Magazine Love/Rupert Murdoch and the Masque/Memories from Over the Edge

I have a distinct memory from the late 1970’s of flipping through copies of New West magazine (we must have briefly had a subscription). Los Angeles magazine already existed (and was almost purchased by the New Yorker). But New West for those that don’t know was an attempt by the Rupert Murdoch-owned New York magazine to break into the Los Angeles/California market with a California-centric take of new journalism mixed with the cultural and political coverage found in its east coast brethren. New West was launched before the bicentennial, hitting the stands on 12 April 1976. However, what I didn’t know until stumbling onto a stack of New West in a thrift store about 25 years ago (and currently residing in the barn) was that the Masque and LA punk was presented to suburban Los Angelenos and San Franciscans in non-sensationalist manner. In addition, it turns out that the article (which is spot on and could have been written today) was written by none other than the screenwriter of the Waitakere Walks favourite Over the Edge, Charlie Haas. In fact the music sensibility of Over the Edge is made even more clear by this great write-up on the Masque, and was not some random music supervisor's choice. Photo of Chloe Pappas, stylist of the Screamers was taken by Matthew Rolston, likely still a student at that time at Art Center in Pasadena and Interview magazine photographer. Who knows if Rolston has a large set of yet unseen Screamers and Masque-era photos. A second Masque coffeetable book may need to appear. In any event, enjoy this slice of late January 1978, and hopefully it will change your perception that the Masque was limited to the pages of Slash, Flipside, Search and Destroy and Lobotomy. The LA Times via an old fave Kristine Mckenna did shine a light but no thanks to the likes of the other staffers (Go-Go's classis "Robert Hilburn" anyone? but who knew that it made it to the pages of glossy magazines. "You don't love me/You love magazines/Those glossy pages they go to your head"

Tomata du Plenty and David Lee Roth

As you would expect in David Lee Roth’s Crazy From the Heat (1997 ed.), there are not many references to punk, though in an amusing conflation he oddly and belatedly hands the year 1978 over to Van Halen, the Sex Pistols and the Bee Gees. All three get a passing nod. There is also a passing reference to Henry Rollins and to LA scenester Tequila Mockingbird. I know that Pleasant has thought that David Lee Roth was an investor in the Zero Zero gallery as you can read here. There are also references to the club in the excellent Peter Ivers bio In Heaven Everything is Fine. In Crazy From the Heat, Roth confirms that he was in fact a partner, and was where he had his initial meeting with Steve Vai “actually after a police raid at the local Zero One Gallery, an after hours spot where I was a partner. We got busted every three months: there is supposedly no after-hours in L.A.” Arguably the better anecdote and one that has only somewhat recently been brought to my attention is that DLR and Tomata du Plenty knew each other and that the Zero Zero was the common denominator.

L.A. Scene Report: November 1977/"Three Bands Stand Out. The Weirdos, Backstage Pass and the Screamers"/Nickey Beat Has "Movie Star Potential"

In an alternative universe, the Weirdos' lp from 1977-1978 (that they never got the chance to make) would make the all time top ten list. More importantly, how could two of the world's greatest bands of 1977 - the Weirdos and the Screamers - not record a single lp ("Condor" excluded)? Maybe the Weirdos were too picky for an lp deal or maybe Sire could have invested something in LA. Was Lou Adler sitting on the great LA punk live lp from the rejects of the "Up In Smoke" sessions? Was Crime courted by the major labels up in SF? After the success of the Runaways, why not Backstage Pass, perhaps the most criminally underdocumented of all the early LA punk bands?? As a teenager, I was able to find domestic cutouts of "Radios Appear" and "(I'm) Stranded." Why couldn't a teenager in Brisbane, Melbourne or Sydney find a cutout of the Screamers lp, one of the greatest major label underground lps of the 1970's outside of the Hampton Grease Band. It simply was not meant to be. Continuing a Screamers theme, some scans from the archive from my favourite US/FR zine, IWBYD:

1977's Answer to the Four Preps

The long gone innocent days of the American, male harmony vocal trios and quartets. The Four Preps, the Lettermen and the Beach Boys front line of Wilson, Wilson, Love and Jardine. Inspired by Pleasant Gehman's recent post on the Screamers, as well as Alice Bag's upcoming local reading, I dug this one out of Hoffman, Denney, Pyn and Du Plenty. Kristian has posted another photo from the same event by Douglas Cavanaugh here, but this one is by the late, great Herb of the Screamers fan club published in Seattle in 1978. Back-up to Black Randy at the Masque in 1977.

Zuma and Topanga/Alan Wilson, the Magic Band and the Screamers/"Tomorrow's Leaders" and "Future Blues"

Anyone who has read Rebecca Davis Winter's excellent Alan Wilson bio will know of the pivotal role that Bob "the Bear" Hite's house played in his life as a sanctuary to throw his sleeping bag down. You can now add that house to the West Valley trip to the Magic Band house in Woodland Hills. Just continue on the 101 to Topanga. 701 Topanga Canyon Boulevard to be exact. Right after hitting the sacred ground of the Trout Mask ground zero at 4295 Ensenada Drive in Woodland Hills. John French's huge, crazy book only makes it more than necessary to add to the itinerary. Take a good look at the photos of Hite's house here and the Trout Mask house on the links.

Looking at the remnants of Hite's house reminded me of John Divola's excellent 1977 "Zuma" series but updated in a post-2008 financial crisis way; empty homes and swimming pools and all that connotes. During the same year that Divola's work was shot, down the Pacific Coast Highway, on August 7, 1977, the Screamers gave a command performance for Iggy Pop at a private party at his home in Malibu. Iggy called them "Tomorrow's Leaders." For some reason, I always pictured them playing in one of Divola's "Zuma" rooms. Thanks to Ricky via Tim and Jed for the initial Zuma tip.

The "Future Blues":

UK>West Coast/The Avengers in ZigZag April/May 1978

Despite the revisionism of the past decade, the UK during the 1970's did not really embrace punk rock from the United States other than from New York (Ramones, Suicide, Television, Blondie, PSG, Richard Hell, Heartbreakers etc). The sole West Coast exception may be the Runaways. Did the Dickies have any impact on record or live? Maybe with the latter day reassessment of the Quick, the UK punkers can finally grok how great and fun the Dickies were at their peak - "Waterslide" anyone - and how quintessentially Los Angeles a band they were just like the Weirdos - representing the San Fernando Valley and (North) Hollywood respectively. For the rest of the states, Pere Ubu were appreciated in real time as well (again revisionism has claimed Devo I think). Sure, in the era LA sent its own independent ambassadors abroad to the UK often though with their own agenda (hiya Darby and Adam Ant). The Go-Go's made it to the UK before the 1980's happened as well. Los Angeles was a great party spot with lots of young people eager to show the finer points of Tinseltown to the UK punk first wavers. Ditto SF. However, the cognescenti in the UK rock press did not take it seriously. Nick Kent hung out with Iggy but that was for the end of the glitter party. The Damned came first to LA, stayed with the Screamers, saw the Weirdos (and the Germs?), were dropped from the show with Television and hung out with a young Paula Pierce among others. But back in the UK, not so much press coverage even though the first wave of Masque-era bands and SF bands were folks who were checking out the Dolls and Stooges in the days before "punk" (and in the case of Alejandro Escovedo of the Nuns, the Velvet Underground as well at the Shrine Auditorium in LA). Credentials don't come any more solid, no? Does it even matter if Slash Magazine existed to give these bands their due. It does because until the last 15-20 years, the UK published the books that wrote the history. Even the Dylanophile that wrote "From the Velvets to the Voidoids" neglected the West Coast. Time has finally fleshed out the bookshelf (get a load of Carducci's tracking of 30 odd SST-related books now on the shelf - my work in progress will make it 31). The Screamers should have garnered tons of press even without a record, as their sound was so far ahead of its time that it took another generation of young people to truly lionize them and seal their entry into the rock canon. Their take on the Sonny & Cher classic "The Beat Goes On" from 1977 is no worse for wear than "New Rose." Ditto "Destroy All Music." Yet, any unsigned and unrecorded band who played a gig in the greater London area got a write up in the surfeit of UK weekly music rags. And we got Hilburn. Well, wait a minute. Maybe that is NOT the whole picture. Case in point is the April/May 1978 issue of ZigZag featuring PS on the cover and an article on one of SF's finest, the Avengers, hot on the heels of opening for the Sex Pistols at Winterland and from around the same time as the Rodney-approved and Steve Jones produced ep (where I first heard and taped 'em). Oddly enough, instead of us the sending the best of the West Coast to the UK, what the future had in store for us was a reverse migration and endless parade of what Boucher rightly termed "Las Vegas Punks," who came to play and headline the once great wrestling palace, the Olympic Auditorium ad naseum. Ugghhh. How much time was wasted with these leather besotted folks when the real deal was slogging around the US touring in a van.