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ANTHONY SALAZAR: GONE, BUT NEVER FORGOTTEN...
Jun 7, 2011

My View: By Ralph Heibutzki
Late Friend Taught Editor More Than Chords
(Editor's Note: This column originally appeared on 6/30/05 in The Coldwater Daily Reporter, a GateHouse Media affilate.)

I've been dealing with the news for a month now, but writing this column hasn't been any easier.

On May 24, I lost one of my closest friends, Tony Salazar, to complications from AVM (arterio-venous malformation).

At 39, he took his final breaths in Chicago's Rush University Medical Center, amid the architecture, atmosphere and people that he loved.

AVM is a fancy way of saying, “abnormal blood vessels in the brain” – something Tony didn't learn until his first seizure, and diagnosis, in 2003.

Our last phone conversation had been in April.

I spent most of those 90 minutes reading out portions of a new Clash book that I'd just bought. Business as usual, since we were committed music fans and guitar players.

Eventually, Tony kept firing so many questions at me, I said, “Look, I probably won't need this for another couple months. Why don't I drop it in the mail, and you can send it back?”

“Sounds good to me,” he said.

I never got the chance.

I wound up finishing that book in somebody's car, on the way to the hospital – where we'd been called to say to our goodbyes to him.

About a week before his death, Tony suffered another seizure, while he was giving some kids a guitar lesson.

He never woke up, and his diagnosis never improved.

The hardest part was talking about someone I'd known for 23 years in the past tense – before it was an established fact, before he got taken off life support.

At the same time, I couldn't help but marvel about where Tony was heading.

He'd gotten laid off from some go-nowhere market research job, which had freed him to barnstorm open mike nights around the Chicago area as a high-energy, acoustic solo performer.

He'd released two CDs, plus a single, and was starting to get some paying gigs.

He was even talking about traveling to other states, and forming his own record label – things neither of us imagined when we started working together in the '80s.

Without Tony, I'd never have picked up a guitar; when we met in the fall of '82, I envisioned myself as some kind of alternative poet, with no major musical ambitions.

However, our mutual affection for Britain's original punk rock scene – the Clash, Damned and Sex Pistols – dictated that we form a band along those lines.

With characteristic breeziness, Tony suggested that I play bass: “Don't worry, it's like guitar – you've got two less strings to worry about!” (Note to non-musicians: the bass has four strings.)

So I duly took the stage, and Tony painstakingly wrote out chords and basslines for me, on reams of paper.

Before long, we were firing song ideas back and forth – many of which remain in my trick bag today.

One of our first attempts was “Kill Yourself To Rock,” our blow against the '80s “hair band” metal empire.

Funnily enough, I've just started playing that song again, after a 12-year hiatus. Amazing how these things work out, isn't it?

In 1996, the cycle repeated itself. I'd followed Tony to Chicago, where I was taking up the guitar – this time, of the six-string variety.

Armed with a chord sheet from “Circus” magazine, of all things, I started hacking around on some kiddie model that I'd rescued from my parents' basement.

Whenever that got too frustrating, I'd hit Tony's apartment, so I could fool around on his electric guitar; I couldn't afford one at the time.

Bless his heart, he never complained, and once again, took the time to show me chords, how to approach rhythm, and – most crucially – how to tune the damn thing!

Tony was the most schooled musician I've known, but – unlike a lot of those guys – made it seem fun, whether you made a buck off your talent, or not.

From Tony, I also learned that you could play music right now, without waiting for somebody's blessing. Or, as he once said about overly political bands: “When the jams stop coming, that's when I'm out of here.”

Knowing what Tony could have accomplished makes his death especially cruel; revisiting the memories you've stored away is no substitute for the person struck down in their prime.

I also absorbed plenty of life lessons from Tony, too. Since his passing, I've redoubled my vows not to screw around, because you aren't guaranteed tomorrow. To wake up is a privilege.

Nor will I forget Tony's resolve – which will help me through the tough times, when people put down the songs you play or the directions you take.

The joke's on them. They'll only accomplish a fraction of what Tony packed into 39 years.

He died doing exactly what he wanted to do, when he wanted to do it – how many people can say that?

Guess what? I'm not waiting for anybody to catch up.

It's nothing personal. After all my experiences with Tony, I just can't forget what I know, and I can't settle for less.

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AND THE COMPROMISE WAS NINE: I REMEMBER RON ASHETON (1/09/09)
Nov 30, 2009
Like everyone in the protopunk musical community, I'm saddened by this week's reports of Stooges guitarist Ron Asheton's passing: my heart goes out to his family, band cohorts and friends at this most difficult time.

I had the pleasure of interviewing Ron on several occasions between 1993 and 2000 for a major GOLDMINE retrospective ("Night Of The DumDum Boys: Revisiting The Stooges": March 1995), and profiles that appeared in VINTAGE GUITAR ("And The Compromise Was Nine: Ron Asheton Revisits The Funhouse": January 2000), and GUITAR PLAYER.

I also interviewed Ron for his impressions of the MC5 ("Edge Of The Switchblade: To Hell And Back With The MC5": DISCoveries, December 1995), and the year of 1974, among other related projects. We always had a good time whenever we talked.

In any band, there's always somebody who takes on the historian's role: Ron definitely fit that to a "T". I never ceased to be amazed by his crystal-clear recall of so many pivotal events in his life from 30-odd years ago. Normally, when you write articles, people's memories tend to get hazy, and they begin pulling the truth like taffy, until it's unrecognizable.

Suffice to say, I never had that problem with Ron, whose input made my GOLDMINE article one of the most rewarding exercises I've ever had as a journalist -- especially since reliable information about the band was so hard to come by, and many of the shopworn legends were already being recycled with a reckless disregard for the folks who created the music.

Throughout all our conversations, Ron was gracious, unpretentious, and accessible -- although, as I'd discover, that last quality could have its limits.

Once, I remember Ron saying, "Hey, I got a call from the Mayor's Office today."

"What on earth for?" I asked.

It turned out that a group of French fans had sent Ron a package, care of Ann Arbor City Hall -- "because they said that they'd know how to find me!" he said, laughing.

Stooges fans could be a dedicated lot It wasn't the last time that I'd find out -- hence, the deep and breathy answering machine message left for the unwary freak caller who'd somehow stumbled onto Ron's number: "Yes...you have reached the Asheton residence...please...leave...a... message!"

My introduction to the Stooges came through FUNHOUSE (1970), during my first year of college. Nothing could have possibly prepared me for what barreled down my headphones, because this record came from such a different place than whatever I'd heard before.

I liked it, and wanted more, which put me in the minority aching to resurrect the band from its nether status. Don't forget, this was the '80s, when bigtime rock 'n' roll was busily hardening its collective arteries well past the point of return or redemption.

Calling yourself a Stooges fan gave other people a license to stare at you funny, or voice their disgust when they'd ask you to yank the record off...and, of course, the visceral fury of Ron's guitar was a big part of that equation. Punk rock's DNA would have been hell of a lot poorer, and more monochromatic, without his imprint.

Still, I take issue with those who've filed Ron neatly away under the category of "Mongolian barre chorder" -- can you think of three albums (THE STOOGES, FUNHOUSE, RAW POWER) that sound so totally different from one another? I rest my case.

The same goes for Ron's later projects, which are unfairly overlooked, but equally essential to understanding his playing style. My favorite non-Stooge moment would have to be his solo on "November 22, 1963" from the New Race live album (THE FIRST & THE LAST) -- right on the heels of that command, "Hit me, Ron!" If you don't get goosebumps after hearing it, well -- I can't fix that!

Of course, a lot of people trying to emulate the Stooge style missed the point, too, something that bemused -- and amused -- Ron to no end.

One time, I remember him telling me about getting a tape from some Kansas disciples who worked at a meatpacking plant, and wanted his seal of approval. "Well, how was it?" I asked.

"Oh, it was Godawful," Ron laughed. "But I didn't really want to tell 'em...they kept on calling and calling here for a few more months, and then they finally gave up."

As Ron himself pointed out, all sorts of music went into the Stooge blender: don't forget, this was a band that began its career by playing avante garde music on homemade instruments.

And that's before we even mention the likes of Ravi Shankar, and John Coltrane, as well as blues players like Albert and B.B. King, to whom Ron was introduced in his pre-Stooges Prime Movers days. As Ron told me for the VINTAGE GUITAR piece, "There's a great blues influence in the Stooges."

This eclecticism is an apt object lesson in an era when so much pressure is exerted to make everything look, sound and feel alike. The Stooges were always men out of time, which is the ultimate tribute, to me: nothing sounded like them at the time, and nothing does now.

Of course, nothing came easily in the Stooges, and I'm not surprised that it's taken three decades to assimilate their sound into popular culture. The biggest objection to the Stooges has always focused on their lyrical and musical simplicity-- which is like visiting a Chinese restaurant, asking why there aren't any hamburgers on the menu.

Given that dynamic, I'm equally unsurprised that the Rock 'n' Roll Hall of Fame failed to embrace the Stooges during Ron's lifetime. Even so, I feel that the people's will matters a hell of a lot more than all these colorless, faceless "suits" who miss the boat without a whiff of shame or embarrassment.

The proof came in the reactions to the 2003 reunion. I was glad to see that Ron, Scott and Iggy finally got some recognition for all the blood and sweat they put into making that music leap, snarl and pounce to eat all comers -- "Search And Destroy," indeed!

Regardless of the ups and downs, Ron never gave up, and managed to keep his wicked sense of humor intact ("Hey, man, I don't read rock mags, I read GUN mags!") -- two qualities, in my mind, that are as important as the guitar playing that turned rock 'n' roll upside down for good.

The world is already a poorer place without Ron's wit and wisdom, but we'll have the energy and strength of his music to sustain us for the long run. For that alone, he deserves our thanks...and will always have my vote.
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