In June of 1993, my friend Eddie and I made a road trip to San Francisco to attend that city’s Gay Pride festival.
The night before the festivities kicked off, we discovered that a favorite new band of ours, the industrial/alternative ‘Ethyl Meatplow’ was playing a gig in a small venue in Berkeley (or was it Oakland? doesn’t matter, I suppose.)
During the show, we pushed our way to the front of the crowd, pressing ourselves against the lip of the stage, enjoying the highly sexual, often vulgar antics of co-lead singers John Napier and Carla Bozulich (later of “The Geraldine Fibbers.”)
During the performance of one of my favorite songs of theirs (they only released one album during their short-lived career, the epic “Happy Days, Sweetheart,” so there really weren’t too many to choose from), the extremely handsome Napier climbed down from stage, mic in hand, and began simulating fellatio on me in front of the crowd. Fortunately, this was when I was in my twenties when alcohol was still my drug of choice, so rather than blushing I drunkenly went along with the obscene pantomime, enjoying every second of it. I have no idea if Napier was gay or bisexual or straight…the whole idea of Ethyl Meatplow seemed to be pansexual hedonism…but it was a fitting kick-off to the debauchery that was to follow that weekend: lots of cocaine, my friend Eddie and I strapped to motorcycles wearing only g-strings as if we were captured ‘trophies’ during the parade lead-off procession of the legendary “dykes on bikes” contingent, and – on my part at least – several raucous sexual encounters.
Since then, my musical tastes have evolved (or devolved, my younger self might say), but “Happy Days, Sweetheart” still remains one of my favorite touchstones of that insane early 90’s era where pretty much everything was a go: dancing beside Madonna and her posse at the semi-underground Club Louis, taking off my clothes and having my ass whipped in public at the dance/fetish club “Sin-a-Matic,” and partying as if there were no such thing as Monday morning.
The track i’ve attached below, the cautionary tale “Devil’s Johnson,” was my favorite Meatplow song, the one to which I received that mock-blowjob so long ago. It details the plight of a drug user…crystal or crack…who devolves into paranoia and insanity. I had no idea at the time of the album’s release that the scenario in this song would, in fact, be my own life in less than a decade’s time.
Today, I discovered that John Napier died last year of a drug-related cause. That brief interaction in that tiny club seems strange to me now, like some foreshadowing event. There really isn’t much to read into it, I suppose, most clubs are chock-full of either current or incipient drug addicts…but my narcissistic, terminally-unique, addicted brain keeps trying to tell me that there was some bizarre passing-of-the-mantle going on.
I’m going to go to the gym now, and focus on getting my body back into alignment with my mind and my spirit. Still, I’m going to allow myself to feel sad for the passing of this beautiful man who succumbed to the same fate I am now working my ass off to avoid.
RIP, John Napier.