Why I Wrote The Prodigal Band Trilogy

Three years ago I wrote a set of posts titled The Prodigal Band Trilogy: The Why in five parts. If you scroll down most of the way on this Home Page or go to my blog and scroll through pages you will find these posts—but to make it easier to understand why I wrote these three novels, I am reprising these posts into one long post here, beginning with part one and ending with part five, plus an additional post reprise as well. Note: A few small changes were made from the original posts. Enjoy!

Part One

As I have said in previous posts both here and the blog site, I began my journey as a writer of fiction around the age of 8 or 9. I was returning home, on Long Island, New York, with my parents and older brother in a car from a visit to my grandparents (mother’s side) who lived in Mount Dora, Florida (about 20 miles from what was then Orlando). It was the summer of 1962; thus, I was 9 at the time. And I just happened to bring some non-lined notebook-sized paper and pencil with me. The paper was folded in half, width-wise, and looked like a “paperback book.”

Glad I brought the paper and pencil, because I was bored. I do not remember what my brother, in the back seat with me, was doing–he was 14 and likely listening to transistor radio up to near his ears (and folks, before the Beatles came along, pop music was very very boring, cutesy-wootsey “love songs” and other meaningless tripe about teenagers falling in love. From the time of the plane crash of Big Bopper, Ritchie Valens, and Buddy Holly in 1958 until the Beatles in 1964, “rock” music, if you could call it that, was IMHO, tripe. Dion and the Belmonts and Del Shannon and perhaps the Four Seasons were about as good as it got, and who the heck was Elvis? But anyway…) I had no idea what my parents were doing other than driving the car.

This was my first journey into the “deep south.” And the only thing I knew about the “deep south” related to the Civil War and the abominable institution known as slavery back then. There were times along Route 301 or even what was then I-95 when I would see what were called “negro shacks” along the way, plus we all visited some Civil War Confederacy monument somewhere, can’t remember. Now I was a “buff” so to speak of Civil War history. So I decided I was going to make up some story about this kid in the South during the Civil War who, along with his friend, a black kid who had been freed from slavery somehow and lived with the kid and his family, hated the south and slavery! So what he and his friend did was help the Union Army blow up a Confederate “ammunition dump.” And they did. I did not mention the state the kid lived in, or even the kid’s family name, but I called him “Johnny Reb” and the black kid was named Sammy. So, I named a kid who would blow up a Confederate ammo dump Johnny Reb? When my dad actually read the “book” (named “Johnny Reb” and was about 20 pages long in pencil) he brought up this irony! After all, weren’t the Confederates called “Rebels”?

Around that time I also had a diary–didn’t all young girls have diaries then? So, there I was in late 1963 just starting to have any interest in the watered-down “rock and roll” back then. When it rained outside, and in the Northeast US, home of “Nor’easters,” it almost always rained some in the fall and early winter, the public elementary school kept all the students in the gym after lunch, too wet to play outside. I was in sixth grade at the time and, not being popular so-to-speak, no boy wanted to dance with me. So all I did then was listen to whatever 45 RPM record discs were put onto the record player. Not being a ‘A-list’ or even ‘B-list’ (more like ‘D-list!’) that’s all I could do as most of my friends were dancing on the gym floor with boys whom had asked them to dance. Well, I had to try to ‘fit-in’ somehow so, even though I thought the music was boring tripe, I pretended to like it anyway. Thus, in my diary I would make up stuff about myself–in terms of a fiction character I can’t even remember the name–being popular and folks like Chubby Checker or Frankie Valli (spelling?) wanting to ‘dance’ with me (not knowing the actual hidden meaning of ‘dance’ at the time…’dance’ was code for a certain ‘f’ word if you know what I mean!) And of course I made up the boy characters as well. And named them the same names I have used for the original rock band characters in my books! (Note: the band concept came about in the latter 60s, and then I added two more band members, then deleted one of the originals in the 80s only to put him back in during the 90s). The reader is going to have to wait to find out the names of the characters for a bit.

Note: Here are the names of the band characters, including last names which I tend not to mention in my snippet posts: singer Erik Manning; guitarist-band leader Jack Lubin; bassist Keith Mullock; guitarist-producer Mick Pordengreau; keyboard synthist Bry McClellan; drummer Tom Cornsby. One of these days I will explain how I came up with the names.

Continue reading “Why I Wrote The Prodigal Band Trilogy”

Timeline Construction Within The Prodigal Band Trilogy

This post will not be a ‘snippet’ post, but a post about the creation of the three novels within The Prodigal Band Trilogy–the fact that this trilogy does not follow the usual timeline construct. Most trilogies have the first novel representing the beginning time period, and the time moves forward in line into the second novel and then ends the timeline within the third novel. This is how Tolkien’s Lord of the Rings trilogy, as well as The Hunger Games trilogy and the Divergent trilogy are fashioned—beginning, middle, end. And many others as well…and also series novels such as J.K. Rowling’s Harry Potter series. The Prodigal Band Trilogy certainly does not follow that scenario!

The first novel, Battle of the Band, begins (after the ‘before time’ spiritual part) in 1986 and ends in 1996. The second novel, The Prophesied Band, begins in 1982 and ends in 2000. The third novel, The Prodigal Band, begins in 1976 and ends in 2004. So that while each novel itself starts in an earlier year and ends in a later year, the time frame is not continuous from the first novel to the third novel.

Before I state why this is the case let me say that I didn’t exactly plan it this way. The second novel was supposed to take up where the first one left off. But the first one didn’t play out as originally planned either, and the first book wasn’t even supposed to spearhead a trilogy.

Then an inspiration came to me to subtitle Battle of the Band with this subheading: The Saga of the Prodigal Band Begins (as can be seen on the original book cover). In other words, the ‘Parable of the Prodigal Son’ within Luke 15 of the Biblical New Testament had to seal this burgeoning trilogy’s fate, as the first part of this parable is about how the son takes his inheritance, leaves his father, goes far off into another country and spends the fortune on ‘riotous living,’ leaving him financially and spiritually destitute. While the prodigal band isn’t financially ruined they are ‘destitute’ spiritually but discover there is a way out of this ‘poverty.’ So I had to re-do the novel with this theme in mind, which changed pretty much everything, including the time frame construction.

When beginning the second novel, The Prophesied Band (subtitled The Saga of the Prodigal Band Continues…implying this would be the second book in a likely trilogy), I had to construct a scenario whereby the band in question, Sound Unltd, would be ‘the prophesied band.’ So I began this novel (after a spiritual part in what would be the prologue in the original book) with a rock band from the same city, Walltown, as the prodigal band, and the narrator, pop culture pundit Jay Elliot seeking that particular career upon high school graduation in 1982, interviews the creator of the song—which was given to him by angels called the Tooters for the purpose of ‘announcing’ a future band of prophecy. The band of prophecy that would carry out a ‘mission of God’ as the novel ends at a trade and music festival headlined by this prodigal band.

Thus the timeframe of the first novel is wrapped within the time frame of the second novel: 1986 to 1996 falls between 1982 and 2000, correct? Further, for the final novel, it made sense to begin that one in a year prior to 1982 and end it in a latter year after 2000.

The final novel was originally going to be called ‘Band of Glory,’ as indicated on the back pages of The Prophesied Band, which was supposed to have the subheading The Saga of the Prodigal Band Concludes. But that was not to be. If it would be called ‘Band of Glory,’ it would have to end in Heaven with God, somehow. But again, inspiration had other ideas…for one thing, what would happen to the entity allied with evil, Corion? And would the band, carrying out the mission given to them, deserve to be in Heaven? Would they stick to the Plan, so to speak? And what events would cause them to choose to stick with this Plan?

The Parable of the Prodigal Son ends with the errant son returning home to his father, feasting on ‘fatted calf’ and being ‘found.’ His brother, of course, questions the sincerity and worthiness of his ‘lost’ brother—just like many Christians today question the efficacy of a wealthy rock star even coming close to accepting Christ a Savior (since they are all ‘devil worshipers,’ right?). Thus, not only did I have to author a novel as to how and why the prodigal band converted to belief on Christ and carried out their missions, but I also had to explain how and why the band was even formed in the first place, including parental and otherwise guidance: how and why were these six band members able to develop such talent and songwriting abilities in the first place? Since these boys grew up beginning in the late 70s, that is why the third novel begins in 1976, into 1980 and 1982 and 1985, with two new band members. Aspects of the first part of the parable and then the second part where the band discovers the way forward into the final ‘found’ part are focused in the first six chapters of this third novel. The ‘way home’ final part of the parable is the focus of the rest of the third novel.

So, thanks to inspiration and keeping to a script based on a biblical parable, this time frame construct of The Prodigal Band Trilogy doesn’t follow ‘the usual trilogy script.’

The next post here will take place in a couple of weeks. Next week’s focus will be on updating my blog with links to newer snippet posts here, since I have not updated the blog in months and this blog is an easy way to link to posts here without constant scrolling down the site to find them. Plus the main menu here also needs updating somewhat. Plus I need to figure out a new ‘snippet category’ to ‘snippet’ about! And more…

Cheers!

The Truth About the (Music) ‘Industry’ Expounded in The Prodigal Band Trilogy (Part Three)—Handlers and Agendas

It isn’t just a matter of “selling one’s soul” for fame and fortune that explains why so many entertainers appear to promote and practice debauched behavior on- and off-stage. Those guiding their careers and success surely have something to do with it, including managers, producers, backers, and such ‘influencers’ as pop culture sages and spirit-guides. Timothy Leary and new age leader Maharishi Mahesh Yogi are examples from the ‘hippie days’ of the sixties, and Aliester Crowley, a Satanist and leader of an occultist group Thelema who died in 1947 (and memorialized by the Beatles as ‘sergeant pepper’ of sorts…Crowley also appeared on that album’s cover) also was an influencer in the 60s, 70s, 80s and 90s; Jimmy Page of Led Zeppelin fame was an avowed follower of Crowley.

Thus it is not just ‘whistling Dixie’ that I included among the evil characters for The Prodigal Band Trilogy the occult ‘church’ leader Swami Negran, his successor, ‘healer’ Cole Blessing, and then the next successor Mark Besst, a tech oligarch in the age of the internet. Also included in the bad guy list are evil ‘Novordo Club’ and occult secret society the Hellyons members Baron Torquay-Lambourgeau, Duke Marty Effingchester, Mrs. X and Y and Rodney Davis, a mafioso-type, and others. All of these can be considered handlers, making sure the prodigal band Sound Unltd follows the nihilist agenda set forth by the evil, led by the Satan-character, Corion, who guides those handlers.

Continue reading “The Truth About the (Music) ‘Industry’ Expounded in The Prodigal Band Trilogy (Part Three)—Handlers and Agendas”

The Truth About the (Music) ‘Industry’ Expounded in The Prodigal Band Trilogy (Part Two)

Years ago I read several articles in various newspapers and pop culture magazines about Mafia or ‘Syndicate’ influence in the music industry (as with Hollywood and other entertainment platforms) into the 80s and 90s. I know for a fact that the Mafias (and I don’t just mean the Sicilian one) owned various night clubs and concert venues (and not just in the US).Though Mafia influence seems to have waned some I suspect they still have a say in the entertainment businesses, including record labels.

Note: the part about involvement with evil New Age guru Swami Negran, as stated in the previous post, will appear next week in Part Three.

The following snippet is from Chapter Two of the original version of The Prodigal Band, self-published by OmegaBooks in 2018, © Deborah Lagarde. The then-five band members (minus bassist Keith who would rejoin the band later) are sitting with then-manager Billy Prestin, Keith’s dad Sean Mullock and new road manager Billy Hallsip, eating spaghetti, the night before the band Sound Unltd would embark on their contest-winning national tour.

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The Foreword to The Prodigal Band, Self-Published by OmegaBooks in 2018, the Original Version of the Third Novel of The Prodigal Band Trilogy

Below is the original Foreword to the original, copyright 2018 by Deborah Lagarde, version of the third novel of The Prodigal Band Trilogy, The Prodigal Band, which is available as a FREE PDF download at the link in the menu above. It turns out, however, that calling this a ‘Foreword’ was a mistake since I wrote it; Forewords are usually written by another person; a Publisher, an Editor, or a Beta Reader. It should have been called an ‘Introduction.’

Further, Foreword or Introduction, the words below do state the ultimate purpose of the novel and the trilogy as a whole. Cheers!

A new post will arrive next week.

Continue reading “The Foreword to The Prodigal Band, Self-Published by OmegaBooks in 2018, the Original Version of the Third Novel of The Prodigal Band Trilogy”

Symbolism Within The Prodigal Band Trilogy, Part Three

The most important symbols within The Prodigal Band Trilogy—star systems and constellations symbolizing the battle between good and evil, the Red Crystal of Corion and the Corion Cross—have already been discussed with appropriate trilogy snippets in the previous two posts. This post concerns symbols that the prodigal band uses on album covers and as stage props in concerts that are prevalent within the pop music industry now and for decades. Satanic symbols and patterns, checkered-mosaic-tiled-floors (a Freemasonic highlight, supposedly), drippings from chains suspended between legs (indicating drippings from orgasms), pentagrams and “oozing” vaginas are used on one particular album cover. For concerts, A-shaped or triangular ‘monoliths’ (indicating so-called ‘illuminati’ symbolism) topped with rotating circular shapes such as ‘planet Earth’ and eye-shaped symbols (‘the all-seeing-eye’-like symbols), and, of course, the Corion Cross of which the prodigal band’s logo is based upon.

Album covers for rock bands utilizing ‘satanic’ symbols have been around for years and most prominent rock bands from the 60s into today have used these symbols. One symbol I did not use that is extremely prominent then and now—the ‘one-eye sign’—was not used because I never saw that symbol as significant until the site Vigilant Citizen showed me just how this symbol is everywhere in pop culture. But this symbol was even used back in the days of the Beatles; more than one album cover has a variation of the one-eye sign, including one of their earliest albums. Commonly known ‘satanic’ symbols would include upside-down crosses, symbols of pagan gods such as the ‘eye of Horus’ or Baphomet horns (used, to my dismay, by a loved-one’s fave Japanese rock band, the GazettE, on a poster of theirs) or the ‘as above so below’ arms pointing upward and downward simultaneously used by many rockers in posters and such, ‘666’ and such pointed symbols or upside-down 5-pointed stars, and other pagan god symbols too numerous to mention.

So, I figured, if this prodigal band began its journey to redemption as a tool for the forces of evil, at least one album cover and at least one concert featuring these symbols had to be utilized within the trilogy. Since the first novel in the trilogy, Battle of the Band, is the only novel that mentions an album cover in detail or a concert in detail, all three snippets in this post come from this novel.

Continue reading “Symbolism Within The Prodigal Band Trilogy, Part Three”

Symbolism Within The Prodigal Band Trilogy, Part Two

This symbolism post will deal with the evil character Corion, the Corionic Cross and the Red Crystal of Corion. I used to name Corion because it sounds like the star system Orion and it just came into my head when I began writing the trilogy. Why Orion? Because when I was growing up on Long Island, what with all the street lights and pollution and the fact that I almost never saw any stars even on a clear night, the only star cluster that I could see clearly was Orion’s Belt. That is why I chose the Orion system to help name my character, that happens to be the evil satanic character in the trilogy.

As for the Corionic Cross… why a cross? Because crosses are huge in terms of symbology. Every Christian sect or society seems to use crosses thanks to the crucifixion cross of Christ at Calvary: Jesuits, Dominicans, Orthodox, various Protestants and Catholics, Rosicrucians (their cross looks like a rose), Knights Templar and others. And the satanic groups also use crosses, turning them upside down. And the Corion cultists did use a cross of sorts.

Since band guitarist-producer Mick was a follower of an ancient cult in Wales called the Crag-Dwellers and their god was Corion and Corion had a cross, he decided that the prodigal band Sound Unltd would use a similar cross to be their band logo. The cross and the logo used snakes. The cross and logo (pictured above) are featured on the original cover of the first novel in the trilogy, Battle of the Band.

Continue reading “Symbolism Within The Prodigal Band Trilogy, Part Two”

Symbolism Within The Prodigal Band Trilogy, Part One

There is much symbolism within The Prodigal Band Trilogy, which begins with the first novel in the trilogy, Battle of the Band. This is where the symbolism begins and covering the symbols in this first novel will need at least two posts, maybe more.

This post deals mostly with three star-systems and constellations mentioned in a song composed by the prodigal band members and is mentioned in Chapter Two of Battle of the Band. The constellations are Draco, also known as ‘the Dragon’ constellation; Pleiades, which is located within the Taurus constellation and looks like its own constellation; and Orion. In the third novel of the trilogy, The Prodigal Band, I mistakenly claimed Pleiades was within the Dragon constellation, but it only looks that way-it is not within this constellation, and may only look like it is because it could be further back in the sky but looks closer. It also looks on a wide-ranging star map as if Orion is close to the Dragon constellation.

Continue reading “Symbolism Within The Prodigal Band Trilogy, Part One”

Snippets of The Prodigal Band Trilogy Controversial Topics Series: Episode Five-Evolution vs. Creation-Intelligent Design (Part 2)

Last week in Part One of Episode Five-Evolution vs. Creation-Intelligent Design, I explained that the founder of the Theory of Evolution, Charles Darwin, was indeed a controversial topic in that his original ‘Origin of the Species’ book, which concluded with the admission that God, the Creator, began the process of evolution. This later morphed into what we know today as evolution when the Creator was removed from his book after his death, likely by an atheist group of what were called Social Darwinists, a group including Thomas Huxley and Richard Dawkins. This was likely done to back their notion that God did not and does not exist. Yet neither Huxley nor, in the present day, Dawkins, can explain how something came out of nothing, or what particle or particles out of nothing caused the so-called ‘Big Bang.’

As I had stated in earlier posts, I never believed in the Theory of Evolution. If evolution was truth, it would be called the LAW of Evolution, not just a ‘theory.’ Theories need proof, right? So that, since no evolutionist has figured out what single particle or particles suddenly came out of nothing…I mean, what was the so-called ‘First Cause’? (Note: Saint Thomas Aquinas came up with that one, ‘First Cause,’ in medieval times; the ‘First Cause,’ of course, being God). Since the evolutionists cannot come up with their original particle, I simply cannot believe in the atheist-humanist-rationalist ‘Theory’ of Evolution. Do the math, folks—you cannot divide by ZERO or NOTHING!

So the best I can explain why Darwin or anyone would come up with this theory deals with the notion of a ‘construct.’ Darwin, a former Christian-turned-agnostic, did in fact believe in God, but what about those who came after Darwin such as Huxley and Gould and others? Since they didn’t believe in God the Creator, they had to find a way to explain how creatures and plants, etc., came to be, so they used Darwin’s ‘Origin’ book while taking God out of their narrative or equation. Thus, they came up with their own ‘construct,’ which I ‘define’ in Chapter Twelve of The Prodigal Band in a conversation between future band member Bry and a Christian biker-preacher.

Continue reading “Snippets of The Prodigal Band Trilogy Controversial Topics Series: Episode Five-Evolution vs. Creation-Intelligent Design (Part 2)”

Snippets of The Prodigal Band Trilogy Controversial Topics Series: Episode Four-“It’s Not What You Know, It’s Who You Know.”

Several snippet posts seemingly back the idea that in order to succeed in the popular music industry and the entertainment business in general, one must “sell” his or her soul “to the devil.” That mind-set has been around many, many years but became a dominant theme during the period when rock music reigned supreme and continues even harder in these days of rap/hip-hop supremacy as rock seems to have faded into a background within the mainstream. For instance, it is getting harder and harder to find classic rock radio stations in places like El Paso, yet rap and hip-hop stations there are much easier to find. I have my suspicions as to why, but I won’t go into that here. Simply, it is the way industry moguls want it to be.

Interestingly enough, some of the more popular rock bands these days hail from Asia, especially Japan and Korea with J-Pop/Rock and K-Pop/Rock (the GazettE, a Japanese rock band, for example, is my daughter’s fave rock band, and they have toured the US twice on world tours…their record label is SONY as far as I know). Europe still has some of the more popular grunge and death metal bands, as well. So while rock is not “dead,” it isn’t what it used to be in the US.

These snippet posts don’t cover this notion, but do deal with how rock or any recording artists come to be targeted for fame and fortune in the first place. “It’s not what you know, it’s who you know” was a saying I remember as a kid in the 50s and applied to many career threads or business success. In the 60s and 70s rock and roll era, it was obvious, as several friends (and including a band I was in for a short time) could verify that they wouldn’t become “rock stars” because they didn’t “know” the “right people.” They might know local bar or night club owners, but not any of the “big boys.” I did have a college friend that played in a band that performed in a large NYC pub venue, but that was as far as they got in the early 80s.

While the first novel in The Prodigal Band Trilogy, Battle of the Band, starts off with a “prayer” for success as the band Sound Unltd began its contest-winning national pub and small venue tour, it doesn’t really cover the “who” they “knew” aspect of the beginnings of their success. The third novel, The Prodigal Band, however, does begin with introducing the “who” they “know” people that helped create the group, including influencer parents and adoptive parents as well as ancestors. And these ‘parents,’ having been in the business themselves twenty years earlier, “knew” others, higher-ups so-to-speak, with more clout who would assure early success, and who “knew” others even higher up who would make sure they’d make it big.

All of the following snippets come from The Prodigal Band.

Continue reading “Snippets of The Prodigal Band Trilogy Controversial Topics Series: Episode Four-“It’s Not What You Know, It’s Who You Know.””