Supreme Court Rules on Gay Marriage

ollowing last week's landmark sodomy decision that opened the door for Americans everywhere not to be white Christian fundamentalists, onlookers have waited with baited breath for the other shoe to drop as the Supreme Court passes judgment on the controversial topic of gay marriage. That shoe came sooner than expected yesterday, when the high court handed down a ruling that many anticipated but few wanted to admit: "Yes, marriage is really gay."

"Marriage is like, something chicks invented to make sure guys don't have any fun," explained Justice Anthony Kennedy in his majority opinion.

"So you're saying I've got to support you financially, pay for a bunch of foofy-ass furniture I don't want, raise some snot-monster kids who live to piss me off, and I don't get to have sex with anybody else no matter how fat you get? Oh yeah, that sounds like a great deal. Sign me up and point me toward the polo shirts," sneered Justice David Souter while miming the jerk-off motion with his hand.

"I was going to get married once, but then I decided to just slam my balls in a car door and call it even. Best call I ever made," boasted Justice Breyer, sitting down gingerly.

Justice John Paul Stevens nodded in agreement. "Friend of mine got married once. They said it was Vietnam that screwed him up, but I for one know better. His wife was into collecting those little beanbag animals," Stevens shook his head solemnly.

The lone dissenting opinion was voiced by Justice Antonin Scalia, who spoke meekly from the bench.

"Hey, I like being married. It's fun to talk to my wife about what kind of sink we're going to put in the downstairs bathroom, again and again, for hours until you don't care if you live or die. And to hang out with my wife's asinine friends from college, that's a blast," asserted Justice Scalia, starting to cry. "Anyway, when I was younger I found single life to be overrated, I really did. Always getting to do whatever I wanted, staying out all night, having my own ideas…" Scalia trailed off as he got a far-away look in his eyes.

"Plus I think there's something in the bible about getting boils on your ass if you're not married by the time you're 30. Ugly stuff. It's in there somewhere, I swear. Enjoy life at your own peril, single sinners."

Uptight religious groups everywhere spoke out against the decision before it was even handed down, not wanting to miss an opportunity to start some shit.

"We will not stand for this attack on the sanctity of marriage," threatened Rev. Lee Harden-Stroker, president of the one-man To Heck with Gays Coalition of some godawful place called Hucknuckle, Texas. "Next thing you know them liberal judges gonna rule that church is boring or that closed-minded fundamentalist dogma drives a wedge between people while failing to address the spiritual needs of its followers in any meaningful fashion. And them's fightin' words."

"Sure, being married isn't much fun, but nobody said life was supposed to be fun," explained Tyner Allaboy of the Concerned Christian Men's Club. "Show me where the word 'fun' appears in the bible. Ain't there. It's God's plan for men and women to grow emotionally distant from each other, raise ungrateful children and spend our weekends fixing the damned rain gutters again and again."

"Just think about it," concluded Allaboy in a flourish of inspiration. "If God really wanted us to be happy, would he have put our mouths so far away from our privates? Try and argue with that."

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It's a question that I get asked on a nearly daily basis, and understandably: just what in the hell was wrong with American music in the 1950's? History has it that the 1960's were the decade of recreational and experimental drug use, citing such examples of delusionary flakery as Jefferson Airplane's White Rabbit, The Beatles' I Am the Walrus and Gregg Allman's hair. And while I wouldn't argue against these as prime examples of pharmaceutical excess, they pale mightily in comparison to the near-psychotic mutant trend of late-50's doo-wop music. John Lennon may have envisioned Mean Mr. Mustard dripping from a dead dog's eye, but even this game of Clue gone horribly wrong looks downright pedestrian next to a jabbering psychopath questioning who exactly put the ram in the rama-lama-ding-dong.

Like a drugged-up visitor from deep space, doo-wop appeared seemingly out of nowhere, holing up in the chests of America's great pop stars in the late 50's and early 60's. From this parasitic enclave it communicated with the world through a bewitching combination of di-dits, bompa-bomps, ding-dangs, shooby-doos and doh-dohs. Why did it come, and what was it hoping to communicate to us? Nobody knows, though our best guess is that it had to do with seeking therapy for a stuttering problem.

The earliest known recording of the mutant doo-wop style was the Orioles' 1948 tune It's Too Soon To Know. During the recording of what was, by all reports, a fairly normal song, lead singer Sonny Til suffered the massive variety of nervous breakdown and began singing rhyming gibberish vaguely related to his ex-wife winning custody of their home and the recent transmission failure of his Oldsmobile. Fearing for their own lives, the band continued to play and discovered to their dismay that when they had finished the take they were at the end of their studio time. As was a common practice at the time, the record company had only secured them ten minutes of recording time to record and mix the song, and they'd had to sell bass player Johnny Reed's virginity in the process as they were obligated to pay for the studio time themselves.

Low on options and wary of bat-wielding record company thugs, the band played it cool, acting as if the recording session had gone fine. The record was released as-is by record company execs who were so outside of the loop that they once released a recorded armpit fart as a single, snookered by an engineer with a sense of humor. Back in that day all of the record companies were so desperate for a hit they would release anything, sometimes even recordings of other records held up to a microphone, as the execs in charge all listened to marching bands and had no clue what the record-buying teens of the day were into. They seldom listened to the records they put out, which led to the infamous "My Ding-a-Ling" scandal of 1972.

It's Too Soon To Know wasn't a huge hit, but it sold surprisingly well considering the totally bugshit nature of the vocals. It also proved to be heavily influential for a young aspiring songwriter named Richard Lewis, who crashed his car into a grocery store the first time he heard it on the radio. Many say Lewis never recovered psychologically from the incident, but he did go on to form The Silhouettes, and pen the 1957 mega-hit Get a Job. That song introduced the stuttering, nonsensical vocal stylings that came to be known as doo-wop to the world.

Some purists and historians have argued that Get a Job was only a hit because Lewis' uncle owned the Junior Records label and made sure the song was played on Dick Clark's American Bandstand, which guaranteed it would be a hit among the easily-led youth of the day. Others might disagree, but the success of the 1959 hit Dog Barking in the Back Alley seems to lead credence to the theory, since the rare sound-effects single likely would not have reached #1 if it had not been featured on American Bandstand earlier that year.

Whatever the reason, Get a Job was a smash single, and Americans were quick to concede that if it's what everyone else was listening to, then they were into lyrics like "Yip yip yip yip yip yip yip yip ma ma ma ma ma ma ma ma" and colossally embarrassing bass singers, too.

Other bands smelled the money train and were quick to follow, solidifying doo-wop as a legitimate musical movement and a bad name for a hair salon. Not long after, The Marcels released the doo-wop manifesto Blue Moon in 1961, daring America to make sense of their statement of purpose: "Bom bom ba-bom ba-bom ba-bom bom ba-dang a lang lang a ding a dang ding Blue Moon…"

But by late 1961 doo-wop was beginning to lose it's luster, beginning with Barry Mann's hit Who Put the Bomp?, at which point fans began to suspect that the magic was gone and that doo-wop artists were just bullshitting them now. What began as a street movement had been exploited to the limits of credibility, and all of the bomps and sha-na-na's had begun to ring hollow.

By 1964 doo-wop was a mere ghost on the American musical landscape, as record-buyers turned away from the bubblegum of their youth and embraced the British Invasion of more vital artists, replacing their embarrassing Shep and The Limelites platters with the more mature pleasures of Manfred Mann's Do Wah Diddy Diddy. The rest, as they say, is history.

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Recently a famous musician friend of mine who will remain anonymous, his first name Beck, asked me, "Yo, Griswald—the guitar. What the dillio?" From these utterances I constructed a crude sentence asking me the history of the guitar, and it's a good one. For centuries no instrument has been strummed more by drunken frat boys to woo underage poontang to a house party. It is America's instrument.

The basic design came from an instrument in the Dark Ages. The Dark Ages were so called namely because pretending you were smart would get your lights punched out by the unenlightened masses everywhere—it was like our modern-day Washington D.C., though the tie had yet to be created.

The original design is believed to be the creation of Johann Crunch, who later went on to invent a cereal while serving in the military. Crunch had kids that would not shut up, yet he found by pulling his wife's hair taut and plucking on it to make sounds he could lull them to sleep, and keep his wife in line. All this went in the crapper, however, when Crunch's wife died of a self-inflicted arrow wound. Not wanting to lose his ace in the hole with the kids, Crunch put her head on the end of a broom and tied the hair to the other end. This allowed him to create complicated chords with his left hand, like Gmaj7.

Upon his death, the guys who killed him made off with the strange instrument, which they called a lute, because they were uneducated and couldn't spell "loot" correctly. As one became more proficient with the lute, they formed the world's first modern band, though of course they could never find a reliable bass player.

The lute was mass-produced by monks, and the first design change was to start making it out of wood rather than maiden's skulls, a more cost-effective manner of production, and to use nylon and silk for the strings, for a more sensual plucking style.

The Dark Ages gave way to the Middle Ages, then a brief period called the So-So Ages, often unmentioned in history and a lot like our 1970s. As all this progressed, the lute became England's most popular instrument, and was also imported to Europe where it helped create primitive Goth Tech bands in Germany. By the time America had its independence from England and its natives, the lute had been extended and transformed into the guitar, so called just because lute sounded stupid. A modern descendant of the original Guitar family claims his six-times great-grandfather (though friends say he was only half as great as built up) is the one to have created the first guitar, because his long arms would get cramped trying to play "Love to Thee Maidens" on the lute and his frustrated picking style resulted in the frequent breaking of strings.

By the early twentieth century, the refinement process for steel had become so fluid they could make aluminum foil and guitar strings. Since they already made the strings, guitar players went ahead and decided to try putting steel strings on the guitar. Though they hurt like hell to play, the twangy-twang sound allowed the creation of country-western music, which is often referred to as "strike two" against steel strings.

In 1951, extremely bored with the Ozzie-&-Harriet world around him, musician Freddy Fender attempted to create the world's first electric guitar. It didn't necessarily sound like a good idea, but was part of Fender's ongoing attempt to make an electric everything. Though his electric shoes caused calluses and toe rot and his electric water balloons killed instantly, Fender had apparently found his niche and lodged himself quickly inside it with the electric guitar. He made a fortune selling pickups and amplifiers alone. He also opened the door to Peter Frampton and other musicians who couldn't play a regular guitar to any degree of interest.

Today, you'll find an unplayed guitar in nearly every closet across this great nation, and it's no secret why. I put them there.

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