It’s A Sin

Pet Shop Boys – Actually (1987)

I remember listening to this on my bicycle one evening as I was heading home down Market Street from downtown. Funny how that particular memory is burnt into my memory, but the actual year this happened (91? 92?) or why I had been downtown on my bike after dark remains lost to time. All I know is that this disk was part of a trilogy of recordings I’d actuired and had on heavy rotation at the time. The other two were George Michael’s Listen Without Prejudice and Bette Midler’s Some People’s Lives—not that either of those help me pinpoint a specific year.

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And Down The Rabbit Hole I Go


What follows is a series of photos I took over the course of several weekends at Hotbods in Phoenix during April 1983 when Steve invited me up to the DJ booth. Magic moments frozen in time that tie directly into my musical selection above.

I was working in very low light conditions with the fastest color film I could get my hands on, but even so a lot of these shots required extensive tweaking to get them looking this good.

In an unguarded moment. I call this “The Look Of Love” (with apologies to the group ABC)
This one is almost art…
The Universe was trying to send us a signal with that record in the background.
He was such a flirt.
I like this one.
My favorite of all the shots of Steve I took
The ONLY picture of Steve and I together…and it would’ve been so good under better lighting.

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Toot Toot, Beep Beep In The Afternoon

Donna Summer – Bad Girls (1979)

As I opined a few years ago:

I was sorely disappointed with this album when it first came out. I couldn’t help but think, “She followed up Once Upon a Time with this?!” Even now, nearly four decades later, it fails to move me the way OUAT—or for that matter, even I Remember Yesterday or Four Seasons of Lovedoes.

And then to have it followed only by the greatest hits album, On the Radio, which seemed like nothing more than a contractually-obligated release to end her relationship with Casablanca Records…

While Donna did put out a few very catchy, danceable songs afterward, IMHO there were never again any whole albums that spoke to me the way her mid-Casablanca releases did.

Over the years my opinion of Bad Girls almost did a complete turnaround. While it’s still no Once Upon A Time it’s still a damn fine album, along with Four Seasons Of Love, I Remember Yesterday, and Once Upon a Time, bookending the epitome of her career.

SO MANY NIGHTS under mirror balls!

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An Evening With George

George Michael – Faith (1987)

Played on a period-appropriate CD player, no less!

I love this album so very. much. Not only is the recording itself…

technically and sonically superb, but the songs themselves are a perfect reflection of the late 80s. In my opinion, Faith and Listen Without Prejudice perfectly reflect George Michael at his peak. Neither Patience or Older were bad, but both are eclipsed by the two previous releases. And as far as Songs From the 20th Century is concerned, as much as I want to like it, I still listen and my reaction remains, “Wut?”

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Released 33 Years Ago Today

Pet Shop Boys – Very Relentless (1993)

This was one of the first CDs I replaced when I started rebuilding my collection years ago, and remains one of my all-time favorites.

As I wrote last spring:

I love this album, mainly because it was so different [the Relentless disc of the set] from what PSB had put out up until that point.

I will forever associate this disc with a little club I happened upon called The Playground in San Francisco in August of 1993 because it seemed they were always playing it.

I discovered The Playground after I had started boxing up my life to move back to Arizona—for the first time—after nearly a decade in The City. City life—and still pining over Rory—I knew it was time for me to cut my losses and start new.

Once I’d made up my mind to leave however—going so far as to give notice at work and on my apartment—as she is wont to do, The City pulled out all the stops to get me to stay. One evening I was out in front of my apartment building washing the car, and an absolutely gorgeous man happened by, struck up a conversation, and the next thing I knew we were upstairs doing the nasty. I started meeting guys left and right. And then my friend Rick came over one evening and started singing the praises of The Playground.

I was no stranger to sex clubs, having frequented the 1808 on a regular basis just after moving to San Francisco and spending many a rainy night wandering the halls of Mike’s Night Gallery many years later, but I’d drifted away from those venues because it was easy enough to find sex pretty much anywhere in the city if you really wanted it. So why pay for it?

In any case Rick’s full-throated (pardon the pun) endorsement of The Playground let me to check it out one night.

From the description in my Journal at the time:

There ís something very primal about the place, something that ís very much linked to our deepest (and yes, darkest) sexual fantasies. The owners have a gold mine in their hands, if they know how to keep the ambiance alive. 

It s a converted warehouse on 17th Street between Folsom and Harrison. The building itself is at the back of a large parking lot. It’s all gray metal with yellow painted trim. At night there are two rotating yellow beacons located on the loading dock where you go in. When you first enter, to the right is the admission area. When you pass through that, you first enter the television and refreshment area. There are several sofas clustered about a lone TV. If you proceed back, slightly to the left, the next area you come to is the glory hole space. It’s a series of black painted cubicles surrounding a raised platform. Naturally, there are more than ample holes drilled between the cubicles and the platform. Immediately to the right of this area is what I’ve come to call “the drive-in.” There’s an English taxi (vintage unknown) parked there that faces a projection television that plays the same porn videos that are playing in the television area. If you continue back toward the rear of the building from the drive-in, you get into another area dominated by separate cubicles. These cubicles surround another, smaller room, and they have small holes drilled at eye-level, allowing you to look into the smaller room and see whatís going on. When you exit the peep-hole area and head again, toward the rear of the warehouse, you pass “the dungeon” on your left, where you’ll find a sling and various other equipment I could not identify. To your right is the restroom (and yes, people do have sex in there). Continuing back, down a set of stairs, are three more spaces: the jail, the infirmary, and off the infirmary, a small room with a bed and a single lone light bulb. There’s something very eerie about these two rear rooms, although exactly what it is, I haven’t quite been able to put my finger on. The jail, which opened only recently, is very hot. It consists of a large area surrounding four cells, complete with bunks and toilets.

I think this is the building (at least as it appears today). I can’t definitively verify that because gates on street view are blocking the view of the entrance.) The parking lot was much smaller with another building blocking it off to the right of the entrance gate.

After visiting The Playground several more times, combined with all the men falling out of the sky, I abruptly changed my plans to leave and ended up staying in San Francisco for another nine months. By then the downpour of eligible bachelors had ended and I was at wit’s end with the same aspects of city life that had initially prompted my thoughts of moving back to Arizona months earlier. It was then that I returned to Tucson for six months before the siren call of The City prompted my return.

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Life Out Of Balance, Indeed

Philip Glass – Koyaanisqatsi (Complete Soundtrack) – 1998

My introduction to Philip Glass forty years ago. Imagine my joy when the entire score to the film was finally released fifteen years after the original soundtrack, including the full length 22-minute version of The Grid and previously unreleased tracks Organic and Resource.

My favorite cut and the one scene (other than the hot dogs and escalators scene “The Grid”—something you’ll immediately recall if you’ve ever seen the film) that’s stayed with me for the last 40 years:

Philip is my go-to guy whenever I need to center and recharge. There isn’t a piece of his music that I don’t love. (Okay, 1000 Airplanes On The Roof is borderline—and surprising considering my lifelong interest in the subject matter it’s supposed to depict—but I won’t ever outright refuse to listen to it.)

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