The Big Bopper in a Brechtian Adaptation of Götterdämmerung.


The past few days have rekindled my ponderances concerning ‘an’ or ‘the’ apocalypse. They fuel the closest of Nature’s anti-Christian propaganda. We give them jaw-dropping instruments and clever tools. Curiosity is center-stage, the greediest principle of these discussions. Our innocence, faith, and hope can all be bartered for what might ultimately become shrapnel for a Merry Modern Apocalypse.

We’ll be lucky to escape the days of dramatic, destructive DeMille-worthy Draconics. Our withered, twisted, pallid bodies writhe before both Satan’s messengers and his Middle Managers. I’d be terrified if I didn’t know how to conjure up the ghosts of Dorothy Maguire or Irene Dunne. Hell just cries out for a woman’s touch.

The terms and mission statements differ among all the speculated time tables, outcome, and long-term results, such as the Prodigal Daughter’s election to safeguard that papal orb.

Not everyone buys into the religious implications and innuendos if the Apocalypse is more of an event: a Passion Play, orgy, or skirmishes pitting our inner demons with the professional ones that Dante made poetic reference to. There are metaphysicists, palm readers, New Testament scholars, the jaded Daughters of Perpetual Scepters, and catechism teachers who soon realize the hopelessness and folly of schedules.

While God seems to often function on a broad but focused itinerary, Lucifer embraces streams of consciousness that eventually dry into a sticky, gooey, and pasty ball of evil. The various Mephistophelan minions might perhaps plan a campus wide sex party at East Carolina University, or leak a faulty list of Target’s Black Friday doorbusters to all of the Pilates classes in Western Civilization.

Of course, we have no idea when the Apocalypse might step forward and finally harken: the end of the world. It may actually represent a long, devastating era in which we are increasingly bombarded with ugly visuals, ugly voices, ugly hairstyles, and the ugliest of souls. How did such a beautiful, dignified, and pedigreed word such as apocalypse become the nadir of time and its crush of humanity?

I tend to probably oversimplify my theories. I am always quick to tidy the room of any mislaid emotions, bitter tears, voodoo dolls, spilt milk, and dead insects that suggest little sill cemeteries. I’d pack them carefully into a box that would make Wells-Fargo proud. And I’d place the box in a vault with a short scribbled message: “Dear Pandora, You fill up our senses like the night in a forest. Fondly, the RNC.”

One popular theory in my household is that the Beginning of the End began in the arid, soulless months that led up to 9/11. The events seem to be escalating. Further, we risk the sad reality that our very fears alone may well end Humanity.

The countless predictions have left us all numb to the concept. We laugh. We joke. We try to bury our terror. And venerate our Tenors.

That terror always seems to be the last soldier standing.

With all the theories of the anti-Christ unnecessarily poised for debates, it seems as though they’re, in fact, all the same. They may be drawn differently. Or have a different name. Or a conflicting font of experience. It is the vocabulary that mind-fucks our senses of reason, compassion, and justice. Our homemade religion might be our downfall yet.

That is: if we empower it or Him. Or the ghost of Berthold Brecht. I bet there’s a lost, now found, musical adaptation of Götterdämmerung just waiting to be produced. Such a gross pastiche of melodies, weaponry, and humanist mythology could usher in the Apocalypse. I can see it.

Yes, I do believe we’ve stumbled head first into something big … a jazzy, peppy, and lyrical Apocalypse. I can just hear the soundtrack queuing: Lionel Ritchie and Diana Ross in “Endless Love” or Anne Murray’s entire repertoire. The Big Bopper is not dead.

Perhaps he will save us.



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