It's A Sorta Kinda Wonderful Life On My Side, Too
(A Smart-assed Opinionated Response to Peter Wilkinson’s “The Lost Years” As Featured In Rolling Stone)

by chindem–a longtime Gunner who lacks any true writing skill, but likes to bitch anyway

Though certainly interesting, Peter Wilkinson’s “The Lost Years” is a significantly flawed writing laden by conjecture and rooted in bitterness. Under the guise of an article claiming to reveal the truth of Axl Rose’s life since 1994 “The Lost Years” is clearly nothing more than a resentful attempt by Rolling Stone to fill in a 10,000 word space made void by the singer’s missing essay on the disbandment of Guns N’ Roses. The most evident example of this bitterness can be seen in the disorganization of the quotes and events presented as fact. (As I have no affiliation with Guns N’ Roses I feel I am in no position to declare with absolute certainty that which is and is not true in the life of Axl Rose. Therefore, I will not pretend to argue over the supposed data contained in Wilkinson’s article. I will, however, debate the presentation of this data.)

First, Wilkinson attempts to divide Axl’s public life into two parts: pre-1993 (“when the original band was together”) and post-1993 (the time span following “the group's final recording, The Spaghetti Incident?”). Despite the fact that technically neither “before 1993" nor “post-1993" include the year 1993, the flaws I see in this division are as follows:

1.) Wilkinson defines the “original band” as being the line-up that existed “before 1993.” The “original band” is oft considered by fans and media alike to be the line-up that signed to Geffen Records in 1986–Axl Rose, Slash, Izzy Stradlin, Duff McKagan, and Steven Adler. This definition of the “original band” was severed in 1990 when drummer Steven Adler was fired and replaced by Matt Sorum. Soon afterward, Dizzy Reed signed on as an additional keyboardist/percussionist (1990) and Izzy Stradlin quit the band to be replaced by rhythm guitarist Gilby Clarke (1991). By accepting Matt, Gilby and/or Dizzy (each of whom joined the band prior to 1993) as original members, Wilkinson purposefully diminishes the roles of Paul Tobias, Robin Finck, Tommy Stinson, Buckethead, Josh Freese, Brain, et al. Now, whether or not Wilkinson accepts the post- “TSI”? line-up as original members of Guns N’ Roses is inconsequential when taking into consideration the fact that he doesn’t even acknowledge Axl as an original band member. To quote Peter Wilkinson in all his brilliance, “None of the original band members plays on [Chinese Democracy].”

2.) Axl’s public life is cut off after the release of “the group's final recording” (defined as “TSI”? which was a 1993 release.) This means that “Sympathy For The Devil” is not considered the band’s last recording (prior to the release of “Oh My God”), is not considered to be a recording of the “original band,” does not factor because Paul Tobias replaced Gilby Clarke on rhythm guitar duties, or does not count because it was released in 1994 when “the arc of [Axl’s] fame” had already come to it’s apex. By disregarding “SFTD,” Wilkinson serves to segregate the music released by Guns N’ Roses. While an argument certainly can be made that alterations in the band’s lineup have affected the sound and direction of the band, there must be a definitive, unwavering truth or constant to mark this change. For Wilkinson to define “The Spaghetti Incident”? as the group’s final recording without acknowledging the “Sympathy For The Devil” cover is to manipulate the band’s history.

3.) Peter Wilkinson divides the “public Axl” into pre- and post-1993 segments for the express purpose of declaring the years prior to 1994 as examples of Axl/GN’R’s successes and the post-1993 years as examples of Axl/GN’R’s failures. Wilkinson deliberately chose this division because he views Axl/GN’R’s musical accomplishments and contributions as having ceased or peaked prior to 1994. In order to support this career assessment, “The Lost Years” abounds with quotes and scenarios revolving around the various lawsuits the Guns N’ Roses singer has endured since 1994. These lawsuits, used as evidence of Rose’s public life, are cited as some of the main causal reasons for the “massive delay in finishing Chinese Democracy.” Though I would argue that public information does not equate to public life, I would certainly agree that everything from personal relationships to business relationships to the state of the music industry to the Oklahoma City bombing have a direct affect on Axl’s life.
Being so, Axl’s public life can be divided in many different ways: pre-1994 and post-1993, pre- and post- Steven Adler firing, pre- and post-Izzy leaving, pre- and post-Beta hiring, pre- and post- Use Your Illusion I and II release, pre- and post-break up with Erin Everly, pre- and post-break up with Stephanie Seymour, pre- and post- UYI I and II tour wrap-up, etc.
One problem with Wilkinson’s conclusion that legal matters impeded the completion of Chinese Democracy is that no matter how you divide Axl’s life– public or otherwise– he is consistently mired in legal woes. Lawsuits can certainly be burdensome, but there is no evidence to prove that these legal proceedings caused any delay in the creation or completion of Chinese Democracy. That is to say, these lawsuits are no more burdensome than, for example, assembling a new group of people to perform in a pre-existing band bound by pre-existing responsibilities and expectations.
Another kink in Wilkinson’s conclusion is revealed within the text of a previous Rolling Stone interview with the Guns N’ Roses singer. In that article, entitled “Axl Speaks,” the lead singer stated that one particular court ordeal (ex-wife Erin Everly’s 1995 lawsuit) inspired a new song called “Oklahoma.” While everyone has a different perspective on progress, the mere indication that a lawsuit sparked a lyrical composition destined for Chinese Democracy is proof positive that Axl’s legal involvements since 1994 aren’t as intrusive as they may appear.

Second, despite dividing Axl’s public life into “before 1993" and “post-1993" segments, Wilkinson organizes the article not according to year but subject. The first section of the article deals mainly with establishing Axl’s behavior as being insular. The second section, ‘Visiting Yoda,’ revolves around Axl’s interest in New Age practices–mentioned strictly for the purpose of securing an eccentric twist in Axl’s personality. ‘Up On Axl Mountain’, the third section, intimates Rose’s house and the use thereof with his desire to compensate for an unfulfilled childhood.
The fourth section, ‘Chinese Democracy,’ uses Axl’s behavior patterns to describe the business and personal relationships he’s had throughout the past decade as being warning signs for a seemingly lonely future. Structuring the article in this manner is done solely to polarize readers’ convictions toward Axl and Chinese Democracy not to provide information key to understanding the circumstances in the life of the singer or album since 1994. For example:

1.) Consider some of the post-1993 data that was not explored in this article: Shannon Hoon’s death, Axl’s 1994 appearance at the Rock N’ Roll Hall of Fame, “Sympathy For The Devil,” Karen McNeil, Shaquille O’Neal’s freestyle rap, the Chris Weber/Greg Ehrlich lawsuit, Welcome To The Videos, the Live Era: '87-'93 skipping problem and recall, the proposed removal of “One In A Million” from GN’R Lies, the suggested re-recording of Appetite For Destruction, Axl’s appearance on The Outpatience album Anxious Disease, Roy Thomas Baker, Chris Pittman, Gary Sunshine, Interscope’s acquisition and reorganization of Geffen Records, the audition of Stevie Salas, the “Look At Your Game, Girl” controversy of 1994, the Ozzfest questionnaire used to gauge fan reaction to a Slash-less GN’R, the Big Daddy soundtrack version of “Sweet Child O’ Mine,” Axl’s appearance on Gilby Clarke’s “Dead Flowers” cover, bowing out of a surprise appearance at the ‘99 Woodstock event, Axl’s letter to KNAC.com concerning the free download of “Coma,” www.gnronline.com, Use Your Illusion (the best of UYI I and II CD), and so on and so forth.

2.) Also, consider the fact that Wilkinson sacrifices details concerning various key people he acknowledges as having a significant impact on Axl’s post-1993 life-- Tommy Stinson, Josh Freese, Robin Finck, Paul Tobias, Buckethead, Dave Navarro, Billy Howardel, Beta (for God’s sake,) Fernando, Martin Glover Youth, and Sean Beaven-- for trivialities such as the physical attributes of Sharon Maynard, Suzzy London, and Sabrina Okamoto. (For the record, of all the people deserving a physical description Beta’s the only one that matters. Take a photo of her from 1991 and contrast it to a photo of her from 2000/2001; she’s changed.) Regardless of confidentiality agreements, there is no reason for Peter Wilkinson to dismiss the who’s, what’s, where’s, when’s, and why’s related to the implementation of the new musicians, producers, or GN’R staples. Much of this type of information has been made widely available across the Internet, but seldom has this information been organized in one coherent and chronological piece.

Third, by assembling the supposed data according to subject matter Wilkinson draws focus away from what Rose actually experienced, witnessed, and/or accomplished in the years following 1993 for the sake of selling the drama. This creates a maze of contradictions, flaws and suppositions. Take for example: Chinese Democracy.

2.) Wilkinson’s investigative skills leave much to be desired:
a.) In the aforementioned Rolling Stone Axl interview it was revealed that one new song from Chinese Democracy, “Oklahoma”, was inspired by a court event which the singer deemed vindictive. Did Wilkinson delve into court documents searching for information and quotes that might provide better perspective into “Oklahoma” or why the lawsuit sparked such a song? No. But he did offer plenty of material from court cases detailing abusive events that may or may not have happened a decade ago. None of the court-related material cited in “The Lost Years”, mind you, provided insight into either why the Guns N’ Roses singer suggested vindictiveness on the part of his exes or proof that the lawsuits were just. Furthermore, none of this material is used to explain what Axl Rose has been experiencing in his life the last several years. The quotes did, however, set up Wilkinson’s opinion on the matter–that Axl is prone to violent behavior and dysfunctional relationships--which goes to explain why the court material was cited in the first place. “The Lost Years” isn’t about presenting facts as it purports, but rather showcasing opinion.
b.) “The Lost Years” thrives on a cloud of quotes from anonymous sources. This isn’t the disappearance of Jimmy Hoffa. Nor is it the Watergate scandal, for crying out loud. What information revealed in this article warranted anonymous sources? What hidden agenda or dirty little secret was uncovered? Let’s recap what Wilkinson reported: Axl was sued, got arrested, spent a lot of time in court, saw band members come and go, worked on an as yet unreleased album, threw some Halloween parties, visited some friends, stayed at home, had another birthday roll by, yada, yada, yada. (Gee, Mr. Wilkinson, you sure provided a whole lot of insight into Axl’s life since “The Spaghetti Incident”? was released. More important, your anonymous sources really shed some much needed light on THE ALBUM. Next...)

c.) Wilkinson spends an abundance of article space on the significance of Yoda, yet fails to properly address Beta Lebeis, Axl’s live-in personal assistant. Not to detract from Yoda’s importance to Axl, but of all the people in Axl’s circle Beta’s the one I’d dog-heartedly investigate. In “The Lost Years” it is suggested that Beta mothers Axl: "She 's as close as he's ever had to a real mother." The article then goes on to state that his biological mother was deceased all the while depicting Axl as a lonely hermit who does virtually nothing but hole up in his mansion. In my opinion, of all the things Axl has experienced since 1993 Beta is the most important factor. Wilkinson really dropped the ball on this one.

3.) Seriously, how difficult is it to write an article that regards fact over speculation? As entertaining as it may be to speculate that Axl throws Halloween parties as a subconscious attempt to fulfill a childhood void it’s not exactly germane to the subject at hand. Nor is it all too revealing. (If you really want to play armchair psychologist, then analyze Axl’s Halloween parties not as a childhood fantasy but rather as a coping mechanism for the child of Axl’s that was miscarried circa Halloween 1990.) The only reason why stories like the birthday party incident, the Halloween party analysis, the Erin Everly beating testimonials, and the mystique of Yoda are included in an article purporting to expose Axl’s post- “TSI”? life is because they simply fill in magazine space. In this instance, whether or not these accounts are accurate is beside the point. As Wilkinson himself explained, Rolling Stone had already dedicated a 10,000 word space to an Axl piece. When Axl didn’t provide his essay on the disbandment of Guns N’ Roses, a 10,000 word space needed to be filled–it’s called “The Lost Years.”

4.) Dare I even waste my time arguing about the title of the article–“The Lost Years”?

5.) Wilkinson asks, “Who wants to watch a G n'R show that will probably include only one founding member?” I’ll answer that question simply by stating the facts:
a.) Roughly 1,800 people paid upwards of $150.00 for ticket prices alone to see Guns N’ Roses perform a sold-out one-off show at the House of Blues in Las Vegas, Nevada at 3:30am on January 1, 2001. A number of people traveled the length of the country to be there. I for one flew from St. Louis.
b.) An estimated 200,000 people gathered in the early morning hours of January 15, 2001 in Rio De Janiero, Brazil to watch Guns N’ Roses participate in the third installment of Rock In Rio. Those 200,000 people may not have all attended the show simply to see GN’R, but the vast majority stood through three hours of Papa Roach, Oasis and then some in order to even see the band play.
c.) A European tour, originally scheduled during the month of June 2001, garnered thousands of ticket sales from a number of sold-out shows. Unfortunately for fans, the June shows were rescheduled for December 2001, which were eventually canceled. However,...
d.) ...after having paid upwards of $150.00 for ticket prices alone, GN’R fans trekked to Las Vegas, Nevada again to see Guns N’ Roses play a sold-out one-off show at The Joint on December 29, 2001.
e.) Fans returned two days later to The Joint the evening of December 31, 2001 to ring in the new year at yet another sold-out one-off Guns N’ Roses concert.

Ultimately, it doesn’t matter what Peter Wilkinson or Rolling Stone magazine thinks about Axl Rose or Guns N’ Roses. Nor does my opinion truly mean a thing. What really matters is how Axl perceives himself. On January 1, 2001 Axl made public, though not crystal clear, his reaction to “The Lost Years”’s portrayal of his life and behavior. Preceding the Guns N’ Roses New Year’s concert was a short animated intro entitled “It’s A Sorta Kinda Wonderful Life.” In this film, a cartoon Axl caricature awakens from a lengthy nap. Dressed in attire similar to that which he wore throughout the Use Your Illusion tour (1991-1993), he appears to be situated in a posh bedroom which has not seen the light of day for several years. His nails are fully grown, he quickly fills a jar full of urine, and his temperament swings easily from happiness to demand to sarcasm. In the end, he is surrounded by dutiful house servants, a flying, meditative guru, a playful child bearing a striking resemblance to Rose, a mysteriously gray- skinned and slender alien, a humble monk, and a beautiful, well-endowed nurse. What makes the film complete is a scene in which Axl, having taken a dump in a bedpan, wipes his ass with pages from a magazine dubbed “Rolling Drone”. But what brings perspective to the animated film is the fact that instead of addressing Peter Wilkinson’s article combatively (e.g. by publicly lambasting Wilkinson by name, challenging the magazine one on one, belittling the magazine in other interviews, etc.) Rose turned his cheek and appealed to the humorous nature of those who mean much more to him–his fans.

THANKS to Chindem for taking the time to writing this pice especially so we could include the Rolling Stone article in this site to show the inspiration behind Wonderful Life. Otherwise such an article would not be given space here !.