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Goner Message Board / ???? / Rodney Bingenheimer Documentary
Posted: Apr 19, 2005 9:04 pm | Edited by: sexual chocolate
 
Is it any good?..It's on showtime tonight.

I got a feeling I'll hate it, me lovein the Angry Samoans so much.

What was some of your alls take on the movie?
Posted: Apr 19, 2005 9:06 pm
 
With the White Rocket, anything on TV will be good.
Posted: Apr 19, 2005 9:09 pm
 
i thought that it was sort of depressing, but it was pretty good.
Posted: Apr 19, 2005 9:09 pm
 
Agreed.

I'll report back tomorrow.

Here's a link about the Rodney vs. Samoans fued thow:

http://www.angrysamoans.com/cranked.html
Posted: Apr 19, 2005 9:12 pm
 
I thought it wasn't on until tomorrow. I'm wrong, huh?
Posted: Apr 19, 2005 9:12 pm
 
It is terrible. It makes Rodney look really bad. I picture that the film maker tricked him into doing it, telling him it would be good but then stabbed him in the back. Then again, I like Rodney so whatever.. Surprisingly I don't think they mention the Angry Samoans song in it. It could be the theme song for this anti-Rodney film.
Posted: Apr 19, 2005 9:13 pm
 
Okay that link is all about how they called Rodney a fag alot...but whatever, it's on their web page.
Posted: Apr 19, 2005 9:24 pm
 
Anyone know who designed that web site? I gotta get that early '80s html look.
Posted: Apr 19, 2005 9:26 pm
 
Judging from the content, I'd guess, Metal Mike.
Posted: Apr 19, 2005 9:33 pm
 
Makes goner look state o' the art!
Posted: Apr 19, 2005 11:20 pm | Edited by: dale
 
If you get the DVD of the Rodney movie and watch it with the directors commentary you learn that he did get final say on everything that went went into the movie.

The Kim Fowley interview out-takes as a bonus feature make it all worth it.
Posted: Apr 20, 2005 2:03 am
 
i think that movie is all about the bottom feeders of the world - and the people who feed on them as well. its very depressing. but yer right - kim fowley is worth the price of admission or rental or your showtime bill
Posted: Apr 20, 2005 2:39 pm | Edited by: sexual chocolate
 
I thought it was pretty good....and Rodney is a likeable enough guy as far as music journalists go, or radio personalities, I don't know which are more anoying.

I think it was a calculated decision for The Samoans to attack him the way they did...he was an establishment punk rock music figure.....and they were all about getting attention by attacking most everything that was trendy. I haven't given it to much thought yet. What was interesting to me is the way Rodney said he never got that much into Glam rock...didn't he? When he had those glitter platform boots out?

All and all, it was great because it was so raw, I haven't seen anything like when he bitched out that other DJ for taking his spot....and Kim Fowley is so creepy there's nothing on reality T.V. that can match that.....it was pretty good.
Posted: Apr 20, 2005 3:06 pm
 
Kim Fowley looks just like Judge Doom.
Posted: Apr 20, 2005 4:06 pm
 
From what I read in 'We Got The Neutron Bomb' all the punks in LA hated Rodney. He was seen as a pathetic throwback to the old, lame glitter scene. I think Rodney and Kim Fowley were shunned as dried up old perverts that tired to drop names and hit on chicks way to young for them.

I like the doc. Overall he came off as a slightly touched manchild who has built his entire life around the mundane act of 'meeting famous people'.
I thought it was worth the rental.
Posted: Apr 20, 2005 4:41 pm
 
Rodney played both glam/glitter and punk. Those Rodney on the ROQ comps have some good stuff on them. I didn't like that part in the doc where they put him on the spot about getting with his friend and make the girl talk about why she wouldn't get with him. It made me really uncomfortable. Well I guess a lot of the doc made me uncomfortable.. I don't know maybe because I grew up listening to his shows . He is really not that bad..
Posted: Apr 20, 2005 4:48 pm
 
"We Got the Neutron Bomb" should not be taken as gospel. Brendan Mullen put quotes in people's mouths. He also was a bit of a carpetbagger when he came on the scene and bought his way in and self proclaimed himself as the guy who started punk in LA. That band Backstage Pass - a bunch of groupies with day jobs - one of them was the leaseholder for the Masque. Lot of secrets not gettin out because Mullen has taken it upon himself to put his interpretation of punk as the truth. Alice Bag is attempting to get the real story out. I ran across her blog - alicebag.blogspot.com - and its pretty cool. Worth a serious review and click to everything she links to if you got the time.

My ex roomie was around in the LA punk days and he says while the punks couldn't tolerate Rodney's personality, they all counted on him to get their music on the air. It was the only place you could hear it or stuff like the Pistols even at the time.

I maintain that the Rodney film is all about bottom feeders, though. And gimmickery and the sad narcissistic grasp at a few minutes of fame.
Posted: Apr 20, 2005 4:55 pm
 
How bout a pathetic attempt to have sex with Nina Hagen?
Posted: Apr 20, 2005 5:06 pm
 
I thought it was pretty good...I got all choked up when he dropped his mom off the boat. Cherie Currie talking about Kim Fowley was pretty funny. What a creep.
Posted: Apr 26, 2005 3:26 am
 
Jesus H. Pegasus! What a depressing movie.

I really dug it tho'.
Posted: Apr 26, 2005 3:47 pm | Edited by: razor shines
 
Kim Fowley really made this film great. Every second of screen time he has in this movie, he's saying something either jaw droppingly absurd or just really plain interesting. That whole Mike Tyson-esque monologue he has where he says he wants to eat people's brains back-to-back with Cherie Currie calling him "a dangerous man" was just fantastic. Rodney comes across as more pathetic than I had ever even imagined, but he's nonetheless a likeable and throughoughly engrossing character. The one thing that put me off about the film is how far the filmmakers go to make him look like a fucked up manchild when it really didn't need to go that far. At one point, Rodney is screaming "fuck you" at the filmmakers and telling them "I'm not part of this film." Some points you just want to reach in and tell them to leave the poor guy alone.
Posted: Apr 26, 2005 5:43 pm | Edited by: SinglesGoingSteady
 
I'm not a huge Rodney fan simply because of the fact that he is a quiet, boring radio DJ without much spunk. I have tapes of the old shows and, besides the great content, the DJing puts me to sleep. Quiet, mundane, his charm wears off after five minutes......

Can't really blame Rodney or Kim for wanting to sleaze their way into the scene and try to fuck younger girls. They just happened to be old when punk started, I'm sure they genuinely identified with it, and just wanted to relive a youth they couldn't have. If getting laid was the only impetus for them to get into it, you would think that they would have veered into other territory (hippie rock or pop or something) in order to find 1.) alot of girls and 2.) really good looking girls, both of which the early LA punk scene seemed to be lacking.
Posted: Apr 26, 2005 9:38 pm
 
Do yourself a favor and edit out the libellous
assertion concerning my sexual preferences in the
following interview :

http://www.terminal-boredom.com/shanewhite.html

I was friends with Rodney Bingenheimer for many, many
years. There was a glorious period in 1981/1982 where
we discovered the mother lode of Southern California
punk rock together. The Angry Samoans were besides
themselves in frustration that Rodney had this
incredibly influential show and they and their pal
Richard Meltzer were on a nothing NPR station.

They needlessly attacked Rodney and issued pathetic
death threats that Rodney took seriously. They
re-wrote their song "Hitler's Cock", conveniently
releasing it in Germany where the original title would
have gotten them in trouble, substituting the title
"Posh Boy's Cock" the lyrics of which insinuated that
Rodney and I were homosexual lovers. The Samoans have
not dared to release that in the USA.

I thought Shane answered your leading question as
intelligently as one might expect from someone who
immediately declares "Well, I don't know the man ..."

For the record, I fell out with Rodney a few years
back and have only spoken to him once recently, just
to chat about "The Mayor of Sunset Strip".

And, yes, I have had and continue to have a lot of
enemies ... and a lot of friends.

Sincerely,

Robbie Fields
Owner
Posh Boy Music
Posted: Apr 26, 2005 10:05 pm
 
The "Posh Boy's Cock" story is bogus/mixed up - it's a "Steak Knife" rewrite, and I think "Posh Boy's Cock" predated "Steak Knife." It has nothing to do with "Hitler's Cock."
Posted: Apr 26, 2005 10:49 pm
 
it's mixed up, you frustrated pharisee.
Posted: Apr 27, 2005 1:07 am
 
i sat right next to rodney (who was by himself) at the who/brian wilson/tom waits/neil young concert rodney goes to in the film (there's more of it on the extra footage). After sitting next to him for a couple hours I tried to say hi, like "hi, you're rodney, right? i used to listen to your show," just trying to be nice. He got up and walked away without saying anything and never came back. I thought that was weird, although I guessed having people say hi to you all the time probably sucks and decided in the future to avoid acknowledging famous people in public. After seeing the movie, i guess he was in town because his mom had just died. Aaaaaand I'm not an underage girl, so oh well. The WGTNB book and the movie made him seem pretty pathetic. The entire movie was pretty much summed up when Mick Jagger dismissively says "Oh yeah, Rodney Bingemheimer, the *male groupie*. What's he doing, something supposedly admirable I assume? Oh, a DJ? Peeeerfect".
Posted: Apr 27, 2005 3:25 am
 
I have the old Slash magazine where they are interviewed, and talk about how Rodney is a glitter fag, Darby Crash is a fag who likes Bowie, ect. al. It's hilarious. If you ever see that ish pop up on ebay, buy it. If you think it's funny to hear them sing about it, it's even funnier to hear them openly discuss it in Slash (sounding like a bunch of 16 year old jocks). Great stuff.
Posted: Apr 27, 2005 3:26 am
 
Whoops, I'm talking about The Angry Samoans, of course.
Posted: May 11, 2005 5:10 am
 
I appreciate the generally high level of discussion on this board. Interesting that someone leaked my letter to Terminal Boredom ...

I did want give some feedback on certain of the comments posted here :

"... Rodney said he never got that much into Glam rock...didn't he? When he had those glitter platform boots out?"

Did he say that? Rodney continued to play glitter thoughout the "punk" years. He bowed down to Glitter producers Nicky Chinn and Mike Chapman and championed their production of "Mickey" by Toni Basil.
I remember Rodney trying to get a Sweet revival going.

"From what I read in 'We Got The Neutron Bomb' all the punks in LA hated Rodney. He was seen as a pathetic throwback to the old, lame glitter scene. I think Rodney and Kim Fowley were shunned as dried up old perverts that tired (sic) to drop names and hit on chicks way too young for them."

I agree with the other poster about Brendan Mullen. Brendan Mullen came to me about his book in late 1998 and I threw him out of my office when I realized he was trying to get others to write the book for him ... as he admitted he didn't remember much. I hated his liner notes for the Live at The Masque CDs. And bear in mind, those Masque recordings were supposed to have been released in the 1970's!

My goodness! Most of the punkettes on the L.A. scene were from the old glitter days. Rodney had already had sex with them! Being a nice guy he played their demos years later. AndI know of at least 1 demo that went to #1. Rodney was worshipped in the late 70's by the punks and the beach punks loved him, too, as anyone who used go to the Starwood mid week in the early 80's would attest. Punkettes were not his cup of tea, in any case. Name dropping? You've got the wrong guy(s).

As for Kim, he was always an eccentric. It seems in retrospect that he was on the punk scene, but he wasn't. He put on one concert, BEFORE THERE WAS PUNK IN L.A., recorded it ("Germicide") and that was his involvement. The Runaways were not punk, neither were Venus and The Razorblades ... Kim's angle was always relieving major record companies of cash and they were not interested in punk so Kim concentrated on his successful career as a melodic metal producer. As far as I know, Kim preferred the big hair girls of the Rainbow parking lot to the punkettes.

Rodney was in his early 30's during the punk era but had major health problems. Rodney's radio show was the dominant force behind the scene ... the clubowners made life very difficult. As for me, I distinctly remember having relationships with as many older women as younger ones. But sure, a motivation for getting involved with the music scene was the opportunity to meet women ... happens the world over.

To answer BradX : Parody is certainly protected, but not in a broad sense that the Samoans might plead ... you are allowed to parody a song itself, i.e. make fun of the original lyrics. The Vandals' version of "Summer Lovin'" is an example of this. But you had better be careful when using a song to lampoon someone, as with the Vandals' song "Ageing Orange", attacking Mike Palm. If the song spouts lies, you're on shaky ground. "Free Speech" is not unlimited. And although attacking a public figure is usually permitted under free speech provisions, maliciously lying is not. The Samoans' problem was that they indulged in their campaign against Rodney maliciously.
Posted: May 11, 2005 5:33 am
 
Wow.
Posted: May 11, 2005 6:08 am
 
I found the Rodney movie to be good but pretty depressing at the same time...kind of the decline of an elder fanboy. Not sure about the claims he was not into glam....was'nt the whole English Disco thing kind of a glam meca for LA?? Whatever....it just seemed to be a film about a guy who got stuck on one idea a long time ago (the whole cute pop star thing) and eventually everything started to pass him by. Kim Fowley is as boring as he is intersting....kind of like the guy who is always at your local bar spouting some kind of BS about himself while you try to have a drink with some friends.

Angry Samoans malicous to Rodney?? obvious.....but what's up with Posh Boy's Cock, Robbie Fields??
Posted: May 11, 2005 6:17 am
 
"... Rodney said he never got that much into Glam rock...didn't he? When he had those glitter platform boots out?"

Did he say that? Rodney continued to play glitter thoughout the "punk" years. He bowed down to Glitter producers Nicky Chinn and Mike Chapman and championed their production of "Mickey" by Toni Basil.
I remember Rodney trying to get a Sweet revival going.


Yeah, I was toking on a vaporizer at the time, and was admittedly distracted by that, but by my recollection he was trying to distance himself from glam rock, for whatever reason, which just seemed absurd to me. Does anybody else remember that scene? Wow a Sweet reunion I'd pay to see that.
Posted: May 11, 2005 6:27 am | Edited by: sexual chocolate
 
I guess they did reunite a couple times in the 80's....man I guess if Wayne and Garth and Tia Carrera, a car commercial, The Devil Dogs, and Rodney couldn't spark a Sweet revival, we're shit out of luck.....oh well we got former latter-day Angry Samoan Jeff Dahl covering Sweet, funny how things have gone full circle....and Rodney Bingenheimer's trying to deny ever being that into it...makes you think.
Posted: May 11, 2005 12:21 pm
 
"Angry Samoans malicous to Rodney?? obvious.....but what's up with Posh Boy's Cock, Robbie Fields??"

Since I had not shown any interest in their musical career, they obviously felt they had nothing to lose by maligning me. I am reminded of how Greg Graffin once reproached me at the height of Bad Religion's popularity for not having recorded early Bad Religion and "ripping them off". Most of the time I did not realise how desperate groups were to work with me back then.

To be sure, I was closely aligned with Rodney but it was a synergistic relationship. I needed airplay for my productions and he needed local hits which I provided. If one of my records missed the mark he might play it once, if at all. There were always certain other records that he played where he felt an obligation to a record promoter to play. Indeed, one of the disadvantages of actually being close to Rodney was that he could actually say "NO". Think about the temper tantrum scene in the movie : he could only do that because it was his most loyal associate Chris Carter, the film's co-producer, involved. Don't you think he's more threatened by Steve Jones's radio show? But he'd never let on his insecurity to Steve.

Rodney took me to a Sweet re-union gig in the 1980's at one of Bill Medley's clubs, The Hop.
Posted: May 11, 2005 3:25 pm
 
The Angry Samoans just didn't like Robbie or Rodney, and they tended to write songs about stuff they hated. Big whoop.

Hey Two Tub Man - how about you eat my fucking ass?
Posted: May 11, 2005 3:32 pm
 
Posted: May 11, 2005 6:19 pm | Edited by: sexual chocolate
 
Nah, I always saw The Angry Samoans as being pretty glam influenced....that's where alot of the masogynism and homophobia came from. There was alot of that in glam, and the Angry Samoans toned down the eyeliner and played up the masogynysm to get a very similar effect. I think that's the main way that the Samoans were always misunderstood.....they were pretty smart when it came to social theory and shit, and they wanted to be the synthesis of the glam and punk dialectic...glam was just a reaction to the working class pathos of the Mod scene, (as evident in Quadrophenia, when the protagonist ditches his old pals and puts on eyeliner)...and punk was a reaction to the fantasy aspects of glam....Angry Samoans were somewhere in between, and were savy enough to know that CBGB's is where it all started, when the LA scene was mostly London derivative. The Angry Samoans, the idealist record geeks that they were, always resented Rodney for not being able to appreciate them on thier own terms, when he presented himself as being so relevant and in the know...so they figured that if he wasn't going to help them, they could still use him as an enemy....this is realy what fueled thier hate, and it seems to have worked for them, if only to get them the attention and recognition they wanted....Rodney was a good target cuz they probbably knew he'd freak and make them as notorious as they now are.

Anyway this how I've always understood it...any thoughts?
Posted: May 11, 2005 6:47 pm | Edited by: robbiefields
 
Sexual : Is this your doctoral thesis?
Posted: May 11, 2005 9:03 pm
 
No, I just graduated with a bachelors in humanities after 8 years....I'm looking for a comfy city job now.....I took a couple classes that focused on Dick Hebdige's books, punk, and various subcultures amongst alot of other things......I guess that's where the hegelian culture theory comes in, but these have been pretty common ideas for a couple generations now, since the beats.....I read an interview where you said something about how Musicologists are morons, and I got to agree....I'm just a record geek who's pieced together certain things over the course of my adolescents till now, I don't know why I still give a shit.......jeez I'd love to get a degree in this stuff thow.
Posted: May 11, 2005 9:08 pm
 
.jeez I'd love to get a degree in this stuff thow.
apply to NYU's American Studies program (it is a post-graduate program) and study with Andrew Ross. You can tell him I sent you.
Posted: May 11, 2005 9:35 pm
 
I can't afford that, and I have a 2.8 GPA......damn Spanish III..damn damn damn.
Posted: May 11, 2005 10:07 pm
 
Judging by your posts , looks like English gave you a good kick in the ass also.
Posted: May 11, 2005 10:23 pm
 
nah, I was originaly an english major...... to me the internet aint worth more than stream of consitiousness prose......I haven't reached whatever muturity level it is where you give a damn....
Posted: May 11, 2005 11:21 pm
 
This thread is like someone overanalzying a fart joke and trying to find the deeper social message within it. The Samoans are just the ultimate smart/stupid offensive 80's "Ami-Hardcore" (as some older copies of "Back From" have imprinted on their sleeve) band. I think looking for social meaning in this band is a little silly.......anti-social meaning, maybe.......it's punk music for ugly middle class suburban male dorks who hate everything. I wouldn't say they were very glam influenced at all. Especially not on the first two LP's.

Somebody should contact Metal Mike via Myspace and ask him to chime in on this thread........now that Mr. Fields has......
Posted: May 11, 2005 11:58 pm
 
There is some school in kentucky (I believe) that has the most renowned Popular Culture Studies major in the country...anyone know? Bowling Green maybe?
Posted: May 12, 2005 12:08 am
 
It IS Bowling Green. Also - Brown (RI) has a huge pop culture program. Princeton used to but its champion went to NYU and took his curriculum with him (Andrew Ross). You kinda have to follow the scholars if you want to study this. The scholars will be the first to admit they teach these "popular" whatever courses to keep their enrollment up and by extension, keep their jobs. When I worked at VH1, I was often invited to speak at these universities...
Posted: May 12, 2005 1:39 am
 
Academia. What a fantastic racket.
Posted: May 12, 2005 2:51 am | Edited by: SinglesGoingSteady
 
Funny thing about the Samoans is that they were all pretty much professionals, or at least guys with straight jobs, at the time these defamatory recordings were made. I mean they weren't like The Germs, ya know? These weren't unemployed LA druggie sleazeballs, these were uptight guys who worked 40+ hours a week. Not to say none of those other bands didn't, but it seems like the majority of them (at least judging from shit like "Decline") were living the gutter shit punk lifestyle. The Samoans were not your typical group of band guys. I don't really have a point here, but I think that factors into the music, as well.

I can see how somebody like Robbie Fields or Rodney Gayenheimer would be pissed off about a joke punk song written about them, but why not hit them back with a novelty recording of yr own? Where's the "Metal Mike (Is A Fag)" 45? I mean it seems like you had fair game to hit them back in the public forum of recorded music at the time, and as far as I know, nobody really did. So stop bitching about it 20+ years later.
Posted: May 12, 2005 3:05 am
 
Where's the "Metal Mike (Is A Fag)" 45? I mean it seems like you had fair game to hit them back in the public forum of recorded music at the time, and as far as I know, nobody really did.

LL and Kool Mo Dee woulda done it.
Posted: May 12, 2005 4:49 am
 
Wow the school in Bowling Green is Western University and that's where Razor went to school......the reason I'm not actively persuing a degree in pop culture and social theory, is just because I'm sick of school, and I never wanted to go in the first place, it was just the most convenient way to avoid a 9 to 5....I'd rather start my own zine or band, than get a degree in this shit, call me old fashioned, but that's how all the psuedo-intellectuals did it 20 years ago. But even that takes alot of discipline, and I'm only now getting to point where I think I could pull it off. But thanks for the suggestions.

Anyone who thinks I'm over-analyzing a fart joke and that the Angry Samoans were a bunch of juvinile dumbass punks, doesn't know what they're talking about...go back and read any of Greg Turner's record reviews, and you know this is know dumbass punk.....and the culture at that time was all about overanalizing punk music and rock in general, because back then it meant a hell of alot more, the whole post flower-power mentality was "It's art man"....Read any Lester Bangs or Peter Laughner article and tell me that it's not some psuedo-intellectual over analyzing a fart...it was the state of rock criticism at that time. Not to mention that The Angry Samoans where part of the LA scene, where you had overly pretension bands like X (god love em) spewing there ideas all over the place, and another very influential figure in that scene was Ray Manzerek of The Doors (who was probbably the 3rd creepiest character in the Rodney documentary).......not to mention that Metal Mike was like 27 when he started the Samoans....so anyway anybody who thinks that The Samoans were a bunch of stupid skate punks are just some stupid shits. It takes some seriously smart motherfuckers to go that much against the grain I'm sorry, I mean they're about as notorious as GG Allen, only they were a bunch of sqrauny creeps...who realy are like math professors at Arizona state or some shit.

Anyway sorry I don't the patience tonight to make this post any prettier than this,
Posted: May 12, 2005 5:53 am
 
[i]so was john wayne really a nazi? i think his estate should sue, apparently lies arent covered by free speech. how about hustler and the famous case of how they printed "jerry falwell lost his virginity to his mother in an outhouse" parody was protected in that case. /i]

The deceased are not protected by the laws of libel.

In my recollection, the Jerry Falwell case hinged on the notion that those reading it would accept it as parody; the same allegations printed in a different context would have constituted libel.

Now mind your manners!
Posted: May 12, 2005 5:54 am
 
Well yeah it's more a case of history- The Samoans grew out of Vom and Metal Mike was also a Dictator-worshipping rockscribe in the early-70's so it's just natural that they would be the sarcastic SOBs they were. I never thought of the Meltzer radio show angle though. Was his on at the same time as Rodney?

You gotta remember that Rodney was on Sat. and Sun. nights from 8-12 PM in the mid-80s on a major station so he was a big target. I could barely recieve the signal in San Diego but his show was a godsend to a jr. high punker stuck in suburban Slow Death. But yeah his DJ skills were horrible (in a whiny weak voice) "uhm, yeah, ok, that was Motorhead....Motorhead...Ace of Spades, cool, we'll see you all at the Blizzard of Oz tour..." Posh Boy was an OK label but after a couple of decent releases (including the first Red Cross ep) his label dissappeared into obscurity. What was up with those crappy swirl-colored ep covers. You probably could've sold more with a decent pic sleeve, dontcha think?
Posted: May 12, 2005 6:10 am
 
>I can see how somebody like Robbie Fields or Rodney Gayenheimer >would be pissed off about a joke punk song written about them, but why >not hit them back with a novelty recording of yr own? Where's the "Metal >Mike (Is A Fag)" 45? I mean it seems like you had fair game to hit them >back in the public forum of recorded music at the time, and as far as I >know, nobody really did. So stop bitching about it 20+ years later.

My advice to Rodney at the time was to ignore them but Rodney took the death threats seriously as I did TSOL's against me!

As for "bitching it about it", somebody asked me a question here and I answered it. You, too, need to mind your manners.
Posted: May 12, 2005 6:22 am
 
That fucker from TSOL is a self-admitted psychopathic sadist so I don't blame ya there...
Posted: May 12, 2005 6:25 am
 
so anyway anybody who thinks that The Samoans were a bunch of stupid skate punks are just some stupid shits.

If you read my posts, you will realize this is totally the opposite of what I said.

As for "bitching it about it", somebody asked me a question here and I answered it. You, too, need to mind your manners.

I'm sorry, sir. Will you please spank me with your 3 inch cock?
Posted: May 12, 2005 6:40 am
 
Anyways, I think the Samoans were basically actors, which is why I don't think you can analyze it, or put too much social context into it. The Samoans were like the ultimate teenage concept band to me, potraying some hyper real form of teenage obnoxiousness and angst. The reason the joke works is because you can't tell if they are serious or kidding, the line gets blurred because they pull it off so well.

Obviously I'm not saying these guys were idiots, only intelligent, aware people with a sharp sense of humor could have pulled this stuff off. And I realize the record nerd/rock scribe factor. Age is also a big factor, real 18 year olds would not have been able to pull this off. It took older guys looking back and play acting to come up with the be all, end all teenage punk band. I just personally don't think there is a deep social message in it, I think it's very personal music acted out by comedians who are mimmicking a certain juvenile attitude with a wink towards the fact that they are, in actuality, grown ups with real jobs like accounting and teaching. It's brilliant, and they are my favorite band of all time, but I really don't think the message is meant to go that deep.......that's just me.
Posted: May 12, 2005 6:47 am
 
and I still don't get how they are glam.......well, maybe that Alice Cooper song.....there is a def. a nod towards cheesy, FM radio classic rock in alot of their covers, but I wouldn't say "glam" per say.

Ok, I guess you CAN overanalyze the Samoans.
Posted: May 12, 2005 6:59 am
 
I will shut up after this, but I honestly don't think any of the music I enjoy (Samoans, fer instance, 70's punk, 50's rock, whatever) has a social message, period. To me, a social message is all about the "us". And it's usually done badly. The Jefferson Airplane had a social message. Hippies had a social message. Bad politcal punk bands have a social message. Good rocknroll strips away the "us" in favor of the "I", and I think it's a very personal message. The blues, punk.....heartbreak, Gas Chambers, wanting to be sedated, something telling you you have to go home every mornin' when the rooster crows.....it's all very personal. And it reflects the human condition, and you can relate to it on a personal level. We can all relate to it, but it doesn't reflect the "we", it reflects the "me", and that is why it is so timeless. Ideas like heartache, angst, being lonely, and boredom have been a part of the human condition since the beginning of time, and, therefore, I don't think any of these songs reflect the culture or society in which they were created, I think they refect the human condition, in general, and will continue to exsist outside of any bullshit pop culture reference or meaning that they may connotate.
Posted: May 12, 2005 7:13 am
 
Absolutely the ONLY book to give the Samoans the kind of credit in rock n' roll history that they so richly deserve is "Sonic Cool" by Joe Harrington...and yes it evokes the Rodney incident in doing so!!
Posted: May 12, 2005 7:25 am
 
Well, this is a lame book, BUT........"Stairway to Hell" by Chuck Eddy (which is essentially a list of the 500 best hardrock/metal albums of all time, with your occasional punk nugget thrown in) gives them some credit, and I know both "Inside My Brain" and "Back From" show up on it. So-so read if you can ever pick it up, he throws in some good commentary about a few classic punk records mixed in with all the metalic b.s. Really bad taste in music, though.
Posted: May 12, 2005 2:54 pm
 
John Wayne was a fag.

The hell he was!

He was, too, you boys. I installed two-way mirrors in his pad in Brentwood, and he come to the door in a dress.
Posted: May 12, 2005 2:58 pm
 
The more you drive, the stupider you get.
Posted: May 12, 2005 3:45 pm
 
I can't drive 55!

"Sammy Hagar Weekend" is a pretty excellent Thelonious Monster song.
Posted: May 12, 2005 5:43 pm | Edited by: sexual chocolate
 
There is a social message in punk rock, mod, glam, whatever you want to call it, in that they're all forms of reaction against the dominant society....if there was no stupid pop music, there would have never been a need for punk.....they are totally dependent on mainstream culture to form identity and to derive meaning.....Hippies on the other hand, had a totally different agenda, in that they wanted to be as seperate from the mass culture as they could be, they tried all kinds of crap to make themselves as seperate as possible, and it didn't have as much to do with thier working class and middle class backgrounds as much as it was an intellectual choice. On the other hand, Mods wouldn't have felt the need to escape the working class grind, if they weren't wasting thier lives doing remedial jobs......that's how the meaning to be found in most youth cultures is different from the meaning to be found in something like the Hippies or Beats, that is not to say that there hasn't been alot of overlap, in the many incarnations of Punk.


Now as far as the Angry Samoans having glam influence goes, If you can't hear it for yourself there's nothing I can do about it....it's definently not in your face and it's something they contiously tried to distance themselves from....but consider the fact that Jeff Dahl's first 7" record, that he did when he was 19 and still in the army, was a pure Glam record, the b-side is a classic Gary Glitter knock off to boot....As far as I know that was the only record he had under his belt, when the Samoans asked him to join on......

I could go on all day trying to convince people who don't want to "analize" music, and it wouldn't do anybody any good.
Posted: May 12, 2005 5:54 pm
 
To me, a social message is all about the "us". And it's usually done badly. The Jefferson Airplane had a social message.

Funny that you menton the Airplane. . .This probably proves your point, but I always thought they were better when they sang about drugs than politics. . ."I'm doing things that haven't got a name yet."
Posted: May 12, 2005 6:01 pm
 
I agree with SexChoc.

But Singles, I don't understand what you're saying...
I think specifically, the Gas Chambers, sedation and roosters do reflect the culture in which they were created. I'm not saying that you can't relate to them but you can relate to them specifically because you understand what they signify (and I think that the people who wrote them knew that the signification would outlast their generation of reference).

It sounds like you're more specifically talking about protest music or something.
Posted: May 12, 2005 6:59 pm | Edited by: sexual chocolate
 
Yeah, the Samoans as a unit were definently as anti-intellectual as it gets, but anti-intellectual is a legitimate political/intellectual stance.

We don't have to over-think the Samoans to appreciate what they were all about, I didn't when I was a teenager and I don't know anybody who does.....but when we consider the state of music culture at the time, it's reasonable to assume that they expected to be analyzed within the discourse of the time (i.e. Bangs and Laughner).....Everything they did as a band, was either purely stupid, or extremely calculated, usually both, and I don't think you realy get a sense for that untill you start reading Gregg Turner's stuff, and everyelse in the band was just as bad.

The Samoans were rebelling against Jefferson Airplane's generation, and the remnants of that generation in L.A. scene......where as Jefferson Airplane did take on a politcal message after awhile...the Angry Samoans became more and more anti-political.........It's okay to just accept it as stupid punk music, because that's how your average music fan is supposed to percieve it, but you can't write it off as stupid punk music, otherwise your falling for the trap that Rodney fell into....it wasn't stupid a-political rocknroll.....hell Chuck Berry wasn't stupid a-political rocknroll.
Posted: May 12, 2005 7:26 pm
 
the Samoans covered Jefferson Airplane....is that rebellion against them.

Music with a message is boring, all good music appeals to the crotch not the brain.
Posted: May 12, 2005 7:33 pm
 
Amen! Singles
Posted: May 12, 2005 7:53 pm
 
"Music with a message is boring, all good music appeals to the crotch not the brain"

you sir have elevated yourself to a status previously only dreamt of.
but yeah, there's no arguing that one.
CASE CLOSED!
Posted: May 12, 2005 8:03 pm
 
>> Posh Boy was an OK label but after a couple of decent releases
>>(including the first Red Cross ep) his label dissappeared (sic) into >>obscurity. What was up with those crappy swirl-colored ep covers.
>>You probably could've sold more with a decent pic sleeve, dontcha >>think?

I agree about those generic e.p. covers. They were a horrible mistake, commissioned from one of the top L.A. graphic artists and Cal Arts professors, Nick Taggart. They were initially printed for releases in 1980 when the label was struggling financially. Rather than use plain white or black "disco" sleeves for radio promo's, we wanted our own design. A plan go awry.

The Red Cross e.p. was re-released as Redd Kross with a very nice sleeve some years later.

Did you take a pill or something when Darby died? For you to ignore what Posh Boy released in 1981 "his label dissappeared (sic) into obscurity" is hard to fathom.
Posted: May 12, 2005 8:09 pm
 
Music with a message is boring

I think Skrewdriver and the Last Poets are pretty interesting.

all good music appeals to the crotch not the brain.

I like music that appeals to both.
Posted: May 12, 2005 8:11 pm
 
CH. 3 BAY-BEE!!
Posted: May 12, 2005 8:12 pm
 
I like music that appeals to both.

yup.
Posted: May 12, 2005 8:56 pm | Edited by: sexual chocolate
 
the Samoans covered Jefferson Airplane

uh....tongue and cheek irony?....is that over-analyzing?...just another way to be flippant.
Posted: May 12, 2005 9:03 pm
 
I mean you can't analyze the Ramones the same way you do the Samoans....maybe by the time they got to that album, they realized that punk was just a bunch of dirtbags lame attempt at power-pop...so they covered a Jefferson Airplane, the hole album seemed like a joke.
Posted: May 12, 2005 9:32 pm
 
As far as Stairway to Hell goes, the difference between that and Sonic Cool is, Eddy is a clown--Harrington actually knows what he's talking about. I don't think the Samoans cover of "Somebody to Love" was totally ironic either...I once read a Gregg Turner review in CREEM of a GRACE SLICK album and he called her "the godmother of west coast rock." I think that's what made the Samoans so great...their influences and the way they synthesized 'em to like this nth-degree power-super rock
Posted: May 12, 2005 9:40 pm | Edited by: sexual chocolate
 
Yeah, that albums not that ironic, but it's a total departure for them...I mean End of the Century had come out already, there was bands like the Chesterfield Kings around, and at that point they were probbably just trying to ride whatever wave they could get up on....as far as a garage rock album, it's pretty good.....

I think that everyone in the 70's and early 80's was profoundly influenced by the flower-power generation, and bands like Jefferson Airplane and The Doors, lade the foundation for MC5 and Stooges, they were basically punk as fuck.....but the way I feel about the Samoans reaction to it, is just that they felt like that scene and that whole metality was corrupt by the late 70's....I mean they could get away with covering early Jefferson Airplane, but shit I don't know Jefferson Starship was what was going on at that time, I still think it was meant to contradictory to everything else they'd done...
Posted: May 12, 2005 9:42 pm | Edited by: sexual chocolate
 
I mean what's that album called, "Yesterday is Tommorrow"? Pass me the bong man.......but even that hints at the cultural theory stuff that Gregg Turner knew all about. Like eternal recurrance or some shit like that....the quality level of that album is hard to ignore.....I still think of it as a joke thow, it's kind of like what the f-!
Posted: May 12, 2005 9:49 pm
 
hell now they're a reggae band.....that might have been the start of thier decline...it was still pretty good thow.
Posted: May 13, 2005 1:20 am
 
Did you take a pill or something when Darby died? For you to ignore what Posh Boy released in 1981 "his label dissappeared (sic) into obscurity" is hard to fathom.
No, that's when I first got into punk, I mean after that initial flurry. Maybe I just lost interest in what you put out post-say '83. That Stepmothers stuff is certainly underappresicated classic though.

And you guys know Metal Mike is still doing the Samoans these days?- search for him on MySpace.

Green Day's number-one fan.
The Bay Area has its share of eccentrics, especially in Berkeley. But none is so intriguing as Hayward's own Metal Mike -- or, as I like to call him, Green Day's Number One Fan. Metal Mike (aka Mike Saunders) was the singer for the Angry Samoans (or, as he would say, is the singer, since they keep regrouping). The '80s punk band had a Dictators goofball punk thang goin' on, with songs like "My Old Man's a Fatso" and "They Saved Hitler's Cock." Mike is 49, but could seriously pass for 30. He speaks in a monotone, is highly intelligent, and always wears cutoff shorts, a T-shirt, and Converse. These days he works nine-to-five during the week, taking in sporting events on the weekends. You've probably seen him. He's the guy in the Arkansas Razerbacks sewww-eeee pig hat, a hard red plastic number with a snout that comes out like the bill of a baseball cap. It's 3-D. And it doesn't matter which team is playing -- the Giants, the Warriors -- over the dense crowd of spectators awash in yellow beer and garlic fries can be heard the familiar call of the wild boar: sewwwwweeeee! Sewwwwwweeee! He also has a penchant for carrying around cans of tuna in his pockets, but I digress.One of the greatest things about Mike is that he is completely and totally free of music snobbery. He is of course a big metal fan, and he thinks that Warrant was one of the few '80s bands to "achieve genius level." If you ask him what his favorite band was last year, he'll readily tell you it was the A*Teens, the Swedish reworking of ABBA for the 'tween set. He's been known to entertain parties with the 12" remix of Stacey Q's "Two of Hearts," Aqua's "Barbie Girl," and some Patsy Kensit. I recently saw him wearing a reworked Spice Girls T-shirt, with Angry Samoans screenprinted across the top. He wasn't being ironic.
Posted: May 13, 2005 3:28 am
 
Now as far as the Angry Samoans having glam influence goes, If you can't hear it for yourself there's nothing I can do about it....it's definently not in your face and it's something they contiously tried to distance themselves from

I'm still not seeing the glam influence. It's fair to reason they were influenced by everything they listened to (rekkurd geeks), or that came before them, but by using that line of reasoning, you could also say they were heavily influenced by the blues or country, or whatnot. I honestly don't hear a subtle glam influence on their stuff. Perhaps to be ironic, but I would say more Black Sabbath or B.O.C. or Alice Cooper before I would say "glam". Metal Mike is a huge bubblegum/Sweet fan, however, as is Jeff Dahl......so who knows.

I'm all about overanalyzing bands, I'm just saying I don't think there was a deep social (at least as far as the dominant culture of the time) message in the Samoans. If anything, it was so loaded with sarcasm that it was a comment on punk, itself, which was the counter-culture comment on the mainstream at the time. So it's a double whammy.

The whole acid trip/psych out incarnation towards the end was definately a strange departure. I don't think the Jefferson Airplane cover was meant to be completely ironic, either. I've always seen it like this: The Samoans probably half hated punk kids anyways. By that time, the whole movement was sort of played out. What better way to confuse and piss off fans of "Back From Samoa"? 60's drug music. Yet retaining enough punk edge to still be cool. I dunno that's just my take on it.
Posted: May 13, 2005 4:56 am
 
Singles Going Steady, I can settle on that....I think the glam aspect is an overlooked dimension and motivation behind thier music, but there's no point in beating it to death. Believe it or not I think they were influenced by Bowie and VU alot, and wanted to push whatever taboos were most convenient and believable within thier environment, because culture is static and the act of pushing boundaries is more important than what boundaries you push. I think they were fully aware of all this stuff, and used it to full advantage, but at the same time they were multi-dimensional enough, that they could also be considered one of the crudest bands of all time....and the only people who can't see the humor in it, are uptight a-holes who hide behind the rules of class....I can even hear glam in the guitars, but Thoseidiots is right, in that they're musical lexicon was so great that you can't focus on any one aspect for too long, and they created something realy unique. So anyway, I think your interpretion of them is just as valid, if not probbably more to the point than mine, they were a great stupid rock band.

Here's a pretty funny interview with Gregg Turner from 2002 if anybody hasn't read it yet, it gets into the fued, and the big pay off is at the end when you read the responces...enjoy if you haven't already...

http://www.markprindle.com/turner-i.htm


ttp://www.markprindle.com/turner-i.htm
Posted: May 13, 2005 7:04 am
 
Ahh, the never ending Angry Samoans battle. If you ever want some entertaining reading, shoot Metal Mike a Myspace.com email, and mention the words "Greg" or "Todd" in them. His thesis size response (and subsequent unsolicited follow-ups) will be sure to amuse you.
Posted: May 13, 2005 7:09 am
 
ps- nothing against Metal Mike, he's a really nice guy.
Posted: May 13, 2005 2:28 pm
 
He wasn't being ironic.

His guitar is at my house (Katherine was charged with safeguarding it and he never got back in touch to get it back and then she moved away). It has fucking Spice girls, Green Day, Razorbacks, and Pandora's Fan Club Lifetime Member stickers all over it. It's fucking hideous.
Posted: May 13, 2005 7:45 pm
 
I got the DVD of the doc at Hollywood Video's for real cheap and watched it a few weeks ago. The film doesn't make Rodney look that great or that bad, but at least it paints him as a somewhat sympathetic character, which is probably the only way he would consent to release it with some of the stuff that was in it, like his yelling at his protege DJ for supposedly imitating him and taking a job at the rival LA radio station. As a film/documentary it was very well done, but as I'm learning from the discussion here, it must have been seriously edited to leave out a LOT of stuff that people from LA apparently consider common knowledge or scuttlebutt or rumors. I only know Rodney from the GTO's record references to him and Kim Fowley from those horrible records he put out that you'd buy in the clearance rack and then quickly dispose of. LOL. I liked the stuff about Rodney's 60's & 70's years, especially the TV show appearances, and the discussion here is definitely fleshing out my knowledge of some of his later years. Some of the references here about the groupie scene that he was part of back then sound like what was SOP for the rock bands of that era, most notably Led Zep, Kiss, etc. Fowley's exploitation of the Runaways was also fairly well known, and apparently he makes no apologies or bones about it. and the documentary definitely alludes to his need to be one of the In crowd and have delineation between the "innies" and the "outies," even in his miniscule English Disco club.

Watching the Elvis TV movie tied in nicely with the documentary because you see EP at Binger's club, and they have an interesting scene in the EP movie where the director of the '68 comeback special walks Elvis out on the Sunset Strip and he's not getting mobbed and is actually getting goofed on. He probably would have walked into Rodney's club just the same way, but I think the club wasn't open that early and by the mid-70's, EP was back into his paranoia and having his bodyguards clear the way for him whereever he went. Talk about a crappy movie that was totally unbelievable from the physical presence of the actor then mouthing the original vocals during the song bits. sheesh. Jamie Foxx did a much better job with Ray Charles' music and vocals and Elvis deserved better than that joke they put on CBS this week for sweeps week, but i seriously digress.

In retrospect, you're definitely right about Mick totally nailing it on the head with his little snide remark, but he was probably just being flippant at the time when he said it. way to go.
Posted: May 14, 2005 12:33 am
 
>As a film/documentary it was very well done, but as I'm learning from >the discussion here, it must have been seriously edited to leave out a >LOT of stuff that people from LA apparently consider common >knowledge or scuttlebutt or rumors.

Most, if not all, of Rodney's day to day close friends were specifically excluded by Rodney from being interviewed for the film. Rodney was terrified that it would be his friends and not his enemies telling tales. In the end, I think, Michael des Barres spoke for a lot of people, particularly in the outtake segment of the DVD.

I was relieved not to have been included; as a non celebrity I would not have wanted to have been included in the freak category along with Ronald Vaughan inter alia.

I think it is fair to say that the film is much more about fame than it is about Mr Bingenheimer himself.

Ronald Vaughan was such a nut case and nuisance that Rodney actually organized a collection amongst his inner circle to buy Ronald a one way plane ticket to Honolulu. I think I gave $100.
Posted: May 14, 2005 1:13 am
 
Ronald Vaughan was such a nut case and nuisance that Rodney actually organized a collection amongst his inner circle to buy Ronald a one way plane ticket to Honolulu. I think I gave $100.



Oh, ain't that the truth! I met Ronald Vaughan when he was the live-in janitor at the Museum of Rock Art (that should tell you something about him right off the bat.... "live-in janitor") and he managed to get a hold of my phone number and called me every day for months going on and on about Fanny and how Earle Slick was the devil.

It pleases me to no end to learn now, all these years later, that Rodney arranged for Ronald's fantasy to come true, and by so doing, did us all a huge favor at the same time.
Posted: May 15, 2005 1:07 am
 
You ain't shit till you had a sack of piss strapped to your leg.
Posted: May 25, 2005 6:55 pm
 
I kind of expected this. Professional jealously because I was in this
film....and you weren't....I don't apologize for what I did during my
lean years....and that plane trip from 1982 was one-way because,
at the time, I was being victimized by an unscrupulous person who
owned a rock museum (which later went under)...and there was
nothing going on for me elsewhere...just happenstance...Sticks and
stones may break my bones, but words will never hurt me...

I know who "Theresa" is....Ms. Kereakes, unknown daughter
of Telly Savalas...gotcha and I caughtcha! Those who bad-rap
RV ought to be Pooted....as in my would-be movie, "Poot-a-
Rama"!

Nice to see Robbie Fields' name somewhere again, though.

And plenty of people have GOOD-rapped my performance. I came
from a small town and was never allowed to do much until now...
you'll be reading about me soon in an overseas magazine, I did
an interview and my CD will be reviewed.

MAYOR OF THE SUNSET STRIP ought to be re-cut. It could have
been MUCH better with a less cynical director. It should have
been three hours long...and I am all for RODNEY getting a much-
overdue "star" on the Walk of Fame...

P.S.: I finally reached Jean Millington of "Fanny". Those people are
LOSERS scarred with bad habits...Nowadays I have zero tolerance
for such...I never had bad habits myself....and this board needs
more POSITIVE messages.
Posted: May 31, 2005 10:30 pm
 
I liked the film too. I missed the segment where Kim Fowley was being creepy. I only caught the parts where he was being funny and charming.
Posted: Jun 11, 2005 1:21 am
 
RE Rodney, Brendan "Neutron Bomb," Kim Fowley: Rodney was/is not hated by early punks, Brendan did indeed put quotes into mouths (certainly mine!) and Kim, well, the less said, the better.

The director of Rodneyís film just didnít get it. He could/should have told an AMAZING story. If I didnít know his story, I would be confused as to why he is so legendary and why the Mayor of the Strip. I donít know about Rodney being afraid of his friends telling tales, but I would have stood up for him, had I been approached. As much as I adore both Michael and Pamela des Barres, I wondered why so much emphasis on glitter and the early to mid-1970ís, which really isnít much interest to people these days. Glitter vs punk? No contest. Why not both?

The biggest problem I felt with the movie was the MINIMAL punk coverage. Rodney was VERY VITAL to punk! It was a huge part of his life Ė how could Rodney on the ROQ have survived without us punks? Or us punks without his show and his participation in the scene? That should have been a HUGE focus of any doc or book or anything about Rodney.

My site, www.jennylens.net, exists to balance the various myths being perpetrated as truths, to raise questions, and to give voice to those of us over-looked by the documentarians and authors who can't handle the truth. It's a mainly photo-based forum covering the many chapters of early LA punk, with performers who were influenced by LA or we influenced by those from NY, England and elsewhere.

I encourage people to share their stories and many are now posting their own websites and/or blogs, with stories, timelines and photos (if they took them) -- because I inspired them (they write and tell me that). Even if they hate me or disagree with me or write nasty things about me, I still take pride in encouraging all to get their wonderful photos and stories out there.

I post emails, stories and links (soon on my blog too) from people who were there because we all saw through our own eyes from our own life perspectives. Unfortunately it has taken so many of us so long to do this, allowing other people to claim their egotistic drunken past (and often fantasies with clearly inaccurate dates, places and people) as the truth in books, liner notes and docs. The only way to balance that is to keep an open mind, read and see as much as you can. Even then, the truth will always be debatable.

I am thrilled to read Robbie's posts and concur with him on many points. Robbie and I met at the Pistols show, January 14, 1978. I have great shots of him during the closing night of the Masque and various parties. The early punks, like any group of people, didn't all get along nor like each other. It is totally wrong to say we hated Rodney. Those who say it donít want to share the credit, jealous of him, or speaking for just a few. Rodney was and is a vital component of our story. As I continue the huge process of organizing, scanning and posting my photos, I canít help but see how Rodney supported and championed a lot of people, quite often for no payment and no career advancement.

I havenít created a Rodney section yet due to time. But when I do, it will be HUGE. I have shots of him during the early days of Bomp Records, Ramones during their first summer in LA, August, 1976, Blondieís hotel room when he brought Brian May and Roger Taylor of Queen to visit (my pix were published), MCíing an early Nerves show at SIR recording studios, and so many more ready to post when I have time. Brad Elterman was very close to Rodney and shot him in the studio with the Ramones, at parties, backstage, onstage. Brad and I could do a book verifying Rodneyís importance to music, whether itís punk, glitter, hard rock (Van Halen, anyone?) and so much more.

Kim Fowley is another matter: "Funny and charming"? Kim makes it very clear in the movie how he feels about people, and believe me, that's no exaggeration. I leave it to Cherie Currie and others to be more detailed. Kim is all about Kim. Rodney truly loves the music, the musicians, the scene. Many of us appreciated and appreciate what he brought/brings to the scene. I only wish I could stay up til 3 AM with the music blaring every Sunday night/Monday morning. But I have neighbors and no way to tape his shows.

I thought the film pathetic. I haven't seen the DVD, but I know the film hurt Rodney. He's very skittish about being interviewed and filmed, and that's a shame.

However, I am not a huge fan nor groupie of his. Au contraire, he's said some things that make me shake my head, not knowing whether to laugh or cry. But I know where he's coming from and I forgive him. I just can't forget all he's done for music, especially music that NO ONE else wanted to promote. And I have the photos to prove it.

Finally, people in this forum know some real stories, i.e., Backstage Pass and the beginnings of the Masque. As I progress with my documentary based on my photos, books, and my website, people are opening up to me. Thereís so many wonderful stories to share, especially about the Masque, because its importance cannot be denied, although so many involved with it are denied their credit. Itís a shame Brendan has made this more difficult by his constant arguments with people, always trying to establish himself as the one true leader of LA punk. We all were part of the scene and process Ė all the photographers, all the writers, all the fans, all the performers. Itís important not just to set the record straight.

Like my long-time close friend, Alice Bag, I want to encourage the youth of today and tomorrow to continue to create art, music and scenes. And to realize one person canít do it all, but to take those first steps, never give up, and build a movement. With the net, itís much easier, even though everything is so much more expensive. Itís important for those of us who lived this to share our stories, photos, etc to inspire others. For me, itís a chance to reclaim my life and legacy, to connect with great people from the past, present and future, to learn to persevere, be patient and diligent and re-visit an amazing era that changed my life and I changed that era. When we remind people that we ALL contributed, we empower the individual. And thatís a lesson that too many, in all walks of life, forget. And thatís part of the power of punk. We all gave voice to it, now and then.
Posted: Jun 11, 2005 5:57 am
 
This thread is like someone overanalzying a fart joke and trying to find the deeper social message within it.

Ain't that the truth?
Posted: Jun 12, 2005 10:37 am
 
I find people that are up front like Kim refreshing and I could care less about anybody elses opinion or experiences. People that are secretly venal while trying to prove what good guys they are disgust me.
Posted: Jan 25, 2009 6:48 pm
 
RRRRRRRRRRRRRAPE!!!!
Posted: Dec 13, 2016 5:57 pm
 
Stagger Lee:
From what I read in 'We Got The Neutron Bomb' all the punks in LA hated Rodney. He was seen as a pathetic throwback to the old, lame glitter scene. I think Rodney and Kim Fowley were shunned as dried up old perverts that tired to drop names and hit on chicks way to young for them.

If that's what Brendan insinuates, then I'll piss on Brendan's grave one more time.

Most of the so called L A punks were from that "old, lame glitter scene". And the scene lived on in different forms.

Fowley wasn't shunned, nor was Rodney. Far, far from it.

Rodney actually did not want his true friends interviewed for the film as he feared they would reveal too much, as Fowley and Michael des Barres did.

The film was a hatchet job and I can report that Rodney was not grief stricken when the director died a premature death. I'm not sure if Rodney and his "bag man" for the film Chris Carter (of Dramarama, not the X Files) ever made up.
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