Anthony Volodkin of the Hype Machine is a clever interesting guy who played a big role in music culture in the early 2000s when he revolutionized the promotion of music on the internet after he coded up an aggregator called the Hype Machine in 2005 that found a way to stream tracks form the myriad of internet blogs then posting music to an avid readership numbering in the millions. I can tell ya personally about the popularity of this wild wooly indie scene because I had a music blog at the time drawing thousands, if not tens of thousands of hits a day, much of that traffic derived from Anthony’s Hype Machine website.
Today with Alphabet’s YouTube, Zuckerberg’s social media & ezos’ e-commerce empires hogging most of the web traffic, my website now pulls around a fraction of that, maybe a hundred unique visitors a day, a far cry from when there were fewer internet users but there was more equal footing amongst all the sites on the web. I myself had kind of forgotten about the Hype Machine over the past decade, as the democratization of the web has largely disappeared into corporate content mazes, but was recently amazed to stumble in and see the Hype Machine was still functioning. In fact, it had even been crowdfunded, and now plays a central part in a quasi historical new book by Lina Abascal on the so-called ‘bloghouse’ movement, an account called Never Be Alone Again of which some excerpts from her writing are aggregated ala the ype Machine below.
“Music was beginning to move at the speed of the internet and new songs could be uploaded, reviewed, distributed, redownloaded, DJed out, remixed, (and repeat) faster than ever before.
Music blogs in the second half of the ’00s were completely autonomous, uploading a constant stream of new tracks for not much more than the love of the game. (And maybe for the glitter of Z-list celebrity status from a regular position on the Hype Machine charts.)
The mode of discovery shifted away from finding your new favorite song on the radio, at the record store, or even hearing it at a club; now you knew everything about an artist before you even got to the party. The party where a promoter had booked an artist based on hype from blogs written by kids in dorm rooms. The bloggers weren’t totally sure if what they were doing was legal, but it never seemed to matter all that much anyway. Publicists representing the artists being blogged about were known to encourage the practice by sending free download links in their press releases to bloggers.
Compared to now, the scope of the internet felt drastically smaller; a loose network of niche communities that had yet to be flattened by corporate interests.
The true democracy of the sound’s wild wild west was Hype Machine. An aggregator with no human face or editorial input, Hype Machine (sometimes known as Hypem) was founded in 2005 by Anthony Volodkin, a Brooklynite by way of Russia.
“It was a chaotic time for music on the internet. I would spend hours listening and finding new blogs to listen from. Then I started thinking of how I could make something so I could listen to this more easily,” explained Volodkin. Marrying curation with convenience, the software engineer began building a tool to aggregate all of the scene’s music blogs’ daily postings to one website. “It felt like a radio station was being assembled in front of me,” he said of the earliest version of the site.
With its green and white layout, Hype Machine simply listed songs in a numerical ranking by online popularity. Other blogs could decide what to post based on what the rest of the blogosphere was posting, and listeners could head there to streamline the process of trolling the blogs themselves. In its prime, Hype Machine remained a fair, non- gameable website where the good stuff rose to the top. There were no paid posts, no partnerships, no commentary. The technology did the work and the culture did the rest. (read more at Abascal’s new book Never Be Alone Again )
One of the cool things Volodkin’s HypeM team encoded recently was perhaps a penance for their illicit mp3 spreading past, this being the Merch-Table an application that can cross reference song titles from Spotify Playlists and link out to their monetizable counterpart links on Bandcamp where revenues from purchases are far more likely to actually make it to bands and labels that are keeping music alive. Here are some tracks below that I pulled from Spotify playlists I’ve made that can be found on Bandcamp where you can check out the albums and artists’ official sites to support them.
You can read about the rise and eventual decline in popularity of the Hype Machine here at Noisey
Bobby Fuller Died for Your Sins
Chuck Prophet Buy on Bandcamp →
Cenário
FloFilz Buy on Bandcamp →
Bird of Spring
Metropolitan Jazz Affair Buy on Bandcamp →
Always Back to Lorraine
Chrome Pony Buy on Bandcamp →
Sad and Beautiful World
Jesse Malin Buy on Bandcamp →
Lunar Gardens
Possum Buy on Bandcamp →
Jacker
Heavy Times Buy on Bandcamp →
A Psych Tribute to the Doors featuring Raveonettes
Various Artists Buy on Bandcamp →
World Music
Goat Buy on Bandcamp →
Lets Do It Again
Giuda Buy on Bandcamp →
Brenn Siste Brevet
Erlend Ropstad Buy on Bandcamp →
New Leaf
Bantum Buy on Bandcamp →
Back Together
Jean & Trevor Buy on Bandcamp →
Untitled (Black Is)
SAULT Buy on Bandcamp →
Gold Brick
Jon Langford Buy on Bandcamp →
Racey Roller
Giuda Buy on Bandcamp →
I’m Just Like You: Sly’s Stone Flower 1969-1970
Buy on Bandcamp →
Days To Come
Bonobo Buy on Bandcamp →
The Instrumental Session
Various Artists Buy on Bandcamp →
Live From Axis Mundi
Gogol Bordello Buy on Bandcamp →
Carved By Glaciers
Lymbyc Systym Buy on Bandcamp →
The Fear Is Excruciating, But Therein Lies The Answer
Ruby Ray discussing her work with friends & admirers at Vesuvio’s
Last week I attended an art show by photographer Ruby Ray at Vesuvios in North Beach. Having recently collaborated with a Swedish publishing company to compile a new coffee table tome of her photos , called “Ruby Ray : Kalifornia Kool 1976-1982” I had expected perhaps some copies for sale alongside her works.
Alas, she herself had not lugged heavy boxes imported from Sweden of her visual documentation of sticky floored band sets in dark clubs, brash backstage parties, and the seminal spawning of the “Industrial Culture” movement that happened in San Francisco. Fortunately, a City Lights employee present assured me there was one last copy that was for sale next door, and I bought the last available volume from right behind the cash register, and demanded Ruby re-sign it again for me, even though it was already signed!
If you click the link below, you won’t have to pay Ferlinghetti‘s word temple tax of full retail price, as the imported book is actually much cheaper and easier to obtain through the mail, but then again, maybe you will feel guilty not dragging it off a shelf in a serene shop.
Ruby Ray currently, as I write, still has a retrospective set of about two dozen prints framed and placed on panels in the already densely packed bar, but the stark striking faces and perfect poses caught in her classic black & white imagery always stands out despite distracting visual clutter & competition all around the room.
Ruby Ray’s punk photos on display at Vesuvio’s
There amongst the other paintings, flyers and tchotchkes that abound in the bar were photos that popped, featuring images from a truncated but 5 year period in SF from roughly 1977-1981. Many were moments preserved from inside or fairly near the Mabuhay Gardens nightclub, that capture in action bands like The Avengers, Crime, Devo, Flipper, Mutants, UXA, X and others that broke free of the bearded denim bro mold of the late 70’s schlock rock to bring to life a vital, energetic and angry new musical art form with its own merits and manifestos, that took music fans far from the middle of the arena rock road.
A few years ago, I purchased the now out of print collection “From the Edge of the World” a smaller sized book of Ruby Ray’s photos that also came with a 16-song CD compilation including rare music by bands featured in the pages: These included The Offs, Darby Crash & The Germs, The Dils, The Avengers, Crime, Mutants, Factrix, The Sleepers, Negative Trend, The Screamers, Chrome, The Bags, Noh Mercy, Pink Section, The Zeros and percussionist Z’EV. If you can find a copy, it is well worth a deep dive or at least perusal.
Out of Print Book/CD “From the Edge of the World: California Punk 1977to 1981” by Ruby Ray edition put out by Superior Viaduct
Back when it mattered, Ruby was right there with a lens, seemingly always pointed in the right direction as the purveyors of the late 70’s scene spouted their first songs/rants, played pranks, or sprawled out in chemically induced hazes. She helped make Vale‘s Search & Destroy publication such a vital document at the time, and her work stands the test of time. The cover showing a passed out Sid Vicious certainly tells a story, as do most of the other images inside her latest book.
Oddly, now 40 years on, Ray’s punk portraits and surreal snapshots of cultural icons like William S Burroughs, Jello Biafra or Exene Cervenka take on a frozen in time historical significance, with an impact that belies their lively off hand and youthful impromptu actuellement.
She’s a feisty and interesting lady and I enjoy her provocative conversation as well as seeing her artistic work, and encourage all with the ability, get out and do the same!
Viva La Ruby Ray!
Ruby’s photos are viewable at Vesuvio’s daily til 2am at 255 Columbus Ave until Feb 28th 2020
Jennifer Joseph, Publisher of Manic D Press introduces Dave Dictor at his first ever book store appearance to promote MDC: Memoir from a Damaged Civilization: Stories of Punk, Fear, and Redemption, co-presented by 924 Gilman St Project. The punk singer and now author candidly talks about finding Raul’s club in Austin Tx in the late 1970’s and how it lead him to release the “John Wayne Was A Nazi” single, and begin a multi decade global odyssey of politically charged punk rock.
More excerpts from this talk forthcoming, subscribe for more. To learn more about Dave Dictor see his new website http://DaveDictor.com
To get Dave Dictor’s autobiography, request at your local bookseller or try this online link : http://amzn.to/29grKPh
Overall Dave’s book would be interesting to anyone interested in the behind the scenes history of D.I.Y. punk, with Dave’s personal path also being a parallel tale of a subculture, where punk music is not merely a fashion, or memorialized like a long gone artifact, but is treated as a living breathing movement.
Dictor’s book holds anecdotes and adventures as told through the eyes of a world weary Woody Guthrie-esque citizen soldier who has taken his lumps, learned lessons, and is still inspired to travel the road less traveled, and make a glorious din whenever and wherever he still can.
The die hard punk rock world MDC traverses is not that of the corporate sponsored festivals and action sports soundtracks, but one of more idealistic people powered shows, grass roots political benefits and the loosely connected friends and fellow travelers motivated not merely by money, but by a need to help each other network and navigate from town to town, nightclub to VFW Hall.
Dave Dictor’s view from the stage has included thousands at large sports halls and theaters, but more often than not was maybe a gig put on in a basement, squat or a community center, much like it was back when he first started touring in the early 1980’s.
Conveniently I scored my copy of Dave Dictor’s book at a reading he was doing at a local bookstore in Berkeley CA, and the audience there was rapt with attention as Dave regaled us with numerous stories of his 3 decades plus journey through American Hardcore Punk’s early days. Dave’s tales start even before that era, back in the late 60’s, when he was already becoming an iconoclastic teenager, dealing pot with the aide of a friend’s mom, bending gender & norms, and seeking out a vegetarian diet in an age when the only two people he’d heard of who’d existed like that were Hitler & Gandhi. Fortunately for us, Dave abandons his wannabe teen hippie persona behind on Long Island, and eventually hits Austin Texas just as Raul’s was starting to put on punk shows, where bands like The Big Boys and The Dicks were also forming, creating a feisty brand of Texan hardcore unlike the somewhat more macho & commercial flavors available in the more urbane coastal cities.
Dave Dictor released the “John Wayne Was a Nazi” single in 1979, his band The Stains later changed their name to MDC
In the book you’ll read of Dave leaving his seventies singer songwriter stylings behind to and eventually hit the West Coast full throttle as a punk rock pioneer living to the pulsebeat of politically aware subculture, subsisting through squatting and D.I.Y. touring, living out of vans, eating at soup kitchens and deftly dodging police and skinhead violence whenever possible. The book has tales of many shows including an early 90’s run behind the Iron Curtain, where border guards and paper work pose problems, and Russian promoters threaten to pull the plug on the tour if the band doesn’t come up with $5000 dollars overnight. You’ll learn about his friends and family, like his long time drummer Al who Dave met as a fellow Monkees fan in the 60’s, to both of ’em doing separate stints of prison time in the 1990’s.
As a memoir, and much like a friend telling a meandering adventure that no one is sure where it ends, the storyline occasionally drifts back and forth through time. Dave has met many thousands of people and magnanimously, many names are dropped briefly, while exact event details might get glossed over. Over 30 years of touring means some great stories got left out, while some chronological anachronisms occasionally appear, such as when he mentions a gig with Husker Du, where Dave relates feeling “like Prince was gonna show up, mount the stage” at First Avenue in Minneapolis “and do a few bars of Purple Rain” even though the MDC show referenced was back in 1982, and Prince was still several years away from creating that iconic cinematic moment.
Enjoy the vicarious rambling ride through these pages, Dave sure has, and one gets the feeling if some medical setbacks hadn’t sidelined him momentarily a few years ago so he’d have time to share these tales in print, most of these stories would’ve gone untold. Dictor had a serious health crisis and spiritual awakening just before penning the manuscript and feels lucky to be alive to still share his happiness and life story.
One criticism I heard of the book is that, despite conflicts and complications in a long career, this MDC book itself is not full of “dirt” and that Dave doesn’t talk hella sh/t about anyone. That is just the type of person he he is, and the author courageously, if not naively, still strives to find the positive side to everyone and everything. While allusions are made to occasional nefarious conduct by bit players in the book, Dave moves on rather than dwell on the painful parts. It is perhaps good advice for all of us. As he mentions near the end of the book on page 180, freshly leaving the hospital he almost died in, he tells a cab driver “From now on, only love will come from my mouth and be on my breath”.
Video was made at Dave Dictor’s first ever bookstore reading , the Mosh Lit release celebration for MDC: Memoir from a Damaged Civilization: Stories of Punk, Fear, and Redemption held at Pegasus Books in Berkeley CA May 25th 2016.
For over an hour, the author gave us all an informal, humorous, but deeply reflective overview of his multi decade journey through punk, as well as familial anecdotes, and life lessons. The tales dated as far back as his first cross dressing session with a 4 year old playmate to opinions on the 2016 Presidential campaign and the origins of his recently revived 40 year old slogan “No War , No KKK, No Fascist USA“.
July 11 1972 – Remember that time Alice Cooper was busy having a few more drinks backstage at a baseball stadium and 40,000 teenagers got restless in Pittsburgh and a whole bunch stormed the field and dugouts? Humble Pie was finishing up Hot & Nasty and Steve Marriott so inspired the fired up concert goers that security could no longer keep the fans in the bleachers off the MLB baseball diamond. This Alice Cooper / Humble Pie outdoor concert was one of the very first to ever get booked into then fairly new Three Rivers Stadium, the now torn down ballpark was only in its second year of business when promoter Pat DiCesare booked ’em for what was then the largest rock concert in the state’s history!
Cooper’s show had been postponed from a few week earlier when the remnants of Hurricane Agnes had sent rain up and across the country and flooded out some other scheduled outdoor shows that June weekend in Ohio as well.
Pat’s memoir is where where he tells of being told in 1964 to drop off $5,000 bucks in a brown paper bag to a bartender in Brooklyn to secure the Beatles only ever show in Pittsburgh. DiCesare was a pioneer of the rock n roll industry, going from street corner Doo-Wop singer to promoting a 1962 Four Freshman show in Youngstown Ohio and eventually helping define the early days of what we now blithely call “stadium rock”. In the 50’s, Pat was a singer himself, wrote a couple tunes for the Del Vikings, worked at Coral Records label, and and by 1958, DiCesare had formed Bobby Records, named after Bobby Vinton, his label’s first recording artist.
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Circa 1963, Pat was a college student helping out at a jukebox and LP distribution one-stop outlet in Pittsburgh called Regal Records (affiliated with Nick Cenci’s Fenway Recordings) and noticed the Beatles were a hot act. DiCesare saw stores clamoring to get their discs before the competition and sensed opportunity if the band were to tour. “Back then if an artist sold a million records countrywide, we could sell about 50,000 of that release in the Pittsburgh trading area. If they followed up with an LP, we could sell about 5000 of the 12″ vinyl in Pittsburgh. The Beatles had three hit singles out at the same time, which was unprecedented. There was also a fourth song that was only available on an LP that Capitol Records had released. That meant that if a Beatles’ fan wanted that particular song, they had to buy the entire LP. I had never seen this before, but the LP was selling like a hot single.” So Pat DiCesare knew the Beatles were a sure thing, the only problem was convincing some business partners who could pony up the cash to secure the band’s Pittsburgh debut. They got a tip through someone who worked at William Morris agency that if a $5k cash deposit was left with a certain bartender in Brooklyn at Club Elegant, they would be given first dibs on the show.
With DiCesare basically broke & despondent that no one in the music biz he knew was willing to put up a $5,000 deposit to secure the Beatles concert, he turned to his father who had a lowly shipping department gig at Westinghouse. Seeing his son’s desperation, Pat’s dad, with 9 kids, put a lien on their family house to secure a $5000 loan and sent his son off with only a mysterious bartender in Brooklyn as a lead. Eventually, a few phone calls were made and Pat just wired the funds via Western Union, and got a date held. Then the agents in NYC said the $5000 was just a deposit, and they’d need to guarantee the band $35,000 total, about 10x what a normal teen dance headlining act was getting at the time. Pat and his partner figured they’d need to sell the tickets at 2x to 3x normal concert prices to make The Beatles guarantee, as the band’s agents were shrewd and put in a term that they’d take a guarantee vs 60% of the gross, whichever was higher. This was the first time a rock act demanded and received a percentage of the gate as well as a guarantee. Then there was negotiating with Pitsburgh’s Chief of Police, who said that 100 cops would be needed at the show, and he wanted $5000 in cash up front to pay each man $50 (truth was everyone swears there were way less than 100 cops and those asked said they got $20 or a free ticket or not the $50 Chief Slusser had pocketed on their behalf).
While they needed no opening acts to sell the 17,500 tickets at the then unheard of price of nearly $6 each, the September 14h, 1964 gig also had Clarence “Frogman” Henry, Jackie DeShannon, The Exciters, and the Bill Black Combo as special guests, mostly to stall for time.
“While the show is going on, unfortunately, the promoter is in the box office doing the accounting work with the arena who gets their take, the city who gets their taxes, other vendors and most importantly the artists representative” said DiCesare “We call this “settling a show.” The Beatles team took in $37,000 from the box-office receipts, DiCesare and his partner Tim Tormey, (who was initially reluctant to help put up the initial deposit) split $8,800.00. DiCesare was drafted into the Army at the time, where he had his partner send him $100 a week from his $4,400 proceeds at Fort Sill where he claims “he was the richest soldier in the Army” there.
Write Up On Promoter Pat DiCesare from the Pittsburgh Post Gazette
When DiCesare got out of the Army, he began promoting full time, giving up a $300 a month “stable” career as a school teacher to join a risky business where the nightly payouts could be in the thousands. In addition to the Beatles, he presented all the early Rolling Stones concerts, and had to work backstage magic to broker peace with Mick Jagger who threatened to walk out if influential local AM radio station DJ’s Pat had invited were allowed to introduce the band.
Pat was also involved with the infamous “breaking” of the then unknown Tommy James as a hit act in Pittsburgh, and provided him up with new Shondells when it was discovered his old band no longer existed. (Tommy goes into great detail how this happened in his book: Me, The Mob and The Music One Helluva Ride with Tommy James & The Shondells)
In his book Pat recounts flying out, buying a ticket and awkwardly sitting through a Sly Stone concert in another city just to insure Sly Stone made it to the plane for the next concert that DiCesare’s life savings was riding on should Sly not show up for in Pittsburgh the next day. “If there was anything I hated it was sitting in the audience watching a concert. I never did that at any of my shows. This was business, not pleasure. To me a concert was work, not entertainment.”
During the 1960s’ and early 1970’s DiCesare promoted most of the big name concerts at the Pittsburgh Civic Arena and Three Rivers including shows with Led Zeppelin, Pink Floyd, the Who, Three Dog Night etc. However, with the music business changing in the 70’s, DiCesare who was not as fond of the changing music biz as he was with his new found real estate investments, and knowing he needed more help tapping into the youth market, as well as mitigate risk, made an offer to a younger local rock drummer who’d become a viable competitor with a campus concert promotion company called Go Attractions, later known as Command Performance Agency. That fella was Rich Engler, who played drums on The Vogues 1965 hit “5′ O’clock World”, but by 1973 had quit his band to focus on the concert business after getting chewed out by Yes’ manager for playing drums in the opening act and not focusing on the overall event production. The ambitious Engler needed access to venues Pat had a lock on, and took the offer to team up with one of his main competitors to co-found the 50/50 split DiCesare-Engler Productions. Over the next two decades Pat & Rich then promoted pretty much every major entertainment act that came to Western Pennsylvania during the last half of the 20th century from Bob Marley to Bob Seger, New Kids On The Block to Kid Rock.
In 1977, the thriving DiCesare-Engler Productions purchased an old movie palace called the Stanley Theater and would pack over 3500 people in it, making it one of the nation’s top mid size concert halls. (That venue is now a focal point of Pittsburgh cultural scene, has under gone $43 million in further renovations and is operated by a community trusts that has renamed it the Benedum Center and hosts The Symphony and touring Broadway shows for a more civilized ADA accessible 2500 ticket holders). Other venues the men used to put on shows included The Syria Mosque, Club Metropol, the AJ Palumbo Center, the I.C. Light Amphitheater, the Civic Arena with retractable roof, and in the 1990’s the Star Lake Amphitheater, The Bud Light Amphitheatre in Scranton/Wilkes-Barre and even The Aladdin Theater in Las Vegas.
Long considered one of the top grossing concert promoters in the country, with Engler now doing most of the artist relations, their company packed theaters, arenas and stadiums, and were ranked in revenues right behind Bill Graham by 1978, doing many promotions using popular local radio stations like WDVE and even TV spots like this one from 1994 to get the word out.
Up until 21st century industry consolidation creep by the corporations that would become Live Nation, DiCesare-Engler Productions was the main regional concert promoter in the Pittsburgh area. Pat & Rich’s homegrown based company facilitated shows and help break acts of nearly every conceivable genre: Rush, Queen, Pavorotti, Kiss, Kansas, Dolly Parton, Willie Nelson, Devo, The Pretenders, AC/DC, Van Halen, Ozzy, Bruce Springsteen, Steely Dan, George Duke , Bob Marley, Atlantic Starr, Judas Priest, The Tubes, Elvis Costello, The Police, Talking Heads, Prince, The Replacements, and The Clash.
Engler is proud of his many “firsts”, one such artist he first introduced to central PA was David Bowie (whom he eventually sued when he was a no show to a 1974 stadium gig in Cleveland). The band Genesis, is another fave find of Engler, who he reluctantly booked as an opener in 1972 on their first US tour. He told Ron Conroy of the Penn State Journal in 2014 “Back in 1972, I was promoting a Lou Reed show at the Alpine Ice Arena at the Forest City exit…and the agent told me that I had to take this other act from England and they were called Genesis.”
The risk was low to Engler, so he shlled out the guarantee—“either $500 or $750” and his concerns went away once the act took the stage. “So the show starts, Peter Gabriel walks onstage and he has the flower outfit with the big head and the big yellow petals,” he says. “And people—back then, this was the drug era, man—they were, like, totally freaked out and the band just went over like gangbusters.” He laughs at the memory, but at that point he knew he was onto something. “I knew this band was destined to superstardom and I jumped on their bandwagon. I couldn’t wait to call the next day and say, ‘Hey, when can I get Genesis back?’ And [the agent said], “How was Lou?” And I said, “Lou was Lou and it was great, but I want Genesis again.”
– 2015 PSU journal article by Rob Conroy
That early Genesis gig formed a fortuitous relationship and Engler adds “we did multiples at Mellon Arena, had them at the Syria Mosque and I had them at the Stanley Theatre, then the big one at Three Rivers Stadium did 55,000 people.”
Rich Engler was also proud to have seized early upon the 70’s TV success of Sha Na Na’s syndicated variety show and saw the opportunity to take the retro oldies act from 3 sold out Pittsburgh Stanley Theater shows held on the the same day, onto the rest of the country via a 30 market tour that went as far south as Louisiana where the band played to 15,000 fans in Baton Rouge, not quite Woodstock but still a sweet gig for a cover band.
Rich Engler backstage in the late 70’s with Judas Priest at a sold out Stanley Theater show
Both promoters having sold out for big bucks have mostly retired from the business they helped create. Pat’s DiCesare’s book, “Hard Days Hard Nights” , recountsactde experiences in the early days of rock n roll concert business via his memoir that was named the 2014 Independent Book of the Year, as well as Grand Prize Winner at the 2014 Great Midwest Book Festival. Rich Engler wrote one as well called “Behind The Stage Door” that recounts his decades spent concert promoting before he went on to work for a coal mining company.
Rich Engler presents a plaque of appreciation to Bob Marley & The Wailers in 1980
Rich Engler, who ended up producing over 5000 shows before stepping away, used his his book called “Behind The Stage Door” to tell of his days as a hippie musician that turned into a major industry figure, yet one who kept personal relationships at the fore of his business dealings. Rich’s book contains stories galore of the heady 70’s era when fake Fleetwood Mac’s were competing with the real one, and when intoxicated difficult rock stars were the norm, not the exception. There’s red wine chugging Joe Cocker projectile vomiting on the crowd in Allentown, Clapton unable to walk but playing beautifully from muscle memory. Fans who tried to sneak in through the rafters at a 1975 Nazareth show and had to be rescued as they dangled through the ceiling, or fans whose foot stompin’ caused the floor to collapse and ladders were needed again to bring them out of the orchestra pit at a packed Pat Travers show.
Beyond sorting the brown M&M’s, the stories of outrageous demands from artists only get worse as the years go on, when Madonna’s contract insists no one amongst hundreds working at a 17,500 capacity arena ever look at her. There was irascible Chuck Berry, who took his money upfront and jumped a curb in his Cadillac to escape a stadium gig without playing. There was debauched Aerosmith trashing trailers because their opening band font size on the ZZ Top poster was too small, and Axl Rose who demanded $15,000 be set aside to recreate a “Greek orgy” in the Steelers’ locker room. A Kiss’ reunion contract rider demanded the promoter dress as a Kiss member or be fined $2,500 or that night Sebastian Bach got arrested before performing after he picked a fight with the wrong cop in Johnstown PA.
1n the summer of 1974 DiCesare and Engler guaranteed Clapton $100,00 and the Band $50,000 to appear at 3 Rivers Stadium. Clapton could barely climb the stairs to the stage by the time he went on, but didnt miss a note according to witnesses, and the promoters didnt lose any money.
The DiCesare-Engler partners were generally making money despite the moronic mischief of both bands and fans, but as time wore on artists demanded up to 90 to 95 % of the gross, leaving the promoters to eek out a margin on the parking or concessions. Occasionally, despite winning looking bills, they were coming up short, like the time they lost almost half a million presenting Van Halen & Metallica’s “Monsters of Rock” tour in Pittsburgh.
Here’s a 1980’s era 20 minute video production feature on what a Day In the Life of concert promoter Rich Engler and his staff was like that originally aired in North & Central PA cable TV
Shot in late 1988 it aired 1/20/89 It also features interviews with Winger & Bad Company filmed by Clarion University
Here’s an interview Rich Engler, Pat DiCesare and their partner Ed Travesari did with a local Pittsburgh TV station talking about some memories they had producing shows at the the old Pittsburgh Civic Arena
Videographer Craig Love made it down to Book Passage in Corte Madera to catch relatively recently relocated Marin resident John Doe as he read from his new book “More Fun In The New World”
Here John reads a passage about how time takes its toll and about the lingering influence of bands like The Germs, Gun Club and Flipper. He recalls the first waves of punkers and not quite classic rockers like Top Jimmy, Biscuit Turner, D. Boon, Jeffrey Lee Pierce and Will Shatter who didn’t get a chance to live long enough to make the kind of money and acceptance available to 21st century bands that would later ape their memorable moves and music.
John Doe and Tom DeSavia authors of “More Fun In The New World” engaged in a book discussion with audience members as well as with moderator Beth Spotswood. Thanks to Craig Love for getting down to Book Passage in Corte Madera, CA and documenting this book release Q&A event 6/8/2019 .
Towards the end of this nearly hour long video Q & A segment, John Doe talks about doing a documentary of the first book he wrote with DeSavia, “Under The big Black Sun”, and securing Allison Anders as show runner “… so she’s gonna be our advocate, and so far so good, someone has approached us about doing a scripted version of it and we entertained that…but I think I’m gonna put the kibosh on that because they always get it wrong. There’s no movie even if it’s the best best ever network, it could end up like that horrible show “Vinyl”, embarrassing. I don’t want to see that ruined and I think the final nail in that coffin was hearing what everybody had to say about that one.
He talked about artists who didn’t get their due, like Top Jimmy, who “was a great blues singer and he killed himself because he drank too much, and Country Dick Montana, who was a great, like very simple drummer, and had this awesome voice, and he passed away because he also did too much of everything. So people look back on that, or Rank-and-File…the Germs were were a complete mess, and they would end their shows by playing this song called “Shut Down” which is a kind of similar to the Willie Dixon song “Spoonful” and it was endless and they they just they ended their show through attrition. So they were great, they transcended moments. The Alley Cats, The Plugz were and The Weirdos were all fantastic bands that didn’t really get their due, or get great recordings.”
You can read more about this and other topics covered by John Doe and Tom DeSavia as well as see over 4 dozen rarely seen photos of the era in their new DeCapo Press book “More Fun in the New World: The Unmaking and Legacy of L.A. Punk” which is linked below for purchase online…
Author Pat Thomas discusses his book “DID IT! JERRY RUBIN – AN AMERICAN REVOLUTIONARY” in two separate videos
My longtime friend and underground culture historian Pat Thomas is seen in these video clips telling interesting anecdotes as he promotes his latest project, an expansive coffee table book for Fantagraphics Books about Yippie activist Jerry Rubin. Entitled ” DID IT! FROM YIPPIE TO YUPPIE: JERRY RUBIN, AN AMERICAN REVOLUTIONARY “, over 5 years Thomas combed through Rubin’s own archives and interviewed many of Jerry’s co-conspirators and even some of his enemies as he attempted to paint the fullest available portrait of an oft forgotten and misunderstood rebel icon.
Pat’s book explores Rubin’s early years as a working class Jewish kid in Ohio, through his wild adventures meeting Che Guevara and Abbie Hoffman as he morphs into a long haired 1960’s protest radical who ends up high on Nixon’s enemies list. As the decade fades, Rubin transforms in the 70’s from a man openly fomenting an antiwar revolution to pursuing capitalism on Wall Street and uses Studio 54 as a platform while trademarking the term “Social Networking” long before Mark Zuckerberg is born. All in all, I bet these videos will reveal something you likely did not know.
These two videos shot were shot by me in San Francisco and Berkeley CA, at speaking enagement to promote the Fantagraphics biography ” DID IT! FROM YIPPIE TO YUPPIE: JERRY RUBIN, AN AMERICAN REVOLUTIONARY by Pat Thomas. The locations were at both Green Apple Books near Golden Gate Park in San Francisco and Pegasus Books in Berkeley (the one at Pegasus Books is shot in with a 360° Camera and features guest Yippies).
While a graduate student briefly at UC Berkeley as the Free Speech movement took off in 1964, by 1965 Rubin dropped out and was enrolled on a path of revolutionary political struggle that would take him to Manhattan where co-conspirator Abbie Hoffman would enter his life in early 1967. They levitated the Pentagon together, formed the Yippies, and made headlines across the world as members of the Chicago 8, earning the ire of Nixon and the FBI, as well as many in the media, and even on the left. While admiration came initially from the counter culture press, and folks like John & Yoko, Rubin’s abrasive approach and methods often alienated people he’d perhaps prefer as allies. With the 70’s came sweeping cultural shifts, and Rubin eventually broke from his agitprop antics as the movement’s momentum waned, and when forced to confront himself and the times’ turning tides, he largely withdrew from public life and became a businessman and part of the ‘me generation’.
A complex character, Rubin’s approach to life is illuminated in the book via the author’s access to his personal archives granted graciously by his ex-wife Mimi. Pat Thomas, a longtime fan of 60’s radical political figures from afar, zeroed in on Rubin’s friends and foes as he strove to create the most definitive look at this off misunderstood figure of the 60’s Revolutionary era. In this video Pat shares excerpts of Rubin making fun of his past on Saturday Night Live, excerpts of his infamous mid 1980’s Regan era Yippie vs Yuppie debates with Abbie Hoffman. Near the end of the clip, several former compatriots of Rubin’s step up for Q & A and speak to their experience s with him, both good and bad, political and often extremely personal. Guest speakers include old Rubin compatriots like Judy Gumbo, Lawrence Schechtman, and Kate Coleman. This excerpt video of a longer talk is shot with a 360 degree camera so will move viewpoint at viewer discretion.
Music blogs in the second half of the ’00s were completely autonomous, uploading a constant stream of new tracks for not much more than the love of the game. (And maybe for the glitter of Z-list celebrity status from a regular position on the Hype Machine charts.)
