Carlo Vartinelli, Esq.? First degree sex offender coaches Joe Gentz

Joe Gentz told the cops that Bob Bashara hired him to kill Bob’s wife, Jane, for $2,000 and a used Cadillac in January 2012.

Now, Gentz has recanted the statements that led to Bashara’s conviction in 2014 for first-degree murder.  Just before Bashara’s trial, Gentz announced he would not testify against Bashara, and word came down that Gentz was coached by fellow inmates to hold out for a better deal from prosecutors, who refused to play his game.

We now have a pretty good idea who the leader of that troupe of jailhouse lawyers was; Carlo Vartinelli, who was convicted in 1992 of first-degree sexual conduct and sentenced to life in Houghton County.

The Oakland Press has the most complete story about a recent affidavit from Gentz in which he recants the element of his confession in which he claimed Bashara forced him to murder Jane at gunpoint, a story Gentz told several people, including his family in the days after the murder.

It appears Vartinelli has ridden shotgun through all of Gentz’s antics since Gentz was committed to the state prison system in 2013 for second-degree murder.

From the Oakland Press story:

“In his motion, [Bashara’s appellate lawyer Ronald] Ambrose states he received word of the new version Gentz was offering through a private investigator who obtained it from Carlo Vartinelli, a prisoner serving a life sentence for a criminal sexual conduct conviction out of Houghton County.

Online court records show Vartinelli, 57, is somewhat of a jailhouse lawyer, having filed numerous on various issues in federal court. He was the one who compiled the affidavit with Gentz, according to court records after having several conversations, documents show.”

You can read one of those filings here, to get a picture of how Vartinelli works. 

In it, he speaks of the MDOC’s “torturous” conduct regarding his many physical ailments. I’m no defender of MDOC – far from it – but this should give you an idea of the brain trust that is driving today’s news.

Canned Albuquerque cops records manager denied Juggalo records to public – was he ordered to do so by top brass?

 The guy who artfully halted a public records request for documents related to the Albuquerque Police Department’s surveillance of Juggalos now says he was instructed to find ways to block such requests by his superior officers.

The department also has an opening for a public records manager

As part of the upcoming book on Juggalos, I sought open records from a number of police departments around the U.S. to find out what they were looking for and what kind of communications they had both before and after Juggalos were deemed a gang in the FBI’s bi-annual Gang Threat AssessmentReport in 2011.

One of the departments queried was the Albuquerque PD, which has had massive troubles regarding conduct and is now under federal oversight.

Reynaldo Chavez, the department’s records custodian and point man for public records, immediately asked for $250 to even continue to process my request. “When all is said and done that amount will likely be much higher,” he wrote to me.

We call this a creative denial, which is when a public body attempts to prevent a requestor from moving forward. This often indicates there are some records involved that the body does not want to make public but, if pressed, would be forced to.

I called Chavez to discuss this fee but he told me that that he was not permitted to discuss requests. I sent him an email advising him that I considered the $250 up front and his warning of "much higher" costs to be tantamount to a denial. 

“You should also be advised, this is not a denial as you so eloquently state since you are being offered responsive documents,” Chavez said. “So this is an incorrect statement on your part...."

He also claimed he "did not say I was not permitted to discuss [records requests] so again you are incorrect…”

Of course he said it and was now backpedalling We never got the records because it would be foolish to keep sending money to a department with an already-dubious record for truth. After the first $250, Chavez could easily have come back with a $1,000 bill.

Chavez was fired on August 24 and now claims he was ordered by his superiors to concoct a means to deny public records requests. Now whom do we believe? Chavez was abrupt and confrontational in dealing with me, the public. So it’s pretty hard to root for him in this, or even believe him. Was he just carrying out orders when he made his cloaked denial?

Prison: “Everyone thinks of escaping; they just won’t admit it”

Sarah Pender, right. 

The two convicted murderers who escaped from a New York state prison last week are running around freaking everyone out. Stories of fearful residents in areas all over the state are blowing up.

Chances are pretty good they’ll be caught in short order.

Why? They’re male, to start with.

Every so often we hear of an escaped convict who made the break only to be found years later, living a peaceful life as an upstanding member of a community, usually far away from the prison.

Most of the time – not all of course – they’re female.  People don’t seem to fall apart when it’s a female escapee.  In a CNN splash on the escape, the news group pronounces a dozen top manhunts. All are male.

This list of five crazy-ass escapes from 2013 is pretty funny; all are male escapees.

Think of Sarah Pender, the convicted murderer who broke out of an Indiana prison in 2008. She stayed gone for 136 days, befuddling everyone. In the book Girl, Wanted: The Chase for Sarah Pender, I outline how she eluded the cops and how she spent her four months of freedom.

She did in best by blending in. She found a guy who would help her out but the couple cavorted in casinos, ate in restaurants, and she worked a job as a bookkeeper for a Chicago construction firm.

This, despite the fact that she was on American’s Most Wanted several times.

“Everyone thinks of escaping; they just won’t admit it.”

Pender told that to a TV crew in 2009, not long after she was captured after spending 136 days on the run.

Of course. Who doesn’t want to escape from prison?

It’s a little easier than anyone wants to admit. Pender was trading sex to a guard, Scott Spitler, who provided her with some civilian clothes, a cell phone with which to coordinate her break and, as a parting gift, drove her through the gates in the back of a prison van.

Spitler got eight years in 2009 for assisting. He served in county jail, an easier place to deal with.  The authorities claimed it was for his protection.

From the book, Girl Wanted:

Sarah Pender had outwitted an entire prison system that is designed to avoid exactly such flights and had done so with a plan so simple, yet flawless, that it took two hours for prison staffers to determine that she was gone. The usual head count at 4 p.m. showed one prisoner short. As according to policy, a second count was done and again showed one inmate short.

At that point, all inmates were ordered back to their dorms for a one-by-one count. It was a top bunk along the south side that was empty in one dormitory: Sarah Pender was gone.

And the caper also had serendipity all over it. Sarah walked past an unmanned security checkpoint. New security cameras were slated to be installed the week after her brazen walkout, cameras that might have caught her in the act. The gate allowing her to meet Spitler was open. The guard at the gate leaving the prison failed to conduct a search of the van in which she was hiding, allowing her to leave the facility grounds. It was a festival of incompetence and corruption, and Sarah was both the leader and beneficiary of the fiasco.

It's on - again. Juggalos vs. the Feds, Appellate mix

By now you know whose side you’re on. 

The court's spellcheck is apparently not working

On June 18, lawyers for the Insane Clown Posse will argue that the Justice Department violated the band’s free speech and due process rights – and those of its fans - after a 2011 FBI report determined those fans, “Juggalos,” are a gang.

Appellate arguments are scheduled in the Sixth Circuit Court of Appeals in Cincinnati.  Each side gets 15 minutes. It’s one more legal stop in the case of the Juggalos vs. the Feds, a case that was filed in January 2014.

A federal judge in June 2014 ruled that the plaintiffs - ICP and four of its fans - did not prove harm in their arguments in the original case.  They alleged the report led to targeting by police for wearing hatchetman or ICP-related jewelry, clothing and tattoos.

U.S. District Judge Robert Cleland said the U.S. Justice Department is not responsible for how authorities use the bi-annual national report on gangs.

The report "does not recommend any particular course of action for local law enforcement to follow, and instead operates as a descriptive, rather than prescriptive, assessment of nationwide gang trends," Cleland said in his ruling.

The FBI alleged in its 2011 National Gang Threat Assessment that Juggalos “exhibit gang-like behavior and engage in criminal activity and violence.”

The inclusion of Juggalos in the report was based in large part on news clippings sent to the FBI by various, mostly small town law enforcement agencies responding to an email from bureau employee.

Read how it went down in this High Times piece.

The gang designation led to articles in police publications such as this one titled, “Three things cops need to know about Juggalos.”

From the July 2014 article at PoliceOne.com: Their philosophy and dress is derived from the Insane Clown Posse and Psychopathic records “Dark Carnival” from a set of 6 albums. Law enforcement professionals should be aware that this group routinely attracts members who come from difficult lives filled with trauma, parental neglect and, in many cases, serious mental disorders. 

This combination makes them easily manipulated by their leadership of radical organizations such as the Juggalos who have for the past several decades used these groups as recruiting centers.

Dale Yeager of Seraph — a Department of Justice Criminal Behavior Analyst on the Juggalos — said, “As various extreme environmental, animal rights and anti-globalization groups become emboldened by increased funding from NGOs and leftist political action committees, the use of youth movements such as Juggalos for recruitment of members will increase. 

In a legal brief filed in February on behalf of ICP, lawyers allege that the Department of Justice “maintains a digital warehouse containing Juggalo data that – by Congressional design – plays a leading role in law enforcement’s identification of gang members. The warehouse includes an encyclopedia of gang images and a database of materials cataloging distinctive First Amendment-protected Juggalo symbols such as the hatchetman logo and other ICP-related symbols and other information about these music fans. “

It goes on:

“Within these materials, the DOJ does not provide any way for law enforcement to distinguish the vast majority of law-abiding Juggalos from the purported “subsets” of gang members. Now, the DOJ suggests only a circular definition that the good Juggalos are the ones who don’t commit gang-related crimes.”

Read the plaintiff’s brief here.  

The Department of Justice hammers at what it claims is a failure to prove injury on the part of ICP and the four Juggalos, The DOJ insists that the gang report does not designate Juggalos as a gang. Instead, “the Report provides information on trends in gang activity, as reported to [the gang intelligence center] by other law enforcement entities. “

Read the government’s brief here.

Some say it comes down to the way the law is set up. The Feds can declare any group a gang. There is no established way to directly challenge such a designation. That leaves something blandly called the Administrative Procedures Act, which must be named so in order to get us to fall asleep before we can do anything.

But ICP is using that to challenge the FBI. And the Feds claim that the – wait for it – Administrative Procedures Act requires some sort of conclusion. That is, it has to be etched in stone that the Juggalos are forever a gang. And the FBI report didn’t do that for anyone, not the Crips, not the Bloods, not the Juggalos, insists the DOJ. It makes it a legal chore to dispute when the FBI says you’re a banger.

“Even if you have the money, the law is set up to make it difficult to undo either a state or a federal authority calling your group a gang,” says Alex Alonso, who runs the website streetgangs.com and has testified over 50 times in gang-related cases. 

The Brewery – A Midwest Music Landmark

 

Dave DiMartino's review of the Stooges, 1974

There’s an excellent story this week in a local  weekly in Michigan about a club that hosted some of the best bands of the 70s. While that sounds like classic rock Hell, wait a second.  Iggy and the Stooges, Captain Beefheart, Bloodrock, the Sensational Alex Harvey Band, pre-fame Aerosmith and Kiss, post-fame T.Rex and Big Star all raged at a place called the Brewery in Lansing, Michigan.

From the story: “Tuesday night was tequila night, 25-cent shots. People were shitfaced drunk,” recalled [co-owner Rick] Becker. “I shouldn’t say everyone, most people kept their acts together. But three quarters of the people in there couldn’t legally drive and they didn’t.”

“It is reasonable to say that the City of Lansing has had more than its share of problems at the location of the Brewery,” reads a letter written in July 1974 to the city council by Gerald Graves, who was then mayor of the small town.  He included a list of complaints at the Brewery between 1972 and that date.

In 1972 it numbered 64, in 1973 it hit 96. By mid-74, it was at 29.

Rock and roll and crime. Yes, there’s a big dose of stupid in there. But at least it’s a loud stupid.

This was when there were no decibel meters and no bored cops looking to beef up their quotas and city coffers with drunk driving stops. People smoked. The whole place was built on reckless freedom, and is there any better kind?

Still more from the story: Forty years later, it’s easy to recognize the significance of the Brewery and what occurred on its 50-foot stage, but at the time many of the bands were still on the verge of breaking. The venue saw early gigs from Aerosmith, Rush, Joe Walsh, Peter Frampton and a beardless ZZ Top, to only name a few.

When a still-budding KISS played the Brewery on Oct. 21, 1974, State News reviewer Kevin Carver complemented the band for its “excellent” showmanship but wasn’t impressed with the “unnecessary spitting and drooling of ‘blood’ by bass guitarist Gene Simmons.”

When the Stooges played there, the student newspaper at nearby Michigan State University, the State News, ran photos that had the professors wondering what was going on. I remember my dad, who was a journalism professor at MSU, bringing home the issue and opening it up and wishing that I was old enough to enter the doors and see the Stooges play. Three weeks later, they’d do their last show ever at the Michigan Palace.

When Dave DiMartino reviewed Aerosmith’s show, he displayed why he would go on to become a star rock critic: “There is an air of stardom about this band, one that cannot go unnoticed for long. Given a little time, this relatively young band will probably make it in a very big way.”

The place turned into the Silver Dollar Saloon, as noted in the story, and hosted more stars; I saw the Tubes on their first U.S. tour in the fall of 1975. Rush came along a couple weeks later, making their 4^th or 5^th stop. Patti Smith played there in the spring of 1976 on her first U.S. tour, which is when the place began winding down.

The story has a great kicker:  

“Every major town has some place that was amazing in its time,” [State News reporter Jack] Bodnar said. “Over the course of decades, you realize it was the pinnacle. There were a lot of places that delivered music, but the Brewery was totally unique, as far as the groups that came through and the vibe. It was probably the greatest bar that’s ever been in East Lansing or Lansing.”

An understatement to be sure. Many towns had them, these little local joints where even big-label bands played, back when rock and roll was still the people’s music.

Bashara pushes appeal forward, sends email insisting he is innocent

I received another email from Bob Bashara this week, the fourth since he was sentenced to life in prison in January.
He continues to maintain his innocence and notes that he has filed some motions that he hopes will bring what he insists is truth to the situation.

In a previous email I asked him about the 472 phone calls between he and Joe Gentz, the man who confessed to killing Jane Bashara.  The calls took place, according to testimony, between August 2011 through January 2012.

Bashara says that almost 70 percent of those calls were under 25 to 35 seconds, which would indicate there was no connection made.

According to Stan Brue, the federal agent who analyzed the phone records for the prosecution, the calls originated with Gentz two-thirds of the time through December 2011. In January, Bashara made 67 calls to Gentz as opposed to 32 from Gentz to Bashara.  Jane was murdered January 24, 2012.

His appeal is moving through the system and it will take a long time.

The trial transcripts are trickling in, including the 40 days of trial. The analysis of them will be part of the work of Ronald Ambrose, who is Bashara’s appellate lawyer. 

"I will never, ever stop fighting for justice and the truth, until my hands are raw, blood comes from eyes and I take my last breath, " Bashara said at his sentencing hearing in January, when he received a mandatory life sentence for first-degree murder.

I’ve also talked on the phone with Gentz, who told me of his life as something of a wanderer. He said he worked as a civilian for the military for a while and as an AB, which is an able-bodied seaman in the Merchant Marines. As you can imagine, there's more to it than that. 

The book, Murder in Grosse Pointe Park: Privilege, Adultery and the Killing of Jane Bashara (Penguin/Berkley), is scheduled for a fall release.

BDSM community and the release of 50 Shades adaptation in the wake of Bashara

Film version of book release 2.13.15

The Detroit Free Press today has an excellent tie-in to the release of the film version of the book 50 Shades of Grey, which is charting at number two in Amazon's contemporary romance category this morning.

“Every time Grey's character took a hand or a belt to Steele's backside or bound her wrists, I thought about how he could be a Bashara in training — a younger, far more attractive version of the Grosse Pointe Park businessman sentenced to life in prison for hiring a hitman to kill his wife in 2012 because he wanted to live out his sadomasochistic fantasies unencumbered,” writes columnist Kristen Jordan Shamus.

As I worked on the upcoming book, Murder in Grosse Pointe Park: Adultery, Privilege, and the Killing of Jane Bashara (Penguin/Berkley, fall 2015), I spoke with numerous people tied to the lifestyle in and around Detroit’s BDSM and alternative lifestyle scene. All were critical of the way the lifestyle was used by the state as a motivation to murder. 

“Bob’s case put the lifestyle in an unfortunate light,” Rick Falcinelli, a longtime member of the scene, told me in January after he completed his testimony in Bashara’s two-month long trial. He said critics of the lifestyle are “going to get another boost…in February with the misinterpretations of a movie version of 50 Shades of Grey.”

“Ever since the book came out, we’ve been laughing," Falcinelli says. "It misrepresents the way people behave. The book is written for entertainment, not reality, and they write it to play to stereotype.”

Among the poorly portrayed elements is the main character, a wealthy guy named Christian Grey, who woos the lead female character.

“The book does not explain the mindset and motivation for” getting into the lifestyle, Falcinelli says.

Mindset and motivation for checking out the alternative lifestyle is explored in the Bashara book, which is slated for a September release. Why spoil the surprise?

The prosecution based much of its case on Bashara’s participation in the BDSM scene and his hopes to start a new life with his BDSM partner, Rachel Gillett. To do so with freedom, prosecutors said, he killed Jane, his wife of 26 years.

Kim Fowley: "I Used to Fuck Burn Victims in High School for Money"

  

Kim Fowley died this week after a robust and creative life. He was 75. I spoke with him in the summer of 2012 about Detroit, a city in which he had done a lot of business over the years.

Here’s something from the cutting room floor from Detroit Rock City: The Uncensored History of Rock ‘n’ Roll in America’s Loudest City.

He’s talking about coming to Detroit in the late 90s for a session.

Kim Fowley: Ben Edmonds calls me up and says, ‘Car City wants to bring you to Detroit because there’s been a contest between Car City and three other record stores  as to who is the weird, not yet dead, final underdog hero, and it’s you. Car City wants you to record a record. Are you willing to do it?’  I said, ‘For money.’  He said, ‘What do you want?’  I said, ‘Give me a thousand bucks and I’ll bring along some lyrics that I’ll record. We did it at Jim Diamond’s Ghetto Recorders.

Matthew Smith: Ben Edmonds was talking to me about a story he was doing for Mojo about producers and he was talking to all the great producers. He said, ‘I gotta call Kim Fowley later.’  I just mentioned off hand to Ben Edmonds, I said, ‘Oh Kim Fowley, that’s a guy I’d like to work with.’ He said, ‘Well I just might tell him that.  You know you just might get a phone call or something.’  So 24 hours later I get a phone call.  ‘This is Kim Fowley.  What is it you want to do?  And don’t give me any bullshit.  What is it you have in mind?’  I just said, ‘Well I thought we could make a record together.’  ‘Well how much money can you come up with?’  I go, ‘I don’t know.  I might be able to raise a couple grand.’  ‘Well I want one thousand of it up front and the other thousand when I arrive at the airport.’  It happened that quickly. The next day I went into Car City Records, where I was working and I said, ‘Do you think the record store might want to kick in some money to help me make a Kim Fowley record and get all these Detroit people to play in it?’  They said yes.  A week later he showed up. Kim stayed at my house for a week.  He was in a bit of an intense frame of mind.  He was a bit confused or suspicious about our motives. He didn’t understand exactly why we wanted to do the record we wanted to do. By the time we got in the studio with all the musicians, it was almost like we were all under hypnosis.  John Nash, Bootsie, Troy Gregory, it was this all star local cast. Kim kept us up for days; he doesn’t sleep, he doesn’t eat.  Then after five hours, ‘I need a banana.’  He’d eat a banana and then he has energy for another six hours.  He hardly slept at all. 

Bob Mulrooney aka Bootsey X: He was looking for a new place to base himself and was moving from New Orleans. He liked me because I brought the chicks, some hot girls. The girls that ended up on the album cover. He said ‘I’m gonna rent a limo and you girls are going to show me Detroit.’ I said, I want a finder’s fee. They never showed him anything.

Kim Fowley: I brought seventy lyrics, and I used sixty-eight of ‘em.

Jim Diamond: Kim had people coming in, people from His Name is Alive, the Witches, Bob Mulrooney was playing drums and Mary from the Cobras was there. Kim said every song just had to be whoever is in the studio is fair game to be on the record. Kim would just make up stuff as it went on. He would make up lyrics and say, ‘Play this beat. Play something that sounds like this.’ And everyone would start playing and that would be the song. He told Bob, ‘play a beat like ooo-pappa-do. I want to hear that song oo-pappa doo, this old R &B song.’ And that would become a song. Everything was like that.  Everyone was drinking except Kim and it was total chaos. Then he did the show at the Magic Stick. 

Kim Fowley: It was the show that almost turned into fisticuffs.  I went on the Wayne State radio station and asked for lipstick lesbians to join me on stage. I had songs about shaved cunts and everything that I performed on radio; talking to the uterus, you know.  I said, ‘Come on bitches.  Come down and join me.’  Then I went to Noir Leather in Royal Oak and tried to get all those fetish chicks down there.  Remember I used to be a sex worker.  I used to fuck burn victims in high school for money.  So I understood ‘dirty bitches’, you know.  My mother was a lesbian.  I understand filth.  The Detroit Cobras thought I was a horrible human being for exploiting women.

Rachel Nagy: That guy is such a fucking egomaniac.  At the Magic Stick, he was doing this thing, ‘Come on everybody.  Come on stage.  Come on!  Let’s party!’  I’m like, ‘Okay.’  No one was going up.  I’m like, okay.  I will party. He starts trying to dance with me and I grabbed him.  Then he tried to push my head down and that’s when I tackled him. He was kind of pawing me and, well, baby, hey. He tried to push my shoulders down and I just fucking knocked him over. You know what, dude?  Fuck you.  You invite people up.  You want to party.  Then you want to get fucking sexual with me?

Jim Diamond: Next thing I know they ran up there and tackled him. We pulled Mary and Rachel off of him and then, he's a frail older guy, you know. He's like, ‘I had polio.’ They were laughing at first but I don't think they understood that he was a little, older guy who had polio. He didn't deserve to have fucked up chicks jumping on him, trying to strangle him.

Kim Fowley: I’m a cripple because I have the polio cane and whatnot, so they tried to pull me by the bad leg, Gene Vincent style, into the audience. The roadies were pulling me back.  I was caught between the two.  Rachel says, ‘You know I threw a punch at him or I did this or that.’  She’s a talented person who has her priorities incorrect and she never charted anywhere. Mary was on the album, funny enough.  Ben Edmonds took her side, whatever it was. You know, womanizer from out of town, crippled with a limp.  I mean who needed that?  Who cares, you know; I’ve been disliked by people before.

Jim Diamond: The next day they came over here and Kim and Ben Edmonds were going to do this thing called Abba Zabba, where Ben was going to ask him like A – Z different band and Kim would tell some story about them. Like it started out with Abba. And Kim would be like, ‘Those girls were a bunch of fucking whores who didn't deserve dog piss.’ He'd just say stuff like that about all these bands, and it was funny. Then Mary comes over and Kim goes on this long diatribe. I have some of it recorded because I had an open mic out there and I turned it on and Kim's going, ‘I'm casting a spell on you right now. Your dreams will never come true.’ and ‘usually when I come to a city, I hire a bull dog. That's someone who will murder people for me.’ and he went on to tell this story about how he was going to take care of her. It was crazy and it went on and it was just very quiet in there and very uncomfortable. Everyone was just silent and he's just telling how he usually likes to have people killed and he had guns.

Kim Fowley: Detroit became a music hotbed again because I had been there.

Bob Bashara: “What’s BDSM got to do with it?”

 

Flyer for Bashara's first business enterprise 

The Bashara trial is about to end, with closing statements coming Wednesday, and now we’ll see how the state did. It’s been almost three years since Jane Bashara was murdered, her life snuffed out in her garage under a boot on the foot of Joe Gentz, a man who says he was paid by Bob Bashara to kill Jane. 

Gentz is doing 17-to-28 for second-degree murder in the case.

For Bashara, the state wants a first-degree conviction, saying that without his actions, Jane would be alive. He's also charged with conspiracy to commit first degree murder, solicitation of murder, obstruction of justice and witness intimidation.

It’s been a drawn out trial, with 74 witnesses and typically graphic exhibits – a classic murder trial spiced with the BDSM world that Bashara admits he was part of during his last years with Jane.

“They’re using the fact that I had this alternative lifestyle as motive for me wanting to harm my wife,” Bashara told me one day last year. We spoke many times on the phone after he was sent for prison for soliciting the murder of Gentz. A lot of those conversations will show up in the book I’m wrapping up, Murder in Grosse Pointe Park: Privilege, Adultery and the Killing of Jane Bashara, which comes out on Penguin/Berkley in the fall.   

The state claims that he wanted Jane out of the way so he could have a life with his girlfriend, Rachel Gillett, who shared an affinity for the lifestyle with Bob. Also, the state claims that money issues were pressuring Bashara and Jane had a fat IRA that he would be privy to if she were to die.

“My wife was not inhibiting me,” he told me. “If I didn’t want to have Jane, I would have simply divorced her. But I had plenty of income and money was never an issue. I was paying for two kids going to college, had cars and they got whatever they wanted.  If [daughter] Jessie wanted a $500 pair of boots, Jane got them for her.”

Investigators found statements that showed a wide gulf between the income of Bob and Jane. She made close to six figures some years as a marketing consultant and he made barely $20,000 a year as a landlord and sales rep for a chemical company.

It’s not my job, but the defense failed to note that a self-employed individual should show a low adjusted income; better for taxes. I don’t know if that was the case with Bashara, but I’m sure that fact went by the jury in a state where so many people are desperately clinging to whatever employer will have them.

The state did, however, do a good job of exposing Bashara as a bad guy in terms of character. He cheated on his wife, who was clearly intent on working things out in a troubled marriage. He was a slumlord, and a hot-headed bully by a number of accounts. There was an episode in which his daughter found an incriminating text to one of his mistresses – yes, he had more than one - on his phone and he grabbed the phone, erased it, and handed it back to her: “What text?” he said, or something similar. That stuck with me as particularly mean-spirited. Who does that?

He was also head of the local Rotary Club. Do they let any angry man run that group? The club has done its best to erase all mentions of its connection to Bashara. Was he a great guy who did you wrong? Or did he do such a good job of glad-handing and bringing in money that they put up with him? It was never quite squared in trial. 

There were some lighter moments in a dark setting. He used to go out to the golf course in ritzy Grosse Pointe and do blow and smoke weed with a buddy, and we're talking in recent yeas. That he knocked back lines and joints on the golf course of the local country club was amusing to me; I’m sure he wasn’t the only one doing such a thing.

I wrote about the case at the outset of the trial for the Daily Beast.  We’re done. The jurors will do its best to figure it out after taking nine weeks out of their lives to listen to a parade of characters, some pissed off, some amusing and a few sad depressing. 

Bashara came into the courtroom on Monday whistling, ebullient. He’s apparently confident that the state failed to prove beyond a reasonable doubt that he procured the murder. Hang on. It could get good.

No Joe Gentz: Where is the state of Michigan hiding a convicted murderer?

Joseph John Gentz

Earlier this week, I was working on a story on the Bob Bashara murder trial for the Daily Beast and realized that on September 25, I had written a letter to Joe Gentz, the man who confessed to killing Jane Bashara in January 2012.

The letter came back a week later with the words “out for writ” written on the front of the unopened envelope, meaning he has been moved somewhere else awaiting a court date.  This was at least a week in advance of jury selection, a process Gentz would have no reason to attend. I called and emailed the Michigan Department of Corrections on Monday to inquire when Gentz was moved. Predictably, in a state where the citizens are viewed by government employees as a cash cow/annoyance, no response. 

Still, I thought perhaps the prosecution would want him to be closer to the Frank Murphy Hall of Justice in downtown Detroit, where the case is being heard.

I checked the Wayne County inmate search several times Tuesday and no Joe Gentz. I called the jail on Tuesday afternoon and asked. No, Joe Gentz was not in the jail.

I asked her to double check. Again, no Gentz.

At 1:30 a.m. Wednesday, I got an email from Russ Marlan from Michigan DOC:

“This prisoner is currently housed in the Wayne County Jail as his trial will begin shortly.  He will remain at the Wayne County Jail until the conclusion of this case.  You can contact the Wayne County Sheriff Department for additional information.”

Check the jail website again. No Gentz. So the question becomes, where is Joe Gentz? He’s been in trouble since being locked up in March 2012. He has defied guards, fought with fellow inmates and in general been disruptive.

Are they hiding him to ensure he stays out of trouble in the weeks leading up to the trial? Any recent trouble would be one more of many fallible points the defense can exploit in its cross-examination of Gentz. And how much is this secretive housing costing the taxpayer?

Fix video surfaces Fresno, 7/4/81

July 4, 1981, Fresno, Calif.

Funny how you remember things, and I was prompted by this footage from Fresno, Calif., to do so.

This is early in the set, we opened with “Signal”, part of which is seen here.  Then go into an unrecorded song that I can’t remember and another. We’d rewrite these and move parts, they were flexible elements of the set, setting up songs like “Rat Patrol” and “Off to War.”

The Fix came to play this July 4 show opening for the Dead Kennedys at the behest of Biafra, who was kindly good-mouthing our first single. We got into town, did a sound check and left.

Anything is better than hanging around a venue all night waiting to play. Nothing good comes of that.

We were staying at the home of Ralph, the singer from Capitol Punishment, a local band. His parents were out of town, he lived with his parents. Nice place. although it didn't take much to impress us. It was a place grown ups lived. (BTW, Ralph's bandmate, Dale, is doing a great job in recent years of documenting those years in Fresno) 

On the way back to the Belmont Ballroom, we stopped for some food. This was a part of the tour where we still had some money left over from playing Texas and Arizona. We ended up being late to get back, and the promoter was cool but you could tell he wanted us to get the fuck up there. Missed 7 Seconds, who opened. I look at this video and realize we stood real close together, the Michigan guys against this crowd. At one point, a guy came from behind me out of nowhere and launched himself off the stage as the crowd started to dig into the pit halfway through.

That night we went back to Ralph’s and had a pretty good party.  At one point we had a blackout, the kind where the electricity went down. A couple nights later we headed over to Reno to play against with 7 Seconds. About a week after that, we recorded Jan’s Rooms in LA at the Music Lab with Spot. We weren’t making any mistakes.

Jimmy Recca talks Stooges in a Detroit Rock City outtake

Jimmy Recca, former Stooge, in his inimitable, animated ramble, on writing “I Got a Right” and entering Stoogeland as the bassist. This is an outtake from Detroit Rock City: The Uncensored History of Rock 'n' Roll in America's Loudest City (Da Capo 2013)

Recca: I joined the band around February 1970. The song that was first recorded by the band the three of us, Ron [Asheton], James [Williamson]and myself as a way to break the ice and to get Ron to accept me as a bass player was “I Got A Right.” We all had the same input on it. We had a lot more songs, but my performance rights to those songs, well, that's why they never did any of those other songs after I left.

Also, they never reproduced them because they were too complex and James couldn't remember, to tell you the truth. He had very little to do with anything other than his parts, his riffs. He had his riffs, I had my riffs, Ron had his riffs. Nobody tries to write a person out of history when that's the way it is. I was there and those guys don't want to write me out of history because they don't want to go back to remember what they can't remember. The only thing they remember is that song, “I Got a Right.” Ron knew it and that's why Ron and I finally got along so well, he knew my ability in that band you know. It took at least seven rehearsals before Ron would even say a fucking word to me. He wouldn't even look at me. He didn't like me. He had that fucking rock star thing like ‘I don't have to accept you if I don't want to. Say whatever you want to. It doesn't matter what you say, we didn't join you, you joined us.’

And I think for the most part, none of it was going to fucking matter, nothing was going to come out of it. Ron started feeling the pangs of James hooking up with Scotty because Scotty and James were the same age and they kind of hung out together and James was getting into the band through Scotty [Asheton]  and Scotty was promoting him to come to rehearsal. Ron was not digging that at all. When things get to him, you know he's fucking caustic, man. But he would get over it eventually. So that's the way it was with James and him and that's how it went on.

Wayne Kramer talking about reading bad review of MC5 while tripping

Wayne Kramer still remembers reading Lester Bangs’ bad review of Kick Out The Jams in Rolling Stone. From the review: Most of the songs are barely distinguishable from each other in their primitive two-chord structures. You've heard all this before from such notables as the Seeds, Blue Cheer, Question Mark and the Mysterians, and the Kingsmen.

Wayne K: My entire motivation was a knee jerk reaction to the criticism I got from Lester Bangs. His review in Rolling Stone fucked me up.  I was on acid, I read the review on acid, and I’m young and creative and believing the hype, and my heart sank. He was a young writer, trying to make his bones, so he thought he’d say something provocative and contrary to the current consensus, as people were loving the MC5. And he was going to come out and say 'these guys talk a good game, but they can’t tune their own guitars.' Writers had been coming out on junkets and then writing glowing reviews about us, hired by the record label. It was paid for. Like most people, I thought you got in the paper on merit. That isn’t how it really works in the world. So I’m on acid, and I’m reading the review, and the guy is just ripping us apart. It got to me because I knew there were great weaknesses in the band and the music, the rhythm section in particular. The bass playing and the drumming.

"American Band" came from pissed off...American band. Don Brewer explains

There are all kinds of stories about how the song "We're An American Band" came to be, and I had to ask Brewer, I'm sure for the hundredth time, about it. It never made it into the book, Detroit Rock City, but I'm always interested in all things Grand Funk, as everyone should be,

Don Brewer, drummer, Grand Funk, on writing the song, “We're An American Band”: There was some rumor goin’ around at times -- and I’ve seen it written, over and over, actually, I think I even saw it on Wikipedia –that we came up with the concept for “American Band” because we got into a fight with Humble Pie one night about who’s better, the English bands or the American bands. That wasn’t the case at all. I came up with that concept for “American Band” from us being sued by Terry Knight, traveling around from town to town, being sued at every city we were playing at, and I’m goin’, in my head I’m goin’, ‘we’re coming to your town, we’ll help you party it down. ‘That what I thought was happening, and then later the term came up -- popped into my head -- ‘we’re an American band.’ I needed a tag line for it. It had absolutely nothing to do with the English bands or anything.

Typical week in the life of Mitch Ryder’s great band, Detroit

Johnny Bee was among the best of the older subjects I interviewed for Detroit Rock City. Once he started telling stories, he didn’t seem to be able to stop, which is why he was included in quite a bit of the book. You can’t deny his greatness and his experience.

I decided to focus on the band Detroit because it represented Ryder’s last big chance to make it big. He made a great album and no one seemed to notice.

When I was interviewing Ray Goodman, who played with Mitch for a while, he mentioned he had some outtakes from the Detroit album sessions and we went into the control room of Goodman’s home studio. Sure enough, there were versions of songs with Johnny Bee singing, demos, and some covers I’d never heard, including a Sly and the Family Stone tune. I mentioned that it would be great to see that stuff released as a deluxe reissue double lp and connected Goodman up with Bob Ezrin, who produced the album. Maybe someone will have the good sense to organize that some day.

Johnny Badanjek, drummer Mitch Ryder, on Detroit (the band):

We played everywhere, anywhere, all the time. One summer, we played two sets on a Friday night in Detroit and we stayed up all night then headed to Carbondale, Illinois. Go to the hotel, a Howard Johnson's. They put us in back where the pool is and no one can see us. After Carbondale, we drive to St. Louis, play, go to another Howard Johnson's to finally sleep, then catch a 7 a.m. flight to go to Washington DC to play the May Day rally with the Beach Boys. There's like 200,000 people there. We play and Steve Hunter wears his Army uniform. Not a great idea for the time. We play and leave, we're going back to National Airport and the Army comes in and starts giving everyone shit, it got real violent. But we’re out of there. We got back to the airport and flew back to St. Louis and drove two more hours back to Carbondale, Illinois, and played two more sets without any sleep. We haven't gone to bed yet since before the May Day show. Then we went back to the hotel with 15 girls and everybody got naked and was using the sauna and swimming. This was how we were living. We had real bikers hanging around us all the time, you know, bikers love Mitch. They all wanted to hear “Devil With a Blue Dress On.” We were also playing a lot of Hell's Angels parties and all the outlaw clubs. We'd play and they'd all be fighting. It was like a crazy wedding party or something. We’d play for an hour and a half and we’d take a break and the whole place would break out in a riot. The guy in charge would go, “Play! Get up there and play! Maybe they'll stop.” The Outlaws, the Vigilantes, all these biker gangs, they’d have us in to play their parties.

Dennis Thompson of the MC5 on playing over the volume of Sonic Smith and Wayne Kramer

Dennis Thompson, drummer MC5: Well, I wasn’t impervious to the volume when the boys bought Marshalls.  You see, back in those days the PA systems in the clubs we played were very very primitive. And drummers were never mic’ed.  So the guys had Marshalls and they played hard and loud, the volume was on 10.  I had to develop a style of playing extremely hard for the drums to cut through that wall of electrical sound. I had blood blisters underneath my skin, calluses on every one of my fingers on my left hand.  They would all explode every time I played so my left hand was just raw meat.

What I didn’t like about it was that I couldn’t play anything more delicately. You know, something more on the lines of, you know, 32nd notes and double-stroke rolls and things that require your wrists and not your arms. I had to use wrists and arms and play really fuckin’ hard for the drums to cut through.  I would get comments all the time that, you know, ‘Dennis you gotta play a little louder. ‘

So I would just hit until I was just really, really playing hard.  I was breaking cymbals.  Sinclair used to be so pissed.  But I was breaking 22” cymbals, one a week.  I’d go through 20 or 30 drum pairs of drumsticks per two shows, three shows. We used to order them by the gross, 5B and 2S.  Big.  2S is lumber.  That’s how you learned how to play the rudiments, with the big fat sticks.  Heavy sticks, so it builds up your wrist.  I’d break a rim on the snare drum, bass drum pedals, bass drum heads, tom tom heads. Unbelievable shit that I wouldn’t do now because nowadays you’ve got the remote in-ears and I’ve got the sound just the way I want it, dialed in, ‘cuz I’ve got a 16 track mixer. But back then, like I said, the band’s putting out a loud, ferocious sound that you had to play over.

Niagara on Ron Asheton in the later years - Detroit Rock City outtake

NIAGARA (Destroy All Monsters, Dark Carnival) : Ronnie ended up being a millionaire when he died. He would call me and say ‘I’m almost there.’ He really lived it up.  He bought all these collections, the Nazi stuff.  He bought a ceremonial dagger for like $12,000. When things started back with Iggy, he had money and he would say ‘you like this furniture?’ And I’d be like, ‘no, no.’

Whenever he went up north with the Colonel, he would buy me things like a fur coat.

Even after we split, he would come over and we’d stay up all night and talk and he’d stay the night and get high. So he used to stay here a lot. Then he got his place up north, near the lake up by Saginaw.[Michigan]. We used to hang out at antique places and he’d come in and they’d say ‘Ronnie, I got something you might like.’

He bought a decent place, more modern, perfect for him. Ronnie did the right thing. He always said ‘I’m only going to live 10 more years.’

When I was with him we bought a '66 Cadillac. We must have had some money at that time, because I was with him then.  

When he died, Ronnie was supposed to go out with us, January 4 is the Colonel’s birthday. So he called him a few times, and Ron didn’t answer which was normal. Ronnie never answered his phone, he just let it go to voice mail. But now the voice mail was full and that never happened. So a couple days later, Colonel said to me, ‘this is bad, there’s something wrong.’

I thought Ronnie was going to die but I wasn’t sure this was it. So we called [Asheton girlfriend] Dara, who Ronnie bought a house for a few doors down.

We called her and said ‘go see Ronnie.’  She said, ‘we had a fight, fuck him, he’s a clown, I’m not going over there,’ and finally she said ‘ok.’

It was the middle of the night and she went and called us back and said he’s dead. He was in his bed. Ron was not taking care of himself and he would not go to a doctor. Those tours were really strenuous and he was always on stage doing his thing. One night he woke up and his nose was running and he put a Kleenex in it and when he woke up there was blood all over it.  Something had burst.

He had been diagnosed with high blood pressure, and he wasn’t fat, he had like, from waist down he was so skinny and he had been losing weight.

He was so skinny with the Stooges that he always looked bigger.

Anyway, he was smoking and drinking and taking the high blood pressure pills, which he ran out of and he wasn’t going to get more.

I was always telling him to think about it. Ronnie hated anything new and I never got him started back on the pills.

Feds response to Juggalo gang lawsuit: No damages

It has received no attention, but the federal government filed its initial response in April to the action filed earlier this year by the American Civil Liberties Union of Michigan on behalf of Juggalos, who claim that their constitutional rights to expression and association were violated by when the FBI designated them as a gang in 2011.

“Plaintiffs lack standing to challenge a report known as the 2011 National Gang Threat Assessment, an intelligence assessment made by the National Gang Intelligence Center at the Federal Bureau of Investigation,” the introduction to the response states, a common argument in such cases.

The response goes on to claim that the plaintiffs – four Juggalos and the two members of Insane Clown Posse – showed no direct damages due to the gang assessment.

It also claims that the alleged damages cited in the complaint, which was filed in January, did not come at the hands of the defendant. That would be a base-covering assertion, just in case the court didn't buy the 'no damages' thing. 

“To the extent the allegation of injury by the FBI’s intelligence analysis is plausible, any injury involves the conduct of independent third parties, not before the Court, who are not even regulated by the Defendant agencies,” the argument reads.

The defendant is the U.S. Department of Justice. Read the response here.

There is a highly dubious assertion near the end of the fed’s response, which is a fairly standard petition and asks that the case be dismissed.

“The [National Gang Intelligence Center] does not collect or maintain information that does not relate to criminal activity.”

This is quite a statement in light of Edward Snowden’s disclosures last year regarding surveillance conducted by the federal government on U.S. citizens, which includes accessing Google and Yahoo accounts.

No decision has been made regarding the motion to dismiss, although it would be an eyebrow raiser if any court were to let this one go away without more argument. The fun will come if it gets to discovery, where the feds will be required to disclose more information.

Iggy Pop talks about Jack White not recording the Stooges

photos, 2003, Mojo (www.mickhutson.com)

A largely unknown part of a book like Detroit Rock City is the portion that is never seen. In movies, it’s called the cutting room floor, and these days you can see what ended up on that floor through DVD extras. We aren’t smart enough to come up with that in the book world, and “updated” has little of the panache of an "extra." So what didn't make it into Detroit Rock City for any number of reasons? I'll be running some of these extras once a week or so over the summer. 

Check it out.

IGGY POP (on Jack White producing a post-reformation Stooges recording) : It was one of these things, it went back and forth two or three times. I heard he [White] wanted to do it and I thought that could work in the group’s favor for a couple of reasons, but I didn’t want to do a whole record, I just wanted to do a few tracks. That was mostly because I had already recorded some of that record, that record, this was around the time we did Skull Ring, and I needed to respect the fact that I had already recorded half of that record with my touring band, The Trolls.

I wasn’t going to tell them, or call them up “Hey I’m going to work with a bigger star than you and fuck all your work.”  I can’t do that to an artist. So I offered him a few tracks and Jack being Jack, said, “well I don’t want to do that, I want to do a whole thing.”  

Yes, of course and he wouldn’t want to be a part of something else, being a Jack White production. Let’s just say I felt where he was coming from.

At one point I felt I was just about ready to do it and we were having a conversation and the last thing he had to say was, “Okay I’ll call you up when I have time.”

I put down the phone and part of me was like, “fuck you kid.” I didn’t say anything because I’m not a confrontational person, so we didn’t do it at that point. And he had some good concepts, it would have been interesting. But I think what we would have ended up with would be a kinda indie reality show. He wanted to lock us in a house together and record the results. The idea was nobody would leave until we had an album done. I think had we agreed that very quickly cameras would have come into it.

It would have been interesting... At one point there was a lot of pressure from the record company, “What are you crazy, you’re not going to play with Jack White?” Blah blah blah. At one point I was ready to do it and I think he wasn’t. Then much later he was ready to do it and we had a lunch about it in Australia. But at that point I had a meeting with Ron and Scott and Ron said, “Look, for me that would be like all of the glory of it would be about Jack White and not about me.” And he made a gesture if someone was sitting on his head. And Scott said to me, “Yeah the way I see it, Jack White is a pot of gold and we don’t want to be part of his pot of gold.”

What I said to the guys is, “Hey look, that is absolutely fine with me. But as the leader of the group,” which I finally did become in this century, “I gotta let you know that if you do it with Jack, you’re going to sell more and get more attention, but it’s also true, due to market forces, the result will emphasize Jack’s participation.” I told them, “I have no opinion at all, I could go either way.” And so we didn’t, we ended up not doing it, which was fine with Jack and we’re friendly.