John young astronaut autobiography of a flea
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Abstract
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Book Review: Flea’s ‘Acid for the Children’ Is a Portrait of a Chili as a Young Punk
Born Michael Peter Balzary, the Red Hot Chili Peppers’ bassist and spiritual adviser is the sort of rock star who begins his memoir, Acid for the Children, weeping at musical beauty in an Ethiopian church, blurting earnest declarations about his “endless search to merge with infinite spirit” and his surrendering “to the divine and cosmic rhythm,” and offering the summary observation that “bein’ famous don’t mean shit.” Call him disingenuous. Still, you’ll most probably want to hug him before you’re 10 pages in.
Flea’s got a compelling, vulnerable, self-interrogating writer’s voice; his editor on the project was David Ritz, who’s abetted some great music memoirs and biographies (see Aretha: From These Roots; Divided Soul: The Life of Marvin Gaye, etc.), generally focused on finding his subject’s beating heart. That must’ve been a breeze with Flea, whose outsize heart appears regularly here — on his sleeve and occasionally in his mouth. He waxes romantic about a beloved sweater made for him by his maternal nana (actual name: Muriel Cheesewright), digs for memories
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For 50 years, he’s written about the Japanese American internment. Now, he’s turning to opera.
It was exhilarating to sit so close to an opera star. Tenor John Duykers was performing the lead in the chamber opera, Mordrake, and playwright Philip Kan Gotanda could practically feel the singer’s breath on his face. It was 2009, and the audience sat enraptured in a small studio space tucked away in downtown San Francisco.
“It knocked my socks off,” said Gotanda, a UC Berkeley professor of theater, dance and performance studies. “He was just 10 feet away from me, slaying me with his magnificent voice. I was amazed at how he transformed the atmosphere and the whole environment around him.”
Although Gotanda was an experienced playwright — he’d written dozens of plays, and even a few musicals, about the Japanese American experience — he’d never tried to produce an opera. So after the performance, he walked up to Duykers and told him, “I want to work with you.” Duykers agreed.
Duykers went on to introduce Gotanda to his son Max, a Brooklyn-based composer, and over the course of a decade, the younger Duykers and Gotanda created Both Eyes Open, an experimental electroacoustic opera that tells the story of Japanese American incarceration during Worl