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Jeff Balke | November 21, 2011 | 2:00pm
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In the great 80s comedy Night Shift, there is a scene where Michael Keaton is driving down what appears to be the West Side Highway in New York in a brand new Cadillac with "Jumpin' Jack Flash" blaring from the speakers. In a bid to impress a mildly terrified Henry Winkler, Keaton attempts to demonstrate just how dark the window tinting is by driving next to a police car and, among other things, flipping them off and pretending to smoke a joint. As he does this he says, "We got teenage girls, the place is full of broads in here."
Point is, Keaton's character wanted to be a rock star and the closest he could get was pimp (or Love Broker if you prefer). He wanted to be a rock star because it is commonly known that they get the girls and many of those girls are teenagers.
We've all become accustomed to bad behavior by musicians -- it isn't called "sex, drugs and rock and roll" for nothing -- and it often involves young women, some innocent and impressionable, some not so much. Hell, Pamela Des Barres made a living off of the groupie lifestyle. She even refers to herself now as a "groupie guru." Shudder.
Regardless of how it is occasionally praised in songs ("Teen Angel" or "Young Girl" much?) or shrugged off as boys being boys, it's creepy and illegal and we're not talking about Garry Glitter-style pedophilia, just your garden variety fucking of teenagers that happens too often in music and goes almost entirely un-punished. Here are 10 of the more infamous cases... or maybe just the ones who got "caught."
He's only about one-tenth musician at best, but if you were around in the 80s, we bet you danced with some chick to "Heartbeat" at least once. With his celebrity, he managed to land the uber-hot Melanie Griffith. Only problem is that she was 14 at the time. Johnson claimed Griffith was the aggressor in the relationship, something that wouldn't shock us having read The Devil's Candy and watched Something Wild, but still. She was 14, Don!
The former singer, politician and son of Chaz/Chastidy may be most well known for his relationship -- musically and otherwise -- with Cher. The two were married for 11 years, a time that included a couple of hits and a popular television show. Now, no one thinks there is a man on this earth that tells Cher what to do, but she was 16 when them met (he was 27) and it's still creepy.
Whatever you may think about the right-wing version of the Motor City Madman, Nuge is pure rock and roll. Unfortunately, that also means a predilection for underage girls, something he has written about in songs and admitted to in interviews. Courtney Love even claims she performed oral sex on him at the age of 12. Yikes. But, no one disputes the fact that he became the guardian of a 17-year-old girl in the 80s to avoid statutory rape charges. He was 30 at the time.
We put these two together for one very disturbingly icky reason: They both nailed Lori Maddox. Maddox (or Lori Lightning as she was known) was a notorious groupie in the early 70s. She reportedly lost her virginity to Bowie at the ripe age of 13 and began a relationship with Page at 14 while he was still involved with Des Barres. Page went so far as to have his manager snatch her up and bring her to his room the first time they hooked up. They carried on a secret affair for a couple years.
Berry is a cantankerous old sot. Watch Hail! Hail! Rock 'n' Roll if you don't believe us. But Berry is one of the founding fathers of rock music and a living legend, so we let him slide when it comes to attitude. What we don't cotton to is his reported exploits with younger ladies. In 1961, he was arrested for transporting a minor across state lines, in this case a 14-year-old girl. He also allegedly video taped women in the bathroom of a restaurant he bought in 1989. Freaky.
Back in 1980, Eagles drummer/singer Don Henley was arrested when police found a drugged, naked 16-year-old girl at his house in Hollywood. Henley got a $2,000 fine and two years probation (seriously?) for the offense. We'd like to have heard what his Texan mama had to say about this at the time. Our guess is it wasn't pleasant.
The Rolling Stones' sexual appetites are the stuff of legend and Wyman might have led that pack. It has been documented that he slept with more than 1,000 women throughout his life, a number that would make Wilt Chamberlin proud. But, his most controversial affair with with Mandy Smith, an 18-year-old he had been seeing since she was 13 when he was in his 60s. Gross!
No list of this kind would be complete without Lewis, who famously married his 13-year-old cousin. The scandal essentially ruined his career. Surprisingly, his first cousin (once removed -- that's key) was not his first wife. He said in an interview he was first married at the age of 14 to a 17-year-old. 
If there truly were a weird shit-o-meter Will Smith talked about in Men in Black, Kelly's bizarre underage sex romps would push the needle way into the red. In 2002, a video leaked online reportedly showing Kelly engaging in sex with and urinating on an underage girl. Though she later admitted it was consensual, Kelly was arrested on a variety of charges stemming from the incident. It took six years for the case to go to trial and he was acquitted on all counts. In 2003, police found a stash of child porn and a video of Kelly having sex with yet another minor in his home. Charges were thrown out due to procedural issues relating to probable cause. 
Keep the Houston Press Free... Since we started the Houston Press, it has been defined as the free, independent voice of Houston, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Houston with no paywalls.
Jeff Balke is a writer, editor, photographer, tech expert and native Houstonian. He has written for a wide range of publications and co-authored the official 50th anniversary book for the Houston Rockets.
Jesse Sendejas Jr. | June 23, 2021 | 12:40pm
Elton John returns to Houston one last time late next year
Photo by Ben Gibson, courtesy of Rocket Entertainment
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Sir Elton John didn’t become one of the 20th century’s legendary musicians from sheer, unequivocal talent alone. To become one of the top-selling solo artists of all time (one diamond, 38 platinum or multi-platinum and 26 gold albums, if you’re counting) takes some tenacity, too. The Rocket Man’s determination to bring his beloved songs to live audiences one last time — on a tour previously halted by the global pandemic — resumes in May 2022 when the Elton John Farewell Yellow Brick Road The Final Tour kicks off in Frankfurt, Germany.
As it now stands, Houston’s date will be one of the last live shows the multiple-Grammy Award winning, Rock and Roll Hall of Fame inducted artist ever plays in North America. He’s slated to return to Houston Friday, November 4, 2022. Minute Maid Park will host the show. If you miss that event, the only remaining chances to see him on American soil will be a Saturday (Night’s Alright) show a week later in Phoenix or a pair of shows November 19 and 20 at Los Angeles’ Dodger Stadium. He’ll conclude all live performances in New Zealand and Australia in 2023, seven decades from his first gigs playing pubs in England as a teen.
The tour with the long title has long legs, too. It began in the pre-COVID 19 days of September 2018. Back then, Houston boasted a pair of summer 2020 dates at Toyota Center. The tour was officially postponed in April 2020 due to the then-accelerating risk of coronavirus. Once it’s all said and done, the tour will have lasted longer than many music careers, more than four years in all.
You know the songs – “Bennie and the Jets,” “Tiny Dancer,” “Philadelphia Freedom,” and the best-selling single of all time, “Candle in the Wind 1997,” to name but a few. And, John is pertinent as ever, having just won iHeart Radio’s “Golden Icon” award, the 2020 Pollstar “Major Tour of the Year” recognition and Billboard’s “Top Rock Tour” honors for 2019, the same year “Rocketman,” the well-received biographical musical about his life and times bowed. Tickets for the Houston date and all North American shows go on sale June 30. For more information or to purchase tickets and VIP packages, visit EltonJohn.com.
Keep the Houston Press Free... Since we started the Houston Press, it has been defined as the free, independent voice of Houston, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Houston with no paywalls.
Jesse’s been writing for the Houston Press since 2013. His work has appeared elsewhere, notably on the desk of the English teacher of his high school girlfriend, Tish. The teacher recognized Jesse’s writing and gave Tish a failing grade for the essay. Tish and Jesse celebrated their 33rd anniversary as a couple in October.
Bob Ruggiero | June 29, 2021 | 4:00am
Feedback's Musical Muses of the Morning: Lori Majewski and Nik Carter.
Photo by Maro Hagopian/Courtesy of SiriusXM
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One thing the music programming of SiriusXM satellite radio has in abundance is variety. It seems like there’s practically a channel for every genre and style, including Albanian Jazz-Inflected Death Metal Featuring Klezmers.
But when Senior Director of Talk Programming Roger Coletti went to The Powers That Be in 2016 with an idea about a new channel dedicated to just talking about music, some probably thought he was nuts. But TPTB didn’t.
“They were already looking to do something in the talk space about music, and I had an idea of how it could work,” Coletti says. “I really wanted it to be like sports radio for music fans.”
Feedback Producer and Tool fanatic Matt Ianni
Photo by Mike Doyle/Courtesy of Matt Ianni
Thus was born the Volume channel. Its bevy of programming includes regular series, specials, and shows hosted by musicians, producers, writers, and DJs. The three tentpole shows that broadcast on Day 1 are still there: Feedback with Nik Carter and Lori Majewski, Trunk Nation with Eddie Trunk, and Debatable with Alan Light and Mark Goodman.
On paper, the Feedback hosts seemed like an odd pairing. Carter was a brash DJ with more than two decades of experience behind the mike on both live and syndicated shows. Majewski came from the print world as an editor/writer for titles like Spin, Entertainment Weekly, and Teen People, and as co-author of the new wave oral history Mad World.
Coletti already knew Carter after hiring him as a VJ for VH-1 Classic (“The channel hired a spiky haired black guy to play classic rock to a bunch of red states,” Carter laughs today. “What could possibly go wrong?”).
“When I was at VH-1, Roger and I would talk about music all the time. And he said ‘What would you think about a channel that talked about music but didn’t play it?’” Carter recalls on a Zoom interview with Majewski. “And, me being me, I said ‘Dumbest idea ever!’ But then I thought about it. If you made it like sports talk for music dorks, it would work. And that’s what we try to do.”
In seeking talent for Volume, Coletti was impressed by Majewski’s music commentary on the CNN series The Eighties. The two had auditioned for other shows with other co-hosts before they were put together for Feedback.
“I was excited, but I didn’t see how it would work never having done radio before! They wanted me to talk about my life and as a journalist. I’m used to keeping myself out of the story,” Majewski says. “But Nik had a wide-eyed and an unjaded enthusiasm for things. And I wanted to work with someone who was that passionate.”
Of course, sometimes — though not too often — that passion spills over into disagreements. For the audience, it’s like being kids listening to Mommy and Daddy fight.
“We actually agree more than we don’t, but when we disagree, we vehemently disagree. But that shows passion,” Majewski says. After one particularly heated argument, Carter says a friend called him to ask exasperatedly “What can you fight about? You’re talking about music!” It made Carter reflect. “No one should leave the studio upset,” he says. “It’s all opinion. There’s no wrong answer.”
And when interviewing musicians, producers, and authors, the pair always strive to have actual conversations rather than rapid fire Q&A’s. What Carter calls “real human moments” with guests.
That passion also comes to the pair from the diehard fans of the channel, dubbed “Volumaniacs.” These are callers often known to the DJs and each other. During the pandemic, they’ve had Zoom meetings, continued the post-show conversation online, and on social media. And they’re now starting to meet up at concerts.
“We’re a family even if we haven’t ever met,“ Majewski adds. “It’s not only music that we have in common, it’s that everybody has to get up and go to work in the morning. You get to start your day with people, and you’re the first person who they hear.”
That sense of tight community has surprised the hosts in other ways. When Carter’s beloved dog Lola — who had become a star of her own on his social media — recently died, a group of 50 Volumaniacs got together and donated $1,350 to the ASPCA in Lola’s name. “That really knocked me over,” Carter says. And when Majewski’s mother died, another group planted hundreds of trees in her honor, and even sent a Duran Duran T-shirt when she and her husband became foster parents (they are currently going through the adoption process).
Grieving together has also been part of the show, as with the dual suicides of Soundgarden’s Chris Cornell and later, Linkin Park’s Chester Bennington. The hosts and listeners shared memories and shed tears. Bennington in particular was tough to handle, especially since he had been in the Feedback studio just a few weeks before.
“He was so full of hope with his new record and this polished direction Linkin Park was going in. I hadn’t seen him in 10 years. He saw me and said ‘Dude!’ and came right over and hugged me,” Carter recalls. "He was so joyful and happy and full of hope for the future. And then when he passed, we were devastated. It was just tragic.”
The show often veers down what’s been dubbed the “Rabbit Hole.” That’s when one topic will spark another unexpected train of conversation that can go deep. A recent discussion about John Mayer’s ‘80s-inspired new album cover led to dissecting a New York Times interview with him, which led to 45 minutes about “Divorce Core.” That’s the genre in the ’80s when middle aged rockers like Phil Collins and Don Henley mined broken mature love for gold (see “Against All Odds” and “The End of the Innocence”).
“I’m Type A and I like to have everything planned to the minute. The Rabbit Hole was born out of [Producer Matt Ianni] trying to take the training wheels off of me,” Majewski says.
“No, that’s not it at all!” Carter jumps in. “The Hole was born with Matt. He’s a little younger than us and I used to joke we should do a segment ‘Things Matt Doesn’t Know.’ Lori and I would talk about things we just assume everyone knows. Our heads are a never-ending storehouse of weird music info. And then Matt would pose a question, and we’d go down the Hole.”
“Like when Matt would say he first knew about Elton John because of The Lion King!” Majewski laughs. “‘80s kids have a better take of things that happened before. In the ‘90s, everyone starts looking at their belly buttons.”
“We’re in a click bait, it’s trending, microwave society. People can’t remember what happened five years ago,” Carter adds. “But there’s not much of a reason to look back, because there’s so much stimulation coming at you every day. You can go to streaming or Soundcloud or YouTube or the radio now for new music. We’ve never seen this much choice.”
Coletti says he’d like for the shows to be hosted live in the studio again as soon as it’s safely possible, in both the New York and Los Angeles studios. “The environment, the vibe, and the energy there in those hallways is missing,” he says.
But since March 2020, Feedback has been produced remotely, with the hosts and guests only seeing each other on Zoom. Coordinating it all is Ianni. He’s had a lot of on-the-fly job training this year for sure calling up guest and host Zoom cameras, commercials, music drops, and remote feeds timed to the second from his home set-up, all while being an active part of the conversation as well.
“We didn’t miss a beat too much, and in the beginning we’d record the show at nights and I’d do post work. But our engineering and IT team set up a great system to do a live show with broadcast quality,” Ianni says, adding that he’s got what is basically a “virtual mixing board”—though admitting it only takes “one push of a button” to cause big problems.
For the future, he foresees doing some shows back in the studio and some with the remote setup. “If I felt our show was losing something by the way we’re doing it now, I’d say we need to get back in the studio full time,” he offers. “But I think it’s as good now as it’s ever been.”
Majewski says she’s gotten quite used to not having to get up quite so early and travel into New York City to the Sirius studios, but she does pine for the staff’s famed Karaoke Battles. Carter misses the in-person camaraderie, and a greater work/home delineation. Majewski thinks she and Carter “are even closer now,” though they’re physically farther apart.
The years together o
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