Proecthesis (pro-ek’-the-sis): When, in conclusion, a justifying reason is provided.
I had played bass and sang in the “Bomb Shelters.” Why?
I was running. I ran every day. I told everybody it was for exercise, but it wasn’t. I was running away—like Del Shanon’s “little runaway, run, run, run, run, run away.” I didn’t know what I was running from. Of all the possibilities, it may have been being drafted into the Army. I saw the videos of Vietnam combat on the TV news. They scared me like the guy who ran the Bates Motel in “Psycho” did. I had lost a close friend in Vietnam who was in the 101st Airborne. He was a nice guy. He didn’t deserve to die that way. Neither did I.
So, I was figuratively running away from the draft. I started hanging out with a group of war protesters. We threw chicken blood at military recruitment centers. Ironically, I was arrested and convicted of damaging government property and became ineligible for military service. After serving my two-week sentence in the local jail, I just wanted to go home and listen to music on my cassette player.
I loved “The Who,” so I bought a guitar—a bass guitar. I formed “Bomb Shelters” and started writing protest songs like: “Don’t Bomb My Mom,” “Bone Spurs,” “Canada,” and “Don’t Pull The Pin!” We made piles of money.
Now it’s time to give something back. The band is suffering from collective leukemia after spending years performing in contaminated venues. We’re all going to die in the next six months. So, each of us wants to donate a sizable amount of our fortunes to forming “The Institute For The Study of Protest Music.” The Institute will hire noteworthy protest musicians , including Boxcar Willie, Slim Whitman, and Don Ho.
Nearly everybody is opposed to something. The Institute will help us find out why. Now, we’ll perform our most famous hit “Hide in Your Parents’ Basement: I Feel a Killing Draft.”
Definitions courtesy of “Silva Rhetoricae” (rhetoric.byu.edu).
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