NICK GILLESPIE
Nick Gillespie (born August 7, 1963) is an American libertarian journalist who was former editor-in-chief of Reason magazine from 2000 to 2008. He is currently a contributing editor of Reason.com and the editor-in-chief at Reason.tv. He has written articles or been a commentator for a variety of media outlets. Gillespie has edited one anthology, Choice: The Best of Reason, and co-authored one book, The Declaration of Independents. (More from Wikipedia)
But before I get into all of that, let me share this appreciation for Prince that was posted by Nick Gillespie on reason.com as part of the best commentary on the PMRC that I have been able to find online. It is quite a bit more barbed than the mainstream accolades that you and I have been reading of late.
“Prince is dead and we look to see who might replace him and see no one on the horizon. As Brian Doherty so aptly puts it, ‘He was a bold rebel in terms of image and message, playing with still-prevalent social confines of propriety in behavior, dress, and comportment, mixing sex and religion like they were his own personal possessions he was generous enough to share with us, destroying color lines in pop music and its fandom.’
“More than Michael Jackson and arguably even more than Madonna — to name two other ’80s icons who challenged all forms of social convention in a pop-music setting — Prince took us all to a strange new place that was better than the one we came from. (In this, his legacy recalls that of David Bowie.)
“In the wake of the social progress of the past several decades, it’s hard to recapture how threatening the Paisley One once seemed, this gender-bender guy who shredded guitar solos that put Jimi Hendrix or Eric Clapton to shame while prancing around onstage in skivvies and high heels. He was funkier than pre-criminality Rick James and minced around with less shame and self-consciousness than Liberace. Madonna broke sexual taboos by being sluttish, which was no small thing; but as a fey black man who surrounded himself with hotter-than-the-sun lady musicians, [Prince] was simultaneously the embodiment of campy Little Richard and that hoariest of White America boogeymen, the hypersexualized black man.
“No wonder he scared the living s--t out of ultra-squares such as Al [Gore] and Tipper Gore. In 1985, the future vice president and planet-saver and his wife were, as Tipper’s 1987 best-selling anti-rock, anti-Satanism, anti-sex manifesto put it, Raising PG Kids in an X-Rated Society. Tipper headed up the Parents Music Resource Center (PMRC), whose sacred document was a list of songs it called ‘The Filthy Fifteen’. These were songs that glorified sex, drugs, Satan, and masturbation and could pervert your kid — or even lead them to commit suicide. At number one on the list was Prince’s ‘Darling Nikki’, from his massive soundtrack record to Purple Rain (jeezus, wasn’t that movie a revelation? Of what exactly, I can’t remember; but finally, it seemed, a rock star had truly delivered on the genius we all wanted to see emerge from pop music into film).”
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The Nick Gillespie piece continued: “Of course, when you’re the wife of a second-generation U. S. Senator, your mad counts for more than most of the rest of us. In 1985, the Senate wasted its time and our money by holding a hearing on the dread menace of dirty lyrics and the whole bang-the-gong medley of backward masking, rock-induced suicide, and sexual promiscuity. Just a few years later, Al [Gore] and Tipper [Gore] would reinvent themselves as diehard Grateful Dead fans, the better to look hip while campaigning with Bill [Clinton] and Hillary Clinton (another couple of revanchist baby boomers who burned a hell of a lot of time in the 1990’s attacking broadcast TV and basic cable as impossibly violent and desperately in need of regulation).”
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As quoted in the Nick Gillespie post, Dee Snider told the U. S. Senate: “You will note from the lyrics before you that there is absolutely no violence of any type either sung about or implied anywhere in the song. Now, it strikes me that the PMRC may have confused our video presentation for this song . . . with the lyrics, with the meaning of the lyrics. It is no secret that the videos often depict story lines completely unrelated to the lyrics of the song they accompany. The video ‘We’re Not Gonna Take It’ was simply meant to be a cartoon with human actors playing variations on the Road Runner – Wile E. Coyote theme. Each stunt was selected from my extensive personal collection of cartoons.”
(June 2016)
