussion for another time). Second, the band/singer would have to have an impact on the genre – did they do something particularly noteworthy or notorious that put them into the annals of the genre’s history, a song or “behavior” that was historic. Third, just how popular were they when they were in existence – a band or singer that was wildly popular with the fans might get some leeway over a critical darling OR vice versa (depending on tastes). Fourth, what accolades did they receive – awards, gold records, and recognition by the industry (Rock & Roll Hall of Fame, hello?) are all under consideration here. Finally, was the band/singer influential on future generations of music – have they helped shape the genre since they have left the sphere?

The first round of the four “regions” – the 1960s/70s, the 1980s, the 1990s and the 2000s/2010s – is complete and there were some big surprises. It’s now time to move into the second round of two of the regions who will match up in the Final Four of Hard Rock/Metal – the 1980s and the 1990s – and work them down to one half of the Sweet Sixteen. As always, cast your vote and/or opinion on who should win each battle by commenting here or on one of the many social media outlets where you might read this.

Without further ado, here’s the 1980s second round:

BON JOVI

Bon Jovi (1) vs. Mötley Crüe (8)

Part of me would like to see this be a real battle, but that’s not the case. Longevity is on the side of Bon Jovi in this case, as is virtually every other category that might be tallied. Sales, award recognition, fan support – all those things flow in the direction of the boys from New Jersey over the gang off the Sunset Strip. Although they might be “lightweights,” Bon Jovi for many WAS the 1980s and, as such, they will be moving on.

Guns ‘N Roses (4) vs. Iron Maiden (5)

This is going to be too close to call. The Gunners breathed new life into hard rock/metal in the late 1980s with their “take no prisoners” approach and bawdy behavior, but Iron Maiden’s throng of loyal supporters and longevity in the business can’t be overlooked. Even though GNR came back last year for a few concert appearances (and Axl Rose did some great work with AC/DC after the questionable circumstances regarding Brian Johnson’s departure), Iron Maiden almost always has seemed to “been there” since the early 1980s. The voters will have to make the call here.

Metallica (2) vs. Anthrax (10)

Anthrax, with their highly influential style of speed metal mixed with social commentary, emerged with an upset victory against Queensrÿche, but that may be where the train ends with running up against Metallica. If there were a group that could play just as fast as Anthrax, just as loud and have similar things to say, it would be Metallica. What puts it over the top? The 2009 induction of Metallica into the Rock & Roll Hall of Fame, which says it best on their website when they comment, “Heavy metal went mainstream thanks to Metallica.”

Slayer

Def Leppard (3) vs. Slayer (6)

Opposites go to war in this matchup, with the poppier hard rock from Def Leppard running headlong into the death metal stylings of Slayer. Don’t be so quick to hand this battle to Def Leppard; Slayer, while a polarizing entity because of the style that they play, has been tremendously influential over ALL forms of music. They have influenced everyone from Pantera to Hatebreed and even reached to Italy to inspire Lacuna Coil. When you’ve got that type of power, it has an impact…but will the voters accept it?

And now, let’s look at the 1990s:

Nirvana (1) vs. Nine Inch Nails (9)

Although I’ve long had a fondness for Nirvana and the late Kurt Cobain, there is plenty of room for argument that Nine Inch Nails and front man Trent Reznor were more influential on hard rock/metal. Reznor’s influence runs the gamut from pop to industrial, dance to rock, and he’s also been a highly successful scorer of films (along with his partner Atticus Ross, they won the Academy Award for Best Original Score for The Social Network). While that may not be hardcore, it still shows tremendous talent, making this matchup not the slam dunk that many might have thought.

"Gone Girl" Special Screening

Pearl Jam (4) vs. Foo Fighters (5)

Another tough battle in the 4/5 seedings. You would think that Pearl Jam, coming off their induction into the Rock & Roll Hall of Fame and nearly 30-year career (not to mention leading the “Grunge Revolution”), would be able to handle the Foo men easily. But Dave Grohl and Co. aren’t that easy to knock off. They’ve been getting raves over one of their recent efforts, Sonic Highways, which saw the band travel to eight different cities to “get a feel for” the cities as they recorded it (the production was followed by HBO for a miniseries of the same name). Grohl also carries some gravitas from his days with Nirvana. Is it possible that Grohl’s two bands could face off against each other in the Sweet Sixteen?

Rage Against the Machine (2) vs. Korn (7)

Although Korn ably defeated Tool to reach the second round, I don’t see a way that they get past RATM. In all areas, Rage Against the Machine are the dominant forces – popularity, commercial and critical success, influence and many others. About the only thing that Korn may have is longevity, but that would change if Rage guitarist Tom Morello and singer Zack de la Rocha buried the hatchet and hit the studio again (if not, there’s always Morello leading the other men from the band in their new outlet, Prophets of Rage). A bit of a mismatch here, unfortunately.

GreenDay

Green Day (3) vs. White Zombie/Rob Zombie (11)

A bit of a surprise as White Zombie and front man Rob Zombie were able to upend Alice in Chains to reach the second round of the tournament. They’ve got a great chance to take out the three-seed in Green Day as their style of “nightmare metal” has been mimicked by many bands in the early 2000s, even though Rob Zombie still performs. Green Day, however, has their own legion of devotees and can even say that they’ve gone to Broadway (the musical American Idiot brought punk music to the Great White Way). It is another battle that will be decided by the voters.

That closes the second round for these two regions. Be sure to get your votes in on who deserves to move on to the Sweet Sixteen! Starting this week, we’ll cut the Sweet Sixteen down to only one band, who will walk off with the title of the greatest hard rock/metal band in history!

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Who is The Greatest Hard Rock/Metal Band of All Time, Part 2 – The 1980s

HardRockMetal

Rather than delve into the delusion that currently is supposed to oversee this country (and trust me, there’s plenty to call the Tangerine Ignoramus out on simply from this last weekend alone), I’ve decided to start something that will definitely be much more fun. Since college basketball is deciding the 64 teams (OK, 68 teams because of those simply idiotic play in games the NCAA conducts) that will compete for their championship, thought it would be fun to do the same but in a different arena – the genre of hard rock/metal music.

As it is one of my personal fortes, hard rock/metal music is essentially celebrating its 50th Anniversary since the release of Steppenwolf’s “Born to Be Wild,” which contained the lines “Get your motor running/heavy metal thunder.” With this in mind, I’ve put together a compilation of the top 64 hard rock/metal bands from four different eras – the 1960s/70s, the 1980s, the 1990s, and the 2000s/10s – and split them up in accordance with those eras into “regions.” We’ll break down the matchups in each bracket and, with hope, readers will make their own comments and vote on the matchups and perhaps they’ll be some sort of prize at the end – the management here (re:  me) is still trying to come up with that prize.

What are the criteria for consideration? First, the band/singer would have to have some sort of longevity to their career – you don’t see many bands or singers that are considered “legendary” if they were only around for a couple of albums (Amy Winehouse is a rare exception, but that’s a discussion for another time). Second, the band/singer would have to have an impact on the genre – did they do something particularly noteworthy or notorious that put them into the annals of the genre’s history, a song or “behavior” that was historic. Third, just how popular were they when they were in existence – a band or singer that was wildly popular with the fans might get some leeway over a critical darling OR vice versa (depending on tastes). Fourth, what accolades did they receive – awards, gold records, and recognition by the industry (Rock & Roll Hall of Fame, hello?) are all under consideration here. Finally, was the band/singer influential on future generations of music – have they helped shape the genre since they have left the sphere?

We talked about the 1960s/70s in Part 1, so now we’re ready to head into what was arguably the most diverse era of hard rock/metal over the past 50 years – the 1980s. From “hair metal” (basically pop-infused hard rock music that could be ballad intensive – something previously unheard of in the genre) to “death metal” and beyond, there were many candidates for this “regions” bracket. I am sure there will be some complaints as to the selections and, if so, please include those when you discuss the matchups in your reply!

BON JOVI

Bon Jovi (1) vs. Pantera (16)

As ugly as it is to admit, Bon Jovi was one of the most popular acts of the 1980s. Using enough Aquanet to put his own personal hole in the ozone layer over New Jersey, John Bongiovi – who would become the namesake of the group as Jon Bon Jovi – guitarist Richie Sambora and the rest of the group became the band that was OK with your parents to “rock out” to. They also brought the “power ballad” into its heyday, those songs that brought the girls out to the “rock shows” so the guys would come along.

Pantera, on the other hand, was everything that Bon Jovi wasn’t. Hard core, in your face – sometimes with a fist or a boot – fast and furious, guitarist “Dimebag” Darrell and Phil Anselmo mounted an offensive of thunderous rock that still resonates across the genre. While they were influential to many, they weren’t commercially successful – at least not on the level that Bon Jovi was. It will be an intriguing battle to see who emerges from this clash – but we know who would emerge if it were an actual fight!

Mötley Crüe (8) vs. Skid Row (9)

This is a typical battle of two bands that are closely matched. Strangely enough, though, most people are fans of one and not of the other, with those on the side of Skid Row and front man Sebastian Bach calling their opponents a rip-off of KISS and those taking up the fight for the Crüe and singer Vince Neil and Co. calling Skid Row a Guns ‘N Roses clone. What is true about both bands is they cranked out some memorable music over a short period; Skid Row’s heyday was roughly three years (1989-92), while the Crüe would be relevant for a longer period of time (1981-92). That may be the factor that weighs the winner of this matchup.

Guns ‘N Roses (4) vs. Ratt (13)

It is arguable that Guns ‘N Roses may be the top non-“hair metal” band in the 1980s region, setting them apart from Ratt, who firmly embraced their place in that subgenre. The Gunners captured the rebellious nature of rock and roll that was born in the 1960s and had been lost over the previous 20 years as rock became “corporate.” They also would serve as an inspiration to many bands, with such influence eventually leading to their induction into the Rock & Roll Hall of Fame in 2012. Ratt? Unfortunately, it looks like they ran into the “immovable object” here…but the votes will be what matters.

IronMaiden

Iron Maiden (5) vs. Faith No More (12)

This may look like a mauling, but you’ve got to look deep at the subject. Faith No More were one of the few practitioners of what became known as “rap metal,” or rapping the lyrics instead of singing them, setting them apart in the business and spawning bands that still employ Faith No More’s style today. Iron Maiden was one of the most ferocious bands in the genre who had a great longevity in the business. They also had their impact on future bands, but they weren’t the groundbreakers that Faith No More was in their short time. It will be another tough matchup for the voters to decide.

Metallica (2) vs. Whitesnake (15)

Even considering the ample success that Whitesnake and David Coverdale enjoyed during the 1980s, there’s simply no way that I can see voters taking them over a band that is still going strong today (and if you haven’t heard Metallica’s latest Hardwired…to Self-Destruct, you’re missing out on their best record since the Black Album). Metallica has inspired many a kid to become the next great James Hetfield or Lars Ulrich, consistently powering out epic albums and taking down accolades left and right for their work. They also – whether you agree with them or not – have fought against piracy in the industry, something that all should applaud them for. Whitesnake might have had a chance against anyone else on this list…but not Metallica.

Metallica

Queensrÿche (7) vs. Anthrax (10)

This is another difficult clash between two talented bands. Queensrÿche arguably introduced the “rock opera” concept into hard rock music in the 80s (OK, don’t remind me of Quadrophenia or other monumental albums) and served as a conduit for politically charged rhetoric (“Empire” delves into the effects of drug trafficking in the inner cities). But of course, their main claim to fame? “Silent Lucidity,” a Pink Floyd-esque power ballad that made the Billboard Magazine Top Ten in 1990.

Anthrax had their own political stances, talking about the plight of Native Americans (“Indians”) and dabbling with rap and classical music in creating their sound. They are one of the few bands to have had success with two different vocalists, Joey Belladonna and John Bush, and they have influenced thrash metal wannabes for over two decades. Do you take style over substance? Or do you award a long, healthy career that has spawned new generations? Tough vote here…

Def Leppard (3) vs. Cinderella (14)

Another matchup between two bands that, at first look, are mirror images. It is only in looking deeper do you see their differences.

The Leppard were a part of the New Wave of British Heavy Metal (NWOBHM) that came out in the late 70s/early 80s, but they weren’t content with staying in that category. They firmly embraced the “hair metal” groove of the decade and became one of the biggest acts of that time. They also demonstrated a great deal of craftsmanship to their records, taking lengthy amounts of time (in some cases, they had to, such as drummer’s Rick Allen’s unfortunate amputation of his arm after an auto accident that forced him to learn how to play drums on a specially created kit) to put out some of the best rock music of the era.

Cinderella was part of that “hair metal” act and even sucked into it a bit by going the power ballad route (“Nobody’s Fool”), but in essence they were a blues band looking for a groove. Singer/guitarist Tom Keifer is a tremendously underrated musician and the rest of the band provided the base for which Keifer could demonstrate his virtuosity. That their era of commercial success was short (1986-1990) was more a fact of the explosion of grunge and rap than any disqualifying factor from the group.

Slayer

Slayer (6) vs. Megadeth (11)

Man, the 1980s were a tough decade! It’s too bad that one of these bands has to depart in the first round as both, against the right competition, could go deep in this tournament. Slayer was the purveyor of “death metal” with their seminal album Seasons in the Abyss reaching their creative and critical high point. Megadeth, with singer/guitarist Dave Mustaine, have continued performing and releasing highly praised music for almost three decades now, including winning a Grammy Award this year for best metal performance for the title track from their album Dystopia. A knockdown, drag out fight is what to expect here.

That’s it for the second “region” of our tournament. We’ll look at the 1990s and the 2000s/10s (and be thinking of who could be the #1 seeds for those “regions” – would love to hear those opinions) later this week and get into the second round, hopefully by next Monday. Don’t forget to vote by replying here and I will compile the responses – and maybe award a prize once a champion is crowned to a reader!

The Top Ten Underrated Hard Rock Songs, Part One

guitarist

As a method of getting away from the madness that is the 2016 General Election, I’ve been pondering other issues. Of course, I’ve been keeping up with Timeless (which, if you haven’t checked it out yet, you’re missing some good television) and I’ve been trying to finish reading a book that a friend of mine wrote long ago (and, with him in failing health, I’d like to tell him that I read it and enjoyed it, despite some early problems with his usage of an occurrence in our line of work). Then there’s always something going on in sports that can be talked about, whether it is Carolina Panthers’ quarterback Cam Newton whining to the commissioner of the NFL, Roger Goodell, that he’s being hit too often (there are times he has a point, but not every time), the “Chase for the Sprint Cup” (ZZZZZZZZZZZ!) or baseball’s World Series (and congrats to the Chicago Cubs for winning this year and ensuring that Hell is freezing over; even as a New York Yankees fan, it’s great to see a team win it that hasn’t done it in 108 years).

But one thing we can always discuss (and something that I do like thinking about) is music. In the 20+ years I spent in the radio industry, I was always looking to pick the “next big song” to get on the air. I remember one time when I was the Music Director for a station where we debated whether to put the band Faith No More and the song “Epic” on the air. “It’s rap, it isn’t rock,” our Program Director stated. “No, it is a hybrid,” I replied. “You’ll start seeing more of this in the future – the melding of genres to reach as big an audience as possible (something I was proven correct on – for good or for ill).” After the debate, the PD finally added it as the song became one of the biggest tunes of 1989 and has since gone on to be called one of the greatest metal songs of all-time (#30 on VH1’s list) and one of the biggest one-hit wonders of all time (#67, once again by VH1), a bit of an insult to a band that had a great influence on many others.

Along this line, I found myself recently reflecting on what were some of the most underrated hard rock songs in history. To be honest, some of these bands were quite popular, even without these listed songs having a great of success, but it could have been so much better for them if these songs had touched on their audience better than they did. Look through the list and enjoy the songs, then be sure to let me know whether I’ve got it right, I’m completely fucking nuts and/or the songs that you think deserve to be on the list!

Motörhead, Ice-T and Whitford Crane (Ugly Kid Joe), “Born to Raise Hell”

Separately these performers had some success. Motörhead, led by the late Lemmy Kilmister, was always at the forefront of the heavy metal scene from the late 70s to this decade. Ice-T, through his rapping, was quite well known, but T had a desire to do hard rock (to the point of forming Body Count, which barely missed this list with “There Goes the Neighborhood”). Crane was, at this point in time, the one well known by the listening public as, with his band Ugly Kid Joe, Crane had several hits by this point in 1994 (“Everything About You,” “Neighbor” and a remake of balladeer Harry Chapin’s “Cats in the Cradle”).

This was a chance for everyone involved to get together and have a bit of fun doing a song for the soundtrack to the movie Airheads (a highly underrated movie, lots of fun and entertaining). Taking an old Motörhead song that Lemmy had written for another band, they blasted the tune that became the theme song for the film. Unfortunately for everyone, it didn’t go as far as they thought it might; the film has become a cult classic but didn’t do well at the time of its release and the soundtrack album even less so. As such, it finds its place on this list.

Extreme, “Decadence Dance”

This was a band that should have gotten more attention in their time than they did. With vocals from Gary Cherone (who would go on to join Van Halen after the departure of Sammy Hagar) and guitar work from Nuno Bettencourt (a classically-trained virtuoso if ever there was one), Extreme did have a big hit with the power ballad “More Than Words” (history lesson here, young ones – hard rock and metal bands and artists could play as hard as they wanted if they included one ballad on their albums…that was what drew in the ladies). Their perceived magnum opus, Three Sides to Every Story, didn’t hold a candle to their 1990 effort Pornograffitti, from which this song came.

Along with “Get the Funk Out” (also found on this album and a gem in its own right), Extreme could meld hard rock, funky horns and the classical guitar work of Bettencourt into a sound that was quite intriguing to fans of the genre. Unfortunately, it didn’t ensure a long career for the band. Once Cherone left for Van Halen in 1996, the band broke up. They’ve since reformed (as most bands do) and are releasing a new album that is set to drop in 2017. Perhaps they wouldn’t have lost Cherone if this and other tracks had been more than moderately successful.

Faster Pussycat, “You’re So Vain”

The first of our two remakes on this list, Faster Pussycat was a part of the L. A. club scene of the 80s that produced such acts as Mötley Crüe, L. A. Guns and Guns N’ Roses, among others. Named after the Russ Meyer film Faster, Pussycat! Kill! Kill!, the band earned some kudos for their power ballad (sensing the trend here?) “The Ballad of Jayne,” but this remake of the Carly Simon classic should have propelled them to higher points. Perhaps it was because of where it was released; the 1990 double album Rubaiyat:  Elektra’s 40th Anniversary saw artists as diverse as The Cure, Tracy Chapman, Metallica, the Georgia Satellites and others joining Faster Pussycat in doing songs made famous by past Elektra artists. The sheer number of outstanding performances led to difficulty in only picking one great remake.

What I liked about this song was that they took what was a kind ballad (despite its lyrical bite, courtesy of Simon) and put the edge to it that Simon had in writing the song. The guitar work of Brent Muscat and Greg Steele alongside the sneering vocals of Taime Downe worked perfectly with the material they had to use. We could have gone perhaps with “Bathroom Wall” (one of their earlier works), but this one was one of their last chances at success before…well, we’ll get to that in Part Two.

Damn Yankees, “Piledriver”

It is tough for some to accept that Damn Yankees were underrated in anything. With Jack Blades (formerly of Night Ranger), Tommy Shaw (of Styx) and the Motor City Madman, Ted Nugent, handing the musicianship, they had some Top 40 success with this supergroup. But while Blades had his “Night Ranger”-esque songs (“Coming of Age” and “High Enough”) and Shaw had his Styxian tunes (“Come Again”), it was Uncle Ted who was left without a display of his talents.

You’ve got to dive deep on their eponymous debut album to find “Piledriver,” a Nugent-esque tour de force that reaches out and grabs you from the beginning. The jingling doodling from Nuge suddenly explodes in a blitzkrieg of guitar that never again lets up on the listener. “Piledriver” is also the only song that Nugent sings for Damn Yankees, who normally utilized Ted just as a guitar god, harkening back to his pre-“Cat Scratch Fever” days when artists such as Meat Loaf were the vocalist on his solo albums.

Dangerous Toys, “Scared”

This Austin, TX band could have been so much bigger than they were in the 80s. Most often compared to Guns N’ Roses, Dangerous Toys had a lot of the same stylings as the Axl Rose led outfit, but also incorporated plenty of blues licks and Southern rock attitude into their music. You just have to listen to “Teas’n, Pleas’n” to get this sound in your head.

Scared” was the tune that was supposed to have carried them over the top into superstardom, but it only served as a place marker while the audience waited for their next effort. Their second album, Hellacious Acres, didn’t do quite as well as expected and the tour that would have supported their effort, called “Operation Rock & Roll” (it was just after the start of the First Gulf War) with such acts as Motörhead, Judas Priest and Alice Cooper, was shut down only 10 weeks into the schedule. Dangerous Toys never again reached the levels of success that they did after their eponymous first release which, from front to back, is a classic.

There’s plenty for you to listen to here, so we’ll take a break. But Part Two will bring you more of those underrated gems of hard rock and the reason why the genre seemingly disappeared overnight.

Wondering Whatever Happened to…For February 1

Filthy15

Sitting around wondering whatever happened to the “Filthy 15” while pondering…

You Want to Talk About Double Standards? In December in Akron, OH, Daniel Kovacevic was the subject of a brutal verbal tirade from Deone Slater on a sidewalk in a busy neighborhood. Kovacevic was so in fear, reports state, that he called police in to get Slater away from him. Police arrived on the scene and did speak to Slater, who was yelling profanities at Kovacevic…because Kovacevic wanted to walk in front of Slater’s business, a barbershop, while carrying a loaded rifle slung on his shoulder.

While Ohio is an open carry state – even to the point of being able to openly carry WITHOUT a license – Slater was understandably bothered that Kovacevic chose to do it in front of his business and really didn’t understand why police had an issue with his displeasure. “They (police) asked me why do I have a problem,” Slater said. “He’s a threat to me and my people. He’s a threat to me.”

If you hadn’t figured it out, Slater is black while Kovacevic is white and Slater believes this played into police reaction, which they deny. Still, the state of Ohio is the one that saw police shoot to death a 12-year old Tamir Rice for having a toy gun (among other superb examples of police work in the state), but in this instance decided to speak to a business owner about being upset over a guy walking around in front of his place of business carrying a rifle and running off his customers. Double standards, anyone?

What, You Contributed How Much? OK, Go Ahead and Kill Kids… – In the state of Florida, the stupidity normally runs towards criminals running into the swamp and being eaten by alligators or a bicyclist who shoots himself to death because he’s carrying his gun on him, but this one takes the cake. After the Republican Party of Florida was partially the beneficiary of $200,000 in political contributions from Tenet Healthcare, state officials dropped quality standards for surgical procedures for children with heart defects despite those procedures being in place for nearly four decades without being questioned.

Tenet Healthcare is a for-profit hospital that was under review because many tests and services for pediatric cardiology weren’t being performed at the hospitals owned by the company. As such, the Tenet-owned hospitals were unable to maintain a proficiency in heart operations for children, even on some babies younger than six months. A doctor from Johns Hopkins University suggested that the Tenet hospitals stop performing surgeries until their performance could improve. The hospital system ignored them.

Since those Tenet-run hospitals didn’t conform to the state’s standards for children’s heart surgeries, the state got involved. The state also quickly closed their investigations after $200,000 in campaign contributions were given to Governor Rick Scott’s political action committee, Let’s Get to Work, and the Republican Party of Florida. Of course, the politicos in charge claim that there is no “pay for play” in action in this case.

You might think that protection of children might be something that everyone would be interested in. Apparently not in the state of Florida…

For SHAME, Woman! Wear The Proper Clothes! – In Kansas, apparently a lawmaker is more interested in what a woman might wear when she appears in front of his committee instead of what the committee’s work might entail.

Kansas State Senator Republican Mitch Holmes instituted an 11-point dress code that dictated what was an “acceptable form of dress for women appearing in front of his committee.” Holmes, who said he thought about putting in something for men but eventually decided that “they didn’t need any guidance,” is the chairman of the Senate Ethics and Elections Committee and says he wrote the instructions “because provocatively dressed women are a distraction.”

Naturally, the pervert Senator caught some flak for these “guidelines.” A fellow Senator, Democrat Laura Kelly, plainly said, “Oh for crying out loud, what century is this?” Another female Senator and the ranking Democrat on the Holmes committee, Oletha Faust-Goudeau, stated, “In my 13 years in the Legislature, that’s the first time I’ve ever read anything like that.”

After several days of being the laughingstock of the Kansas Senate, Holmes was finally shamed into removing the rules from his committee. “My failure to clearly specify that all conferees, regardless of gender, should strive to present themselves professionally is unacceptable. I apologize and meant no offense. I have decided to retract the conferee guidelines,” Holmes said in a written statement. He has refused any further statement on the subject.

Perhaps now the Senator can get about the business of rescuing Kansas’ rapidly escalating budget deficit rather than worrying about seeing some woman’s cleavage.

Perhaps A Remedial Course in the First Amendment Is in Order – Last week, the University of Missouri assistant professor who called for “some muscle” to rough up a student journalist during a campus protest in the fall was charged with a misdemeanor assault charge. Almost as quickly, the professor was able to avoid prosecution by agreeing to complete 20 hours of community service and not violate the law for the next year.

The problems began at the University of Missouri on November 9 when professor Melissa Click, who had joined several protestors who were protesting the delay that the school’s leadership was taking in its investigation into several racial matters on the campus, aggressively approached two student journalists who were working for the campus newspaper. Click allegedly grabbed one of the student journalists and called for “some muscle” to forcibly remove them from reporting on the scene of the protests on campus.

It must also be added here that Click is a professor of communications on the campus and had a courtesy appointment with…the University of Missouri’s School of Journalism, which she not surprisingly resigned after violating that little thing called “freedom of the press.”

Although the legal case is apparently solved for Click, the school still has to decide what to do about her position. There is a tremendous uproar from the state Legislature to have her tenure revoked, but there is an almost equal crowd that is willing to accept the apologies that she has made and move on. At the minimum, she should have to take a review course in Journalism 101 and maybe keep that “freedom of the press” thing in mind next time around.

Now the answer to the question…whatever happened to the “Filthy 15?”

TipperGore                            PeopleMagazine1985

Three decades ago, there was a movement afoot that attempted to crush the rise of “shocking” lyrics found in pop, rock and metal music of that era. Led by then-Senator Al Gore’s wife Tipper (we never really found out who else was with Tipper in the group, just that she had a “legion of followers”), the Parents Music Resource Center railed against all forms of music that it felt violated certain standards that it set (and, once again, there was no indication of how these standards came about). They called the songs the “worst of the worst,” the worst offenders, the “Filthy 15” and the PMRC even went to Congress testifying about how “this type” of music was destroying the youth of that day.

The PMRC, as they were known, wanted to introduce a ratings system, much like what was done with movies since 1968 with the MPAA film ratings system. Instead of PG, R or X, however, the PMRC wanted something a bit different – D/A for drug/alcohol references, O for occult, V for violence and, sure, X for profanity or sexual references. After a hearing in front of Congress didn’t get the ratings system that they wanted, the PMRC was able to run the long con on the music industry that they WOULD be able to get their ratings system through eventually. The two parties ended up settling for the “Parental Advisory: Explicit Lyrics” sticker that we’ve come to ignore for the past 30 years.

FrankZappa

To look back at the “Filthy 15” today, you would really have to chuckle. Metal bands such as Judas Priest, Motley Crue, W.A.S.P., Mercyful Fate, Def Leppard and Twisted Sister (yes, the song that Donald Trump currently is using in his Presidential campaign, “We’re Not Gonna Take It,” was a part of the “Filthy 15”) were easy targets for violent or occult references, but some of the others were comical. The Mary Jane Girls (“In My House” for being sexually explicit), Cyndi Lauper (“She Bop” an ode to masturbation) and Madonna (“Dress You Up” for being sexually explicit in probably what was her most non-sexual song ever) all earned the ire of Gore and her coven of mommies whose ears hurt when they heard these songs.

It seems the ladies had a particular wing of the PMRC built for the iconic Prince. Not only was he there for “Darling Nikki,” he also earned his place on the list with Scottish songbird Sheena Easton (“Sugar Walls” was written by Prince) and his protégé Vanity (“Strap On ‘Robbie Baby’”). Yes, if you couldn’t figure it out, it was for profane or sexual content that these songs made the PMRC list.

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The two gentlemen above (along with musician John Denver, oddly enough) were at the forefront of testifying against Gore and the witch hunt from the PMRC. Noted musician Frank Zappa, while not a member of the “Filthy 15,” eloquently testified to Congress against the censorship of music, while singer Dee Snider of Twisted Sister said at the time that the music was no different than what kids had done throughout history…finding a way to rebel against their parents’ staid world. Unfortunately, Zappa would pass away in 1993 from colon cancer; Snider still is on the road, performing with Twisted Sister and as a solo act, and he admits to listening to everything that his children do to make sure that it is appropriate for them to hear, only censoring in the most extreme cases (he notes the Tenacious D song “Fuck Her Gently” was not appropriate for his eight year old daughter in an interview).

So what happened to some of the other “Filthy 15?” Vanity, for her part, never quite had the career that she might have had if she had stayed under Prince’s tutelage (she was supposed to be the female lead in Purple Rain, but had a falling out with Prince before filming began; the role would then fall to another Prince acolyte, Apollonia). The album that her PMRC greatest hit appeared on, Wild Animal, wasn’t exactly memorable and, in 1985, she posed for Playboy. In the early 1990s, she shed the stage name Vanity (returning to her birth name), found Christianity and became a minister. Regarding her days as “Vanity,” she said to Rolling Stone, “I was young and irresponsible, a silly woman laden with sin, not caring for anything except fame and fortune and self.”

The same is also true for Blackie Lawless, the founder and leader of W.A.S.P. Their song “Animal (Fuck Like a Beast)” was one of the biggest bombshells of the PMRC and Lawless’ photograph – of him with a circular saw blade protruding from his groin as he played bass onstage – was waved frequently during the hearings in Washington, D. C. in 1985. Lawless, however, now is a born-again Christian and states that he hasn’t played the song – either live or otherwise – in more than a decade.

Others, however, are unapologetic for the music they created. Easton commented to Billboard that “parents have the right to filter the content that their children are exposed to. If parents felt that “Sugar Walls” was inappropriate…they were well within their rights. Adults, on the other hand, are free to choose what they want.” Prince noted that the “times were different back then” in saying, “I wouldn’t stand out today if I were brand new.”

Finally, there are those that viewed that “Parental Advisory” label as a badge of honor. King Diamond, the vocalist for Mercyful Fate who went on to form his own eponymous band, stated, “The sticker never served as a warning, but more as a stamp of approval that kids ended up looking for in record stores.”  Vince Neil of Motley Crue echoed Diamond, saying, “Once you put that sticker on, that album took off. Those kids wanted it even more.

And as for the PMRC and Tipper Gore? The organization doesn’t even exist anymore and Gore separated from her husband in 2010. She continues to be a political advocate, this time for the LGBT community and in support of AIDS research. Meanwhile, no one pays any attention to the sticker on the CDs anymore and songs such as Big Sean’s “I Don’t Fuck with You,” Tove Lo’s “Talking Body” (where she sings “we fuck for life”) and other songs are readily played on the radio nowadays with little thought about their lyrical content.