Lewis Mock teased the crowd with a bit of Hendrix-style “Star Spangled Banner” on his red Gibson guitar, before pouncing on the riff of Deep Purple’s “Smoke on the Water.” Bill Warshaw set the tempo on the high hat of his DW drum set. Chris Cave joined the groove on his Nord Electro 4 keyboard as Bill drummed that steady beat we all knew and loved. And last, but not least, Jonathon Jambor jumped in on his Fender bass. Had we gone back in time? Was it 1969? Had we stepped behind a magic curtain in order to watch Birth, the band we loved during our adolescent years, perform live in Dodge City, Kansas? No! We weren’t in some Dorothy-induced-dream sequence; we were watching Birth perform live at Liberty Hall in Lawrence, Kansas, for the 2018 Kansas Music Hall of Fame Induction Ceremony (KMHoF). Birth friends and family members were ready to rock.
Lewis, Bill, Chris, and Jonathon showed their passion for playing rock and roll music at an early age in Dodge City, Kansas. Their moms were best friends, they lived near each other, and they all shared a deep love of music. Birth began playing gigs in 1966/1967. Dodge City is known for its history, infamy, and its hazy-filtered stories depicted on television (Gunsmoke), movies (Dodge City, circa 1939 with Errol Flynn), and countless fictional tales. Tom Clavin’s excellent book Dodge City details the town from an historical perspective, and Robert Rebein’s books Headlights on the Prairie and Dragging Wyatt Earp provide an insider’s look as to what it was like growing up in Dodge City during the seventies and eighties. For most people around my age growing up in the fifties, sixties, and seventies in Dodge City, dragging Wyatt Earp was a rite of passage. The hotter and faster the car, the better for driving down the famously-named boulevard. But there was more to life than boyfriends, fast cars, and living in a town where Boot Hill was a major tourist attraction: Music roared from our car stereos and radios as we cruised the streets of Dodge City. In dance halls and church basements, we discovered things about ourselves that our imaginations were just beginning to intuit as we listened to live music.
Hometown bands such as Friar Tuck and The Monks (KMHoF Class of 2008) and Birth rocked our world at various venues in town, and our parents were allowed some peace and quiet (“Turn down that stereo!”) while we moved and grooved to live music. Although home stereos, car radios, or 8-track tape players provided reliable ways for listening to our favorite music, there was something magical about listening to a live band play music. Plus, if a boy asked a girl to dance, well, that was the coolest thing ever. Otherwise, we stood in place, clapped along to the beat, and sang along to the lyrics to the songs we knew and loved. Birth made those songs live and breathe.
According to Chris Cave, Birth was “always a cover band. We played songs that people knew. We bought records at Ben Franklin and at Eckles Record Department. We played songs we liked. We wanted to get people singing and dancing and just engaging with us and each other. Music was a door to the world beyond Dodge City during those times.” Not only did Birth provide a door into possibilities for life elsewhere, for those of us who loved listening to Birth, we did our chores and homework, and followed house rules just so our parents would give us a ride to listen to Birth play music. We wanted to be with our friends, and we wanted to hear rock and roll music.
In Daniel J. Levitin’s book This Is Your Brain On Music, he suggests that “when we are young, and in search of our identity, we form bonds or social groups with people whom we want to be like, or whom we believe we have something in common with. As a way of externalizing the bond, we dress alike, share activities, and listen to the same music…This ties us into the evolutionary idea of music as a vehicle for social bonding and societal cohesion” (231). My friends and I knew that if we showed up somewhere Birth was playing the songs we loved that we would be surrounded by like-minded people. We could dance to the beat, sing along to the songs, and for an hour or two, experience the joy of being with people who mattered to us. As Charles Fernyhough reminds us in Pieces of Light, “Songful memories show how closely the making of autobiographical memories is linked to our sensory and emotional experience of the world” (55). We didn’t know it then, but we were creating memories that we would be able to relive much later in life.
As years passed and people left Dodge City and went their separate ways, Birth continued to play gigs, although I was never able to attend one prior to my high school reunion in 2013. During our reunion weekend, we reconnected with old friends, and we enjoyed the fabulous music of Birth as they rocked the Dodge House on a Saturday night. (Please read “Reunion” from October 2013 on this blog for more of that story.) Almost five years had passed since I had last seen Birth perform live, so I was very excited about hearing them play again.
On Friday night in Lawrence, Kansas, the DoubleTree Inn provided the venue for an acoustic performance by Birth. Other bands played before Birth, and we cheered those bands on as we chatted with old friends. When Birth finally took the stage, floor space in front of a pool table, fan mania erupted. It was if we were back in junior high, only we were all much older and hopefully wiser. We still knew the words to the songs, we could still dance, and no one can out hoot and holler a group of Dodge City fans when they are in the zone. According to Chris Cave, Birth “winged it throughout the entire acoustic jam. Lewis would not tell us in advance what songs we were going to play, but he drove that bastard home. It turned out to be one of the peak experiences I’ve ever had playing with Birth. Playing acoustically was something we had never done before, and it actually inspired us to think about what it really means to be Birth.” Lewis said that for Friday night’s gig, they “didn’t have a plan. I just played whatever came to mind. For the first song, I told Chris I was going to play in the key of E, so he could have the correct harmonica. I thought of ‘Get Back.’ They guys had no idea what I was going to play.” Well, for the Birth fans in the audience, we felt as if we were watching the well-oiled machine we knew and loved.
To close out the evening, Lewis led the band into an old Beatles song, “Blackbird,” and when he sang “you were always waiting for this moment to arise,” I felt a shiver of the past run through my veins. Paul McCartney’s inspiration for the song he wrote in 1968 was the civil rights movement and what was happening in Little Rock at the time. As Lewis sang the song, I flashed back to the turbulent times of the sixties when we watched the evening news with our parents and wondered what was going to happen next. Would we grow up in a world so full of despair and war? What would our future hold? Music seemed to be the key to whatever would happen in our lives, and protest songs and love songs both had a place in our music repertoire. We learned to get through our days with music as our main medicine.
After Birth played the final notes of “Blackbird,” and finished their acoustic set, my friend Gretchen and I returned to our hotel. After a night of sleep, and then running around Lawrence on Saturday morning, we headed to Free State Brewing next to Liberty Hall for the Birth “Meet and Greet.” The room was packed. We mingled, laughed, and cheered the members of Birth on, promising to be out in full force for the induction ceremony. We did not let them down. We headed to Liberty Hall and positioned ourselves close to the dance floor. Where else?
When Kathy Quinn from Fox 4 News in Kansas City introduced the band before Lewis Mock’s induction speech, we were thrilled at seeing our hometown band up on stage under the big lights receiving this great recognition. When Birth took the stage again a bit later for their thirty-minute set, the “sea of birth” as Erin Mock, Lewis Mock’s daughter referred to us, we moved and swayed as if we were ocean waves rolling into shore. How appropriate that Birth would begin their set with “Smoke on the Water” by Deep Purple. Fernyhough says that “A song that might have been heard many hundreds of times can nevertheless send the listener back in time to its first hearing” (54). Oh, I stepped through that time machine, and it was 1972. Damn, it was good to be alive, and here I was with some of the same friends I had back then. Dancing. Singing. In the music zone.
Since the band only had a thirty-minute time slot, they had to be tight. According to Bill Warshaw, they could see the clock timing down from the stage, and they “used the whole thirty minutes.” The band played Spirit’s “1984,” the Stones’ “Jumping Jack Flash,” (where we were literally jumping), Free’s “All Right Now,” Mountain’s “Mississippi Queen,” the Beatles “You Can’t Do That,” Cream’s “Crossroads,” and Led Zeppelin’s “Good Times Bad Times” before ripping into “Born to be Wild” by Steppenwolf. We had this. As one Birth fan told Lewis, “Birth was the soundtrack of my life.”
As the members of Birth left the stage, I felt as if had run a half marathon again. I was both exhausted and exhilarated. Some of us took a short break from the action even though there was much more music by other inductees to follow. I had to go outside to breathe in some fresh Kansas air. I knew that I had witnessed and been part of something truly wonderful. Not only was I lucky enough to be in the company of such great music fans, but I was thrilled for the members of Birth and the recognition they so richly deserved for their musicianship, their love of entertaining, and their heartfelt desire to connect to their fans.
For the fans, we headed our separate ways the next day, with our promises to get together soon, and to stay in touch. For the members of Birth, parting was also bittersweet. Chris Cave said that “The moment was book-ended: from the moment I started practicing at home for this event, to the Sunday morning that we travelled home and had a brief hug and goodbye at breakfast. That was a moment! And a tough one at that.” I can only imagine. I did suggest to Bill Warshaw that the band should get a bus and go out on tour. After all, why break up such a good thing? Friends? Family? Great music? That Dodge City blood running through our veins? He said, “Sure, and we’ll get Tara Hufford to paint the bus in a hippie theme.” Sounds good to me. Birth fans will be ready to roll. I have my red dancing shoes ready to go.
What does it mean to you to be an inductee into the KMHoF?
Lewis: To be voted in, put on the ballot, be inducted, and to have so many people show up blew my mind. It was overwhelming and beautiful.
Bill: I guess to be there with all of that other real talent like Kansas, Melissa Etheridge, and Mike Finnigan (to name a few) is just plain humbling.
Jonathon: I admit this event was completely off my radar. As Lewis said in his acceptance speech, Birth was really all about sharing the music we loved with our friends. We didn’t do it for the money or notoriety—or even to bug grownups. We weren’t trying to change the world or make any kind of statement. We just loved playing those songs for all of you. And the $1 at the door thing? We just did it because that’s what you did at a concert. Heck, we would have done it for nothing. What will we do with this accolade? Personally, I will ask for an additional fifty bucks when we offer to play for next year’s prom at Minneola.
Chris: It’s such an honor. It strikes me as phenomenal the way we came in. Other bands have CDs, posters, promo photos, a website, Facebook page, YouTube videos, etc., and we didn’t have any of that. We never did this for fame and fortune. They (KMHoF) opened doors for us. They didn’t even know if we could perform, but we promised them we could! They took us at our word and couldn’t deny the amazing support of our fans, from the overwhelming number of votes we got from our Fanbase. Friends and families helped us gain access into the KMHoF. As Lewis says, it was as close to the Grammys as he, or any of us, was going to get.”
What moment during the induction ceremony stands out as “the” moment?
Chris: The whole thing was a moment.
Jonathon: Well, to begin with, my musical tastes have changed a lot. I still like music from the 60s, but not of the 1960s, but rather that of the 1560s. I am much more into hymnody than popular music these days. I would have to say that the most touching part of the weekend wasn’t the induction ceremony itself, but seeing so many old friends there: It was very touching.
Bill: One memorable moment for me was on Friday when we rehearsed at Stan Herd’s studio, and his friend Stanley Sheldon showed up. Sheldon was the bass player for Tommy Bolin and Peter Frampton on the Comes Alive album. He is currently touring with Grand Funk Railroad. Needless to say that I was a little nervous when he showed up.
Lewis: The minute I played the first chord on my guitar for the first song. I thought are we really freaking doing this? I looked at the guys and wondered how did we get here? All of my life I have dreamed of playing on the stage at Liberty Hall. I went to high school in Lawrence and graduated from Lawrence High School. I also went to KU for a while, and I saw so many shows there. I grew up as a kid in Dodge listening to KOMA radio out of Oklahoma City, and they were always advertising the ‘Red Dog Inn’ (now called ‘Liberty Hall’) in Lawrence where The Fabulous Flippers played as well as the Roaring Red Dogs and many other of the great Mid-Continent Bands. As a kid, my mom worked with The Fabulous Flippers, and I worshipped them. I always dreamed of playing music on that stage, and now I have. It was a dream come true.
With the drop of the needle on a brand new turntable my son bought me for Christmas, “Where Did Our Love Go?” by the Supremes blasted from the shoebox-sized speakers on my desk. Static, crackling noises, and the occasional skip over a story-there-somewhere scratch in the vinyl all contributed to a 33-rpm rewind into the past. I danced and sang as if no time had passed since my parents had given me my first two rock-n-roll albums in 1965. I soon followed the Supremes with the Beatles IV album. My husband and son seemed to fade into view as I reverted to my ten-year old self. Musical nostalgia worked its magic fingers into my heart and soul.
When I was young, my parents played music in our living room on a stereo that was as long as a bathtub, but not as wide. One of the first albums my parents bought specifically for me to play on the living room stereo was Burl Ives Sings Little White Duck. Am I fascinated today with ducks and all things feathery because of this? Is Burl Ives responsible for my obsession with listening to a song repeatedly until I am sick of it? I still have the album. I’m resisting the urge to play it right now on my new turntable.
Matt’s gift to me triggered memories that I had long forgotten. Daniel Levitin in The World in Six Songs, suggests that “music triggers memories long ago buried, and this seems especially true of popular love songs” (278). While growing up in Dodge City, Kansas, my mom, dad, and I listened to music on the stereo and in the car. Radio station KGNO catered to my parents’ crowd, but I loved listening to KEDD, “The Rock of Dodge City,” on the AM radio dial. On television, we watched The Lawrence Welk Show, The Ed Sullivan Show, Hee Haw, Shindig, The Monkees, and any show we could find that focused on music. I learned the ways of love by listening to music in my home and car. Music created a different version of an idealized fairytale romance than books did, well, at least the books I was reading. Is there anything more romantic than listening to George Harrison sing “Something” as you sit in your bedroom and contemplate life? If the bedroom walls in the house I grew up in could talk, they would tell you about a dreamy-eyed teenager who spent an enormous amount of time imagining her life, framed in a song.
I could also dream on the dance floor when I ventured out to listen to Dodge City bands live. Friar Tuck and the Monks at the National Guard Armory! Birth live and on-stage at the Warehouse! Their covers of popular dance songs, and especially love songs I was sure were being sung to and for me, further sent me spiraling upwards to the land of all things musical, and downward into an avoidance of anything called homework. Whenever I hear a song from my past, a story always seems to mirror the lyric of the song.
If “memory wants to be true to the way things are, but it also wants to tell a story that suits the teller” (162), according to Charles Fernyhough in Pieces of Light, then some of my stories seem a bit confusing to me now. Why was I so obsessed with Grace Slick? As soon as I got home from school during the week, and long before my parents would arrive home from work, I would rush to the stereo, insert a spider (45-rpm adapter) into the record, slide the record down upon the spindle, let the music begin to play, and then sing and dance. Yes, I was that weirdo. I played “White Rabbit” and “Somebody to Love” while I worked on my best Grace Slick impersonation. Was it just her voice that compelled my fascination with those songs, or the forbidden desire for an altered state of mind? Or did I just want a very cool boyfriend who could play a rocking guitar? The story I would tell today that would suit my older and wiser self is that I loved the freedom of belting out a song about love in my house, and singing “White Rabbit” made me feel very cool and dangerous at the time. When my parents were home, I played music in my room, and in our small 1940s farmhouse with paper-thin walls, I started to believe my name was “Turn it down.” When I sang with my mother in the kitchen, we were as loud as we wanted to be.
My mother and I both loved to sing, and she taught me the art of making up silly songs in the kitchen while doing dishes or eating fried carrots as fast as she could make them. My father would sit in the living room, a mere twenty feet away, smoke his cigar and drink a Coors beer after a hard day’s work. I think he enjoyed hearing us as we became giddy with laughter at our nonsensical verse. We could really cut a rug in that tiny kitchen.
When my son was growing up, I realized that music was another way in which we could spend time together. I liked playing with cars and Legos, but music had a way of working its way into our lives every day. We played music constantly in our house, and Sesame Street worked its way into our daily lives. I can sing “C is for Cookie” and “Rubber Duckie” to this day, and my son is 35 years old. I also started making up songs just for my son. I still make up instant songs, and I wrote songs for the workplace band I used to be in.
Over the holidays, we were visiting the neighbors and their extended family, and my 88-years-young neighbor mentioned a song I wrote, “Radio.” I had performed the song with the band, The Cremains of the 10th Circle, when they visited my home a few summers ago. She and some of her family members, friends, and neighbors, had attended our basement rock-and-roll party. Perhaps this was my Grammy-award-winning moment. Someone remembered a song I wrote and performed. Hold the applause, and pass me a beer!
Rod Stewart sings that “Every Picture Tells a Story,” and I believe that every song I love has a unique story hiding behind the lyrics if I am willing to pay attention to it. My memories of the first time I heard Stevie Ray Vaughan’s song “Texas Flood” are a bit muddled though. Even though I cannot remember what radio station I heard it on, or where I was at the time, I remember thinking that I had just fallen in love with a song, a guitarist, and singer. I could not get enough of that song. Is there a difference in our memory-making process when we are older as far as falling in love with a song? I wonder.
I still love the Beatles and the Supremes, and I easily time-travel to that space and time when I could dance and sing in my house and feel nothing but love and joy surrounding me. Yes, there were many, many nights I listened to songs of heartbreak in my room as I grew up and teenage boys messed with my heart, but I also played songs that forced me to get up and dance.
When I was with my cousins in Tulsa, Oklahoma, last September, Sybil played “Uptown Funk” by Bruno Mars on her phone for us. I have the song on my running playlist, so I knew the song well. We all began to do some sort of version of dancing. We had it. We owned it. And now whenever I hear that song, I am safe in the arms of music nostalgia. How will I tell this story ten years from now?
For the moment I think about my mother, and how she would have joined us jitterbugging our way around my cousin Audrey’s house that day. I am fortunate that my parents, especially my mother, loved music so much that it was a necessity, like bread and water, in our daily lives. So even though the Supremes “Where Did Our Love Go?” and the Beatles “Words of Love” may have opened my eyes to the ways of love, I believe that songs I have yet to hear will be teaching me many more things as I dance and sing my way into the unknown.
In 1973, I graduated from Dodge City Senior High, home of the Red Demons. My hometown, viewed through a skewed lens of Hollywood-based thematic structures, was much more than a town filled with Matt Dillon wannabes, girls named Dorothy, and tornadoes. If you haven’t heard, read, or said “get outta Dodge” in your life, well, you aren’t paying attention. Some of us did leave Dodge City when we were younger, but many of us returned for weddings, funerals, and reunions. Since I had never been to a reunion, I recently decided it was time I got outta Michigan, where I have lived since 1977, and join the party. Although I had mixed emotions about returning to Dodge City, I looked forward to spending time with friends and reconnecting. As it turned out, music would play a pivotal role in my reaction to the weekend’s events.
Our reunion, billed as “40 Years of Peace and Love,” promised to be a spectacular party with the main events held at the Dodge House. The reunion committee, Jon Jambor, Jeanne Beilke, Micki Holladay, Rachael Livingston, and Cindy Day, worked tirelessly for over a year to create our three-day event. Along with all of the seventies-style memorabilia as table decorations, the seventies were also artistically represented by classmate Tara Hufford Walker’s 48″ x 48″ acrylic on Masonite reproductions of album covers adorning the walls.
Each piece, part of a silent auction during the evening’s festivities, would find a new home before the night’s end. On Friday night, we had a meet-and-greet, and on Saturday, the day started off with a golf outing, followed by a wine-tasting event. Saturday night began with dinner and conversation before Birth, our band from junior high and high school days, hit the stage. What better way for the class of 1973, a product of the seventies and its strong musical influence, to celebrate.
As Birth took the stage and began playing the unmistakable chord progression from “Smoke on the Water,” it seemed as if we had travelled back in time to those angst-filled teenage years. By the end of the first verse, I could hear the crowd singing along: “Smoke on the water…fire in the sky.” People started dancing, but I stayed in my seat near the stage and listened. I had this overwhelming sense of nostalgia and sadness, but I couldn’t figure out why.
To quote Dorothy from The Wizard of Oz, “there’s no place like home.” But what was home for me? Was it the house I grew up in, the neighborhood now run-down and a place that would break my father’s heart if he were alive to see it? Or was my house in Michigan where I now lived, with its display of photographs and memorabilia of growing up in Dodge City, my real home? What exemplifies the concept of home? What role does the town itself play in one’s sense of belonging? Why was a song like “Smoke on the Water,” creating such angst in my rock-n-roll state of mind? My geographical markers seemed as if they had been hit with a flare gun. I felt as if I were returning to family, albeit a symbolic family, but nevertheless, a small part of a larger group of people I hadn’t seen in forty years.
As I began to make this connection, Birth walked off the stage after their first set, and classmate Linda Schnitzler Hungerford stepped up to the microphone. She read a poem dedicated to our deceased classmates. As she said their names, family members of friends stepped up to the microphone and said a few words to honor his or her loved one. Although the memorial, somber and funereal, created an awareness of our own immortality that perhaps had not been felt until that moment, it would be another classmate who would help us move from our sense of loss back towards our celebration.
Judy Neves David had heard Linda discussing the memorial on Friday. Judy, now a resident of Baton Rouge, Louisiana, suggested a “New Orleans tradition,” using a bit of “poetic license” as a way to segue back into Birth’s music as they began their second set. After Judy’s brief introduction, the song “Second Line” erupted from the sound system. Judy, taking the lead with a purple umbrella that would become our talisman for the rest of the evening, led a group of us through the crowd, dancing and tossing Mardi-Gras style beads to classmates seated at their tables. Other classmates jumped up and joined in. By the time the music ended, our “Second Line” had shifted our sadness into joy as we remembered the friends we had lost. And with that, Birth climbed back upon the stage and broke into an old familiar tune: The James Gang’s “Funk 49.” We moved from funk to funky in a short amount of time.
The night went by far too quickly. As the band started its final set, Birth’s guitarist and vocalist, Lewis Mock, strummed his acoustic guitar as he led us into Don McLean’s “American Pie.” According to McLean’s biographer, Alan Howard, “’American Pie’ is partly biographical and partly the story of America during the idealized 1950s and the bleaker 1960s.” Additionally, Howard says that “by 1971, America was deeply troubled. The Vietnam War was out of control.” In 1955, when I and most of my classmates were born into this idealized version of America, we could not have foreseen the changes in America that would take place before our 18th birthday and our graduation from high school. We had to rely on our parents, the nightly news, and, most importantly, our local radio stations to give us a perspective of the world we could only imagine. And it was through these radio stations and local bands that we began to make sense of our lives as we either stayed in Dodge City or left town in search of something else.
And here we were, a group of us on the dance floor singing and dancing to the music of Birth and Don McLean as if 40 years had not gone by. Although it seemed as if no one could remember all of the words to “American Pie,” we filled in the blanks for each other. The song turned into a giant sing along with some dancing thrown in. Many people spread their arms wide at the refrain “this will be the day that I die” as if it just might happen. It was as if this symbolic family had come to pay its respects to the past, the present, and the future. Not only had classmates joined in during other songs as the band played, but we engaged in what Daniel J. Levitin refers to in his book The World in Six Songs as “individuals who could bond into groups for the purpose of collective action” (183). Levitin further suggests that “something special happens when a group starts to sing together—something extraordinary” (182). Birth may have been the vehicle for our “collective action,” but friendship and our love of music seemed to take on a life of its own.
Later, I told a friend that our reunion, billed as “40 years of peace and love,” was so much fun that it should have been illegal. I’m not sure what I really meant by that statement, but I know that when my roommates for the weekend, Gretchen Leonard Steffen and Susan T., and I drove by my old house on our way out of Dodge City, I remembered one warm and windy Kansas day when I was inside that house and used music as way to argue with my mother without actually speaking to each other.
Our war of the stereos consisted of Tom Jones “What’s New Pussycat?” on her stereo in the living room, and in my room, a mere thirty feet away, I dropped the needle down on Led Zeppelin’s “Dancing Days.” As Jones’s and Robert Plant’s voices clashed in midair somewhere in the kitchen, I smiled when my dog, Charlie Brown, barked as if in recognition of the collision of sounds. I turned off my stereo and went outside with Charlie, and as I glanced up at the kitchen window, my mother waved at me. We both knew it would not be long before I would head out of that door one last time and into my future. Indeed, several years later, my mother would watch me pack my most important possessions, some clothing and all of my albums, into a black army trunk as I prepared to move to California. The Kansas wind, relentless as always, blew through my bedroom window that afternoon, creating an almost elegiac symphony for the last day I would ever live in the house I grew up in.
As Gretchen, Susan, and I drove down the dirt road I grew up on and headed out of Dodge City, I realized I was not ready to leave. I felt as if there was something I had left behind or as if I had forgotten to do something essential while I was in Kansas. Perhaps that is why we stopped at my grade school. As I stood in the doorway that led into the gym, I felt as if ghosts were lining the hallways waiting to remind me of the stories that took place in this building where I spent my days from first grade until 8th grade. But I heard nothing, so I stepped back outside where my friends waited patiently for me. I felt the Kansas wind against my skin, and I swear there was music in it if only I would listen.
Birth, comprised of keyboardist Chris Cave, bass player and vocalist Jon Jambor, guitar player and vocalist Lewis Mock, and drummer Bill Warshaw, formed around 1966/1967. According to Lewis, Birth’s name grew out of artwork he had been working on, and “it was more about something being created than the actual birth of a baby. The bloody logo (which [their] mothers hated) symbolized the blood and sweat involved in the creation of something.” Their first posters, based on “artwork and lettering from the Fillmore concert posters,” included the logo along with a ‘drip’ of blood coming down from the bottom of the word ‘Birth.’” Their mothers were charged with the task of taking their posters to the printer and had the drip of blood removed. When Mock confronted his mother, she said, “‘you’ll never understand until you have given birth.” As it turns out, mothers would influence more decisions regarding the band.
In their original formation, Robin Spencer, now deceased, had played guitar with the band. According to Jon, Robin’s mother was responsible for the band getting together, and she even lined up gigs for them. Birth performed at talent shows, birthday parties, and the Elks club, and eventually the band started renting venues. For a birthday party held at the Spencers’ home, the band “borrowed all of the equipment from Friar Tuck and the Monks,” a well-known band in Dodge City.
The dynamics of the band shifted after an event at the VFW. According to Lewis, the “VFW was the end for Robin. Banned from Birth by his mom.” Robin, Jon, and Bill’s older brother Eric, decided to visit Goddard’s Billiards after the band played at the VFW. Jon said that Goddard’s was about to be “razed for ‘urban renewal,’” and it seemed as if “it would be a pretty good idea to empty out its cabinets of the chewing gum and tobacco…since it was unlocked and going to be torn down anyway.” Unfortunately, the police caught on to this, and were waiting outside to greet the young men. According to Bill, Eric’s punishment was to get a job. Eric found a job as a disc jockey at KEDD and eventually moved to KGNO. Eric passed away in 1994.
As Birth forged ahead with its new configuration in the late sixties and early seventies, they played gigs at teen dances held at Fort Dodge, various churches, the Elks Club, Kitty’s Kitchen, the Demon’s Den, the Warehouse, the Bandshell at Wright Park, and the VFW. As Birth’s popularity grew, they continued improving their musical skills although as Jon says, “[they] made three times as much at the concessions stand than they made at the door.” Since they also lacked transportation most of the time, classmate Micki Holladay became their “transportation captain.” The band had a lot of heavy equipment, and Cave remembers when they had to “cut his Hammond CV organ in half, leaving the bass pedals intact” so that it could be loaded into a truck with the use of “a refrigerator dolly.” Whatever it took to get to a gig, the members of Birth did it.
According to Chris, the band members were “the best of friends,” and he says that they were “fans of the Beatles and started a Beatles club.” Jon says that Bill was a “member of the CBS Record Club and got all of the good albums. So many great songs, and [they] wanted to play them all.” Bill remembers “being asked to bring [his] drums over to the Cave’s house to fill in for Rod Mitchell. ‘Midnight Confession’ was the first song” that he learned. Jon says they played “Midnight Hour” and “Mustang Sally” because “they were the tunes that the big kids (e.g. Skip Cave) played and since they needed songs to fill their sets, they went with what they knew. According to Lewis, “Kick out the jams mutha@#%%^^^&&**(*!!!!!” became one of their songs, and Jon says “it was a song [he] sang with an obscene intro, and quite a bit of fun to yell out at dances [they] held at church facilities.” Not only was the band having fun, but Birth’s fans were also enamored of the guys in the band. Jon shares the following perspective from one of the band’s groupies who chooses to remain anonymous.
She states: “From the perspective of the small town girl…Birth was our local, home grown rock stars. All the other community dances had records to play, but there was nothing like having [the] guys up in front playing live. Just thinking about how everything was changing around us as a generation…all we are saying is give peace a chance…if you can’t be with the one you love, love the one you’re with…and then there was Woodstock and Viet Nam, and we all changed except for men like my father. They were the Archie Bunker models that were afraid of the changes. Birth was our glimpse of the world beyond 50 highway. We loved [them] because [they] represented something beyond Boot Hill and wheat fields. I really enjoyed the practice sessions and all the teenage angst. All the girls loved [the members of Birth] and I liked being one of those girls. It made me feel special.”
Anonymous has it right. We loved the music played by our local bands, and Eric Warshaw’s voice on the radio as he played requests from giggly girls calling in from the Kwik Shop. Yes, I was one of those giggly girls. Music fed our souls in a way that parents, teachers, and preachers could not come close to fulfilling. For our 40th high school reunion, it seemed as if we had taken a step back in time, and Birth played songs that mattered to us during our younger years but seemed to matter even more forty years later.
Q and A with the members of Birth:
What is your current job?
Lewis Mock (Colorado Springs, Colorado): I am a full-time musician. I am the bandleader at the Tavern at the Broadmoor. For twenty-two years I was also in private practice as a Doctor of Chiropractic, and for ten years was a professor at the Colorado Springs Conservatory where I taught musicianship to young people of all ages. Throughout all of these years of teaching and practicing Chiropractic, I always was playing music. (Please see the attached Mock Bio.)
Bill Warshaw (Dodge City, Kansas): Right now, I am newly retired. I still haven’t gotten used to it. I sold liquor, beer, and wine for a distributor for the last eleven years.
Chris Cave (Dallas, Texas): I work for myself. (Please see http://www.ccave.tv/ for a full description.)
Jon Jambor (Lawrence, Kansas): President, Kennedy Technology Group. (Contact info: firstname.lastname@example.org.)
Are you in a band now?
Mock: As I said above, I’m the leader of the “World Famous Tavern Orchestra” at the Broadmoor Resort in Colorado Springs and have been there for almost 22 years. I have also performed as a sideman to Grammy Award Winner, Suzy Bogguss, and recording and Broadway star, Maureen McGovern, as well as Emmy winner, singer/songwriter, Jim Salestrom, and recording artist Nelson Rangell.
Warshaw: No, just Birth.
Cave: Yes. http://www.jumpbilly.com/
What musical moment at the reunion meant the most to you?
Mock: My favorite memory of the reunion was playing again with Birth.
Warshaw: I think it was watching people get up and dance with big smiles on their faces. Also, “American Pie,” even though we had never played it before.
Cave: When it was over. Pressure!
Jambor: Bill’s drum solo on “In-A-Gadda-Da-Vida.”
Will you be playing at our next reunion?
Mock: I don’t know for sure about the next reunion.
Warshaw: Sure thing. Looks like we will be playing next summer at the class of 1974’s reunion. The whole thing was such a blast, and it is just easy for me to play the drums when surrounded by such great musicians.
Cave: I don’t think anyone has committed yet.
Jambor: “You better believe it, baby!”
And isn’t that what literature requires, really, for the writer to feel like her life depends upon it?
I am not certain when I first realized I had a problem with language. Memories six months prior to my SBT (Stupid Brain Tumor) seem to come and go, and some memories are nonexistent. If not for stories from my friends and family, and the writings in my journal, some so strange they fail to make sense, it seems as if I ceased to exist in mind and spirit while my body lay in wait for embalming. I felt as I was a stranger in a new country, and the language barrier made me invisible.
Instead of displaying the gift of gab that my mother would accuse me off having when I was young, I began hesitating over each word, fearing some dreadful malapropism or simply using the wrong word (like dock) when I was actually describing the hoist. I had to walk on the dock to get to the hoist which held the boat, but for some reason, my brain now found ways to avoid the logical sequence of events or find the correct word. As the Beatles famously sang, “Say the word and you’ll be free.” Well, damn, I wanted to be free, and I felt as if my life depended on it. I began to retreat more and more into my home office, lie down on the couch, and watch television. I became hooked on NCIS and the character Ziva David.
Ziva David’s character, played by actress Cote de Pablo, is a former Israeli Mossad agent who becomes an NCIS Special Agent. Ziva’s malapropisms, called “Ziva-isms,” are well known to NCIS viewers. As Ziva adapts to American culture and its plethora of analogies, idioms, and slang, she also shows her fellow agents that she doesn’t take crap from anyone. As I became addicted to NCIS marathon days, watching five or six shows in a row, I felt as if someone was “jerking my brain” (chain) as Ziva said in one episode. The NCIS family became my family, and I gave up reading books and writing.
Time passed and my frustration grew with my inability to comprehend anything more complex than People magazine. One day, as I stood in my office, staring at hundreds of my books, I noticed Laura Kasischke’s book of poetry, Space, in Chains, sitting on a shelf, by itself, as if waiting. I began rereading her poetry, and when I finished each poem, I sat still and listened to the quiet. I decided I was in language rehab.
Eventually, I began reading novels again, slowly, as if I was learning to ride a bicycle. I wondered if I had finally adjusted to my anti-seizure medication or if the radiation from my Gamma-Knife surgery had opened up a sliver of thought in my clogged head. One day I opened my writing journal, and instead of recording my thoughts for the day, I attempted to write a poem. It was horrible, but I sent it to my friend Chris Giroux. Chris and I became friends when I taught at SVSU, and we had been exchanging our writing for many years, providing feedback, ripping what needed ripped, or praising each other’s work when we got something right. I began spending less time watching NCIS and more time writing. I felt the jerk, jerk, jerk of my brain as it tried to move past language rehab and into the real world.
As luck would have it, around the same time, a former student of mine, Alie Buckley, contacted me on Facebook. She had started a blog, http://ifcoffeecouldtalk.wordpress.com/. Alie asked me how I was, so I told her about SBT. She encouraged me to start a blog and share my story. Alie became my teacher, showed me how to start a blog, and offered to read my posts before publication and give feedback. Again, I felt the jerk, jerk, jerk of my brain, and started to write for a different purpose: I wanted to tell my story. Perhaps if I wrote it, I would understand it.
I published my first blog post on June 14, 2012, and the process has been cathartic, therapeutic, made me laugh as I write, and made me cry far more than I ever imagined it would. I realize I am writing now because my life depends on it.
I am still addicted to NCIS and spend the occasional afternoon on the couch watching reruns when my headaches or balance issues sideline me. I believe I am making progress in this battle against SBT, and I am hoping language rehab will soon be a thing of the past. But as I have learned, friends and family provide the constant source of strength I need in my life, whether or not I am in language rehab. So if you see me out somewhere, and we strike up a conversation, and I pause for a moment, wait. My words are forthcoming: They are on the slip of my tongue.
*Schulman, Helen. “First In Her Class.” The Friend Who Got Away. Eds. Jenny Offill and Elissa Schappell. New York: Broadway, 2005. Digital Print.