Mind Fields: Baby Boomers And Self Hatred

Mind Fields

I’ve noticed that some (as they are called) Baby Boomers are like Jews who are anti-Semitic. My mother was a classic Jewish anti-semite. Hateful rhetoric dropped from her mouth like crap from an owl’s cloaca. “The Jews will trick you every time,” she often said. “You can’t trust them.” Another of her favorites: “Money’s what they’re about. Money money money.  Jews do one thing well, and that’s make money. It’s a shonda that Hitler didn’t succeed in wiping them out!” The word “shonda” is Yiddish for “shame” or “too bad”.

As I got into my early teens I stopped being afraid of my mother. I’d outgrown her. She couldn’t beat me up. “Mom”, I would riposte,  dodging her clumsy right hook and restraining my urge to retaliate with a knockout uppercut. “You’re a Jew, I’m a Jew, dad’s a Jew, Sandy’s a Jew. How can you say this horrible Nazi crap?”

My mom was crazy. I mean truly bat-poo crazy. Her mind ran like the railroad tracks that led to Auschwitz. There were predictable stops at the same stations at the same times. There were no deviations. Is that one definition of crazy? “An extreme rigidity of thought in which facts and nuances cannot be accommodated lest the pathological structure of said rigidity be broken like a bridge without proper support.” 

Let me get back to my original thesis, regarding Baby Boomers. I’m seventy four years old. Demographically I’m a baby boomer. In other cultures I would be a respected Elder but in Amerika I am seen by some as an irrelevant, un-hip old fart who still listens to Sixties pop music. Let me correct this misapprehension. I listened to (and still listen to ) John Coltrane, Charles Mingus and their ilk. I admit to being a huge musical snob.

I enjoyed post-1965 pop music. I bought a limited number of pop records. I bought the second Rolling Stones record. I bought five Bob Dylan records, starting with Bringing It All Back Home and ending with Blonde on Blonde. I hesitated at John Wesley Harding. I had to wait a few years for Dylan’s Multiple Personality Disorder to roll over like slot machine fruit to a configuration I recognized. I never bought a Beatles record. I wasn’t a fan. I am now, but I still don’t buy their records. Who needs to? 

It’s weird when I read articles in which Baby Boomers are generalized into a sociological cluster that resembles a haul of mackerel in a giant net. Our nation has been dominated by some nebulous force called Youth Culture since we were Youth ourselves. Now, if we don’t understand or enjoy Hip Hop we’re relegated to the Outer Limits of cultural discard.

Some of the best music I hear is television tease-music. These are theme songs, fragments or background percussion/guitar riffs. They are sound-memes, identifiers of historic hit series like Sons Of Anarchy or Breaking Bad. My ear tells me, “Hey, that’s pretty good stuff..”.  Fortunately there is a Breaking Bad CD, or several, divided by Seasons. They’re like playlists. Tasty!

The contemporary musical acts to which I am exposed are forgotten as soon I’ve heard them. I give Lady Gaga props for her science fiction wardrobe and catchy tunes. But most of the singers or bands I hear get me to wondering. Can they play at all? Have they spent fourteen hours a day practicing fundamental exercises on their chosen instruments? Can someone explain to me why the musical acts on “So You Think You Can Dance” are so abysmal? We love the dancing and choreography. Love it! I’m convinced that dance is in the midst of a golden revival, the invention of truly new languages. But when each week’s “musical guest” appears we shudder and watch in horrified dismay. Is some paradigm being revealed? Is music being sucked into a rip tide and washed out to sea?

I seriously doubt it. The distinction here is that the music that’s getting “play” is crappy. I have no refuge. If I want to listen to jazz I’m welcome, of course. But there is no more John Coltrane, no more Charles Mingus. Now we have Marsalis Gumbo, that well known New Orleans dish. It’s good stuff, it shows prowess, soul, it’s jazz. It seems, however, that musical innovation is being led by technology. One can buy a machine that makes sounds that seem to emanate from remote corners of the galaxy. It has no difficulty playing in 15/8 time. We can write and play whatever we want! Our imaginations have been unfettered. Where are the people putting these awesome tools to use? There are no musical categories any more. Jazz as a dynamic art form ran out of gas around 1970. It had played itself into a corner called “New Wave” or “New Thing” and hardly anyone could tolerate the caterwauling that emerged from the saxophones of Albert Ayler or John Tchicai. (A confession here: at the time, I loved New Wave. I was taking acid). 

I’m not ashamed of being seventy four years old. The alternative is to be dead. Anyone who has reached such an age has survived a given amount of horrible shit. I’m proud to be a survivor. I know certain things. Shit is a great teacher. 

My mother taught me by negative example not to feel contempt for my own tribe. Her railroad tracks ran out in 1980, when she committed suicide. She rolled up on the terminal station of her mental Auschwitz and it didn’t look very inviting.

I know this isn’t my best-written piece, I know it’s sloppy and barely hangs together. I’m trying to start a conversation. I’m tired of being dismissed by little kiddies half my age who are now taste-makers, trend-setters and power brokers.

I’m trying to make my mark as a writer and I passed Rejection Slip #500 a long time ago for my novel, CONFESSIONS OF AN HONEST MAN. It’s as profound and touching a story as all get-out, it will make you laugh and make you cry but it has no vampires, nor anything with long teeth, it’s just about people and the way they go about healing themselves from having crazy mothers. Seventy pages of this book take place in 1982 Afghanistan! It’s exciting as  hell!

Literary agents, editors,  publishers, taste-makers and other cultural filters and gate-keepers will some day be either seventy four years old or six feet underground. I invite them NOW, (before it’s too late) to get on my train, whose tracks are constantly being built right under the engine and we never know where we might end up.

(Today’s magic word is “Duck on a string”.  Okay, four words.)


Arthur Rosch is a novelist, musician, photographer and poet. His works are funny, memorable and often compelling. One reviewer said “He’s wicked and feisty, but when he gets you by the guts, he never lets go.” Listeners to his music have compared him to Frank Zappa, Tom Waits, Randy Newman or Mose Allison.

These comparisons are flattering but deceptive. Rosch is a stylist, a complete original. His material ranges from sly wit to gripping political commentary.

Arthur was born in the heart of Illinois and grew up in the western suburbs of St. Louis. In his teens he discovered his creative potential while hoping to please a girl. Though she left the scene, Arthur’s creativity stayed behind. In his early twenties he moved to San Francisco and took part in the thriving arts scene. His first literary sale was to Playboy Magazine. The piece went on to receive Playboy’s “Best Story of the Year” award. Arthur also has writing credits in Exquisite Corpse, Shutterbug, eDigital, and Cat Fancy Magazine. He has written five novels, a memoir and a large collection of poetry. His autobiographical novel, Confessions Of An Honest Man won the Honorable Mention award from Writer’s Digest in 2016.

More of his work can be found at www.artrosch.com

Photos at https://500px.com/p/artsdigiphoto?view=photos


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Words to Live By – Inspiration, Legacy, and Beatles Music

Words to Live By

The first Wednesday of the month, writer Jeff Bowles muses on life, creativity, and our collective destinies as makers of cool stuff. You’re a writer, but have you ever thought about how or why? Here are some words to live by.

Paperback Writer

Over the holidays, I watched the new Beatles documentary released on Disney+, The Beatles: Get Back. I’m a huge fan of the group and always have been. I realize there are non-Beatles fans out there, but I have to admit, I’ve always been mystified by their lack of enthusiasm. To me and millions of other Beatlemanics, the band is a historical landmark, having written and recorded music that changed pop culture for generations to come.

This blog entry is about inspiration and legacy. I liked to write stories as a kid, but really, I wanted to be a rock star. This would’ve been in the mid-90s. At the time, many potential role models existed for me and every other outcast kid who picked up a guitar. I wasn’t into Nirvana or Linkin Park at that age, didn’t appreciate Red Hot Chili Peppers or Green Day. I loved The Beatles, plus lots of other groups from the 60s and 70s. Never mind that my older brother and mom began spoon-feeding me this stuff at a very early age, or the fact that I looked up to my brother and enjoyed liking the things he thought were cool. The Beatles were special, supernatural even. I believed that then and I believe it now.

But the truth is, I haven’t been feeling particularly inspired lately. Not even Christmas cheered me up. In fact, it only made me feel worse. This Get Back documentary, it’s exhaustive (and a little exhausting). Only a mega Beatles nerd could’ve pieced it together. Peter Jackson (director and co-writer of The Lord of the Rings trilogy) happens to have been that nerd. The film is almost eight hours in length, split over three episodes, focusing on just one month or so in the lives of the famous foursome.

The great thing about it is that we really get to see The Beatles’ creative process up close. Lots of labor and missteps, mistakes and dead ends. Critics have said this proves they weren’t as legendary as fans have always claimed. To me, it makes them more human, which is a comfort, because it proves anyone anywhere can muster enough talent and drive to produce work of honest significance.

Inspiration is great, but it’s not nearly as effective as perspiration. When I was learning to play and sing and write songs, John Lennon was my idol. I wanted to be him, and man did all the other kids in school think I was strange. I remember looking up at the stars one night when I was ten years old and whispering to the heavens,

“I want to be the greatest rock star ever.”

Or something to that effect. As it turned out, I lived a small (very small) portion of that dream. Played music with people all the way through my teens and early twenties. Lots of tiny coffee house gigs, open mic nights, bars, private celebrations. When I was twenty-one, I met the woman I would one day marry, and eventually I found I wanted different things out of life. Writing short stories and novels, the pursuit of some kind of career in this field, it replaced my desire to make music almost entirely. I grew dedicated to the craft and learned a hell of a lot. For the most part, writing has made me happy. I’m glad I took the years necessary to get good at it.

But I wouldn’t have found that dedication, that fire in my heart, if I weren’t already intimately familiar with it. There is an electric feeling that occurs inside the body and mind of a musician caught in the flow of her or his own creativity. The Beatles clearly knew that feeling well. It’s potent and wonderful, thrilling and powerful.

I came to learn that writing is a slower burn. Tons of work up front, and then maybe (maybe) a bit of adulation months or years later. But it still holds moments of intense creative gratification. No matter who you are, how popular or famous or legendary, this process, this mental birthing experience, it can be difficult and frustrating. John Lennon, Paul McCartney, George Harrison, and Ringo Starr were all wonderful musicians. They had nothing to prove to anyone, yet they still worked themselves to the bone to make stuff that simply had no equal.

So here’s my question for all of you: how dedicated are you to what you love? What thrills you and gets you excited for writing or anything else in life? Maybe it’s a bit unfashionable to admit that music recorded some sixty years ago makes me feel ready to take on the world, but it does. Especially when I get to see it up close, visceral, all the creative battles, coming to the logical and favorable conclusion of work that stands the test of time.

Next time you’re feeling down in the dumps and not at all creative, head back to the source—your personal wellspring of inspiration—and see if it won’t refill your cup a little. Pick up a guitar, or a pencil or paintbrush or a media powerhouse of a computer, or maybe just watch a good film about one of your favorite things on earth. All hail the makers of cool stuff. Be they Beatles or bestsellers or nobodies in particular.

Peace and love to you this new year. May it bring you everything you need, and maybe a few of the things you want, too. Until next time.

Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!

Love Madness Demon Cover Final

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!

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Poetry Set to Music – Just call it a song

Poetry comes in many forms. There is free verse, rhymed poetry, blank verse or metered poetry, syllabic poetry, (such as hiaku on tankas), epic poems, narrative poetry, pastoral poetry, and sonnets, just to name a few. I’m partial to rhymed poetry, although I was warned away from it in school. I love rhymes of Dr. Suess and Shell Silverstein, and I love playing with rhyme and alliteration in my own poetry. Wordplay makes writing, (and reading), poetry fun. Poetry forms with structured rules, such as villinettes or syllabic poetry don’t come as easily for me.

I think it must be even more difficult to write poetry put to music, but if you think about it, many songs do use alliteration and rhyming, and this is perfectly acceptable in the song writing world. But what is a song, if not a poem set to music? Even many of the nursery rhymes that were handed down to you as a child have been put with a popular tune, making them more memorable: Old King Cole, Ring-Around-the-Rosy, London Bridge, Jack and Jill, etc… Below are some lyrics to some popular songs that use rhyming, but if you had never heard them, and didn’t know the tune, all you would see is poetry.

Winter nights we sang in tune

Played inside the months of moon

Never think of never

Let this spell last forever

Heart – Magic Man


Drowning nightly in deep blue seas

Waves of sadness swallow me

No soul can hear me beneath the waves

No gods, no saviors, no hands of fate

The Pretty Reckless – Only Love Can Save Me Now


Poetry uses language to paint vivid mental pictures and tell stories, as can be seen in the lyrics below. Fleetwood Mac uses similes and metaphores to paint a mental picture for the listener in some very poetic ways in Rhiannon, and Jethro Tull’s lyrics in Locomotive Breath conjurs some unusual images, as well.

Rhiannon rings like a bell through the night

And wouldn’t you love to love her?

Takes to the skies like a bird in flight

And who will be her lover?

Fleetwood Mac – Rhiannon


In the suffering madness

Of the locomotive breath

Comes the all time loser

Headlong to his death

He sees the piston pumping

Steam breaking on his brow

But Charlie stole the handle

And the train, it won’t stop going

No way to slow down.

Jethro Tull – Locomotive Breath


Narrative poetry tells a story in verse, as do many songs. Narrative songs that come readily to mind include The Wreck of the Edmund Fitzgerald, by Gordon Lightfoot, Running Bear by Sony James, and One Tin Soldier, by The Original Caste. Here, McGraw tells a story of the growth of first love in his song, Don’t Take the Girl. (And it rhymes.)

Johnny’s daddy was taking him fishing

when he was eight years old

A little girl came through the front gate

holding a fishing pole

His dad looked down and smiled,

said we can’t leave her behind

Son, I know you don’t want her to go,

but someday you’ll change your mind.

Tim McGraw – Don’t Take the Girl


I’ve listed the handful of songs above with the names of the artists who sing them, but that’s another way songwriters and poets are alike. Both get very little recognition for their writing. Often the singer is not the songwriter. Songs may be peddled among singers, as was the case with That’s the Night that the Lights Went Out in Georgia, (written by someone named Bobby Russell), which Cher turned down before Vicky Lawrence ended up cutting the record. Magic Man was actually written by the singers, Ann and Nancy Anderson, and Rhiannon was written and sung by Stevie Nicks. Taylor Momsen and Ben Phillips of The Pretty Wreckless wrote Only Love Can Save Me Now. But, Don’t Take the Girl was written by songwriters Craig Martin and Larry W. Johnson, Locomotive Breath may be sung by Jethro Tull, but it was written by Ian Anderson.

It’s customary for songs to be identified with the singer, rather than the song writer, and poets don’t become famous until after they are dead. Song writers are the unknown poets of the music world.


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Music as Inspiration or Copyright violation?

Using Lyrics in Your Fiction

2020 saw the birth of the book I’m currently working on, and it was all inspired by music. In fact, the female lead character, Amaryllis is based on the music of Taylor Momsen and The Pretty Reckless. So, I had this great idea to set the tone and offer a glimpse into the thoughts of the pov character for each chapter with a snippet of lyrics; lyrics from The Pretty Reckless for Amaryllis, and lyrics from various artists for the male lead, LeRoy. It’s a time-travel story, titled The Outlaw & the Rock Star. The only catch is, an author has to be careful not to infringe on the copyright when using lyrics in her fiction.

Copyright, whether in the literary arena or the music industry, is serious business. Artists and writers protect that which they have created, as they should. As a writer, I can’t imagine the outrage I would feel, were I to learn someone else had infringed on my copyright. My words are my creation. They came from me. No one else on the planet can write them in just the way I wrote them, unless they steal them. And, let’s face it folks, theft is what copyright infringement is. So, I get why writers and artist want to protect their creations. I want my work to be protected, too.

According to Matt Knight on in “Using Lyrics in Fiction” (5 January 2019) on Sidebar Saturdays, obtaining copyright permission for song lyrics involves a ton of research into who actually holds the copyright, and then contacting them to request permission to use specific lyrics in your fiction, and pay the requested fee to obtain copyright permission. It can be both expensive and time consuming.

Knight offers a few ways around obtaining copyright permission, including only using the song title, since titles cannot be copyrighted, or using a small enough portion of the lyrics so that you can claim fair use, or choosing different lyrics from the Public Domain realm. Since this one of my characters is based on the music from one specific band, using Public Domain lyrics doesn’t seem to be an option. Since the lyrics are going to be used to set the tone of the story, using only titles wouldn’t really work. I really feel the story would loose a lot if I don’t include the lyrics, although I might be able to trim some of them a little.

So, I’m left looking at researching each individual song and contacting each copyright holder to gain permission to use their lyrics in my work, which seems like a lot of work. In the case of The Pretty Reckless, I will need copyright permission for multiple songs, so it may be an up hill battle, and it could get very expensive.

I can do the research and strive to obtain all the copyright permissions that are needed. I can’t say I’m looking forward to that part, or that I think it will be easy, but nothing good ever is. I’ve only written about six chapters, but my heart is already invested in these characters and their story. This is going to be more of a project than I realized when I concieved of the idea for this book. Here’s hoping this venture doesn’t cost more than I can afford.