THIS JOURNAL DOCUMENTS MY INTAKE OF ONE BOOK, ZINE, CD OR DVD A DAY. RATINGS ARE: ***** = Godhead, **** = Great, *** = Good, ** = Fair, * = Why Bother?

Tuesday, April 14, 2015

Record Store Day 2015: Side by Side 7-inchers

Over, Under, Side by Side

Though I grew up with vinyl and love my record collection, I'm not a big fan of Record Store Day, the national event that honors independent records stores and their plastic wares on the third Saturday of each April. This year Record Store Day falls on April 18th and, as usual, there will be long lines of avid vinyl collectors queuing up early to fork over outrageous sums for limited edition 7- and 12-inch platters of coveted tracks on wax.

Not me. I'll be at work, though I'm sure my record-loving better half Amy will be out trying to score that "new" Buzzcocks 7-inch "The Way/Generation Suicide" on 1-2-3-4 Go! Records (with iconic cover art by Malcolm Garrett) because it has that Steve Diggle B-side that wasn't included on last year's 'cocks CD The Way.(Though it previously also appeared as the B-side of last year's "It's Not You" 7" single.)

But even if I wasn't working, I've reached the point where I no longer collect things. Blame it on a laborious move to a new house and the relief I felt when I finally emptied out that storage facility of all my accumulated clutter.

7 and 7 Is

But I am a fan of good ideas, and one of the better ones to emerge from Record Store Day is the "Side by Side" singles concept started in 2011 by Warner Bros.and now popularized by Rhino Records. Basically, it's two groups playing the same song on a split 45 rpm 7-inch record: one side features the original artist performing an iconic tune, while the flip side features a signature cover version of the same ditty by another artist. Like "No Fun" performed by The Stooges on one side, and The Black Keys on the other, to cite one famous example. Often the vinyl itself is a picture disc or sports an unusual (non-black) color. And, at $7.98 a pop, the SxS singles may be pricey, but aren't outrageously pricey.

Here are some of the 7-inchers Rhino has in store for Record Store Day 2015:

SYD BARRETT/R.E.M. – "Dark Globe"
7-inch black, gold, red and white vinyl. Limited edition of 11,700 copies.

Listen to R.E.M. cover "Dark Globe."

7-inch white/clear. Limited edition of 15,000 copies.

Listen to Bowie play "Kingdom Come."

7-inch olive green vinyl with red/yellow splatter, limited edition of 5,500 copies.

Listen to Stiff Little Fingers cover "The Message." 

7-inch pink and bronze vinyl. Limited edition of 7,000 copies.

Listen to Lemonheads cover"Brass Buttons."

7-inch Heavy Magenta splatter on Aqua Blue opaque. (4,000 copies)

Wednesday, April 8, 2015

Head's Off to BVE's "Anne Bolelyn/All Stood Still" Single (Flower Records, 2013)

 BLACK VELVET EXPRESS - "Anne Bolelyn/All Stood Still"
(Flower Records, 2013; artwork by Ron Komber, Jr.)
New single available on iTunes, Amazon, CD Baby

Head’s up to the dynamic duo of Dane Williams and Michael Fiore (pictured left), the musical partnership better known as Black Velvet Express, for this delightful digital double-sider that celebrates both martyred 16th-century English Queens ("Anne Boleyn") and Cold War-era sci-fi aliens ("All Stood Still")!

The timing couldn’t have been better for an Anne Boleyn revival, with the April debut of “Wolf Hall” (based on Hilary Mantel's historical novel series) on PBS's Masterpiece Theatre and an upcoming Broadway production to boot. Few historical women, have been as celebrated in pop culture as the esrtwhile Marquess of Pembroke and second wife of King Henry VIII, whose tragic end - she was beheaded in May 1536 - has made her the poster child of romantic victimhood. Regardless of one's take on her historical significance - was she a manipulative concubine or a rebellious feminist unjustly vilified for her defiance of Tudor-era norms of wifely obediance? - she continues to fascinate each new generation that encounters her.

Where've you been, Anne Boleyn?

Film, stage and television portrayals abound, from Ernst Lubitsch's 1920 silent Anna Boleyn through 1969's Anne of a Thousand Days and the 1970 mini-series The Six Wives of Henry VIII, up through Natalie Portman's take in The Other Boleyn Girl (2008) and Natalie Dormer's award-winning turn as Anne on Showtime's The Tudors (2007-2010). Look closely and you can even see her portrait hanging along the Hogwarts staircase in 2001's Harry Potter and the Sorcerer's Stone (after all, she was accused of being a witch - among other things - at her "trial"!).

Musically she's been the subject of everyone from Donizetti (the 19th century opera Anna Bolena) to Rick Wakeman ("Anne Bolelyn" from 1973's The Six Wives of Henry VIII), with shout-outs from artists as diverse as Cat Stevens ("Ghost Town" from 1974's The Buddha and the Chocolate Box), Tori Amos ("Talula" from 1973's Boys for Pele), and Courtney Love (2010's "Old Age").

BVE: "Where the Stars Kiss the Moon" (Flower Records, 2010); artwork by Ron Komber, Jr.
And now Anne Bolelyn’s quite literal separation from King Henry VIII is the subject matter of Black Velvet Express’s first new release since 2010’s Where the Stars Kiss the Moon, the space-rock concept album inspired by their love of the 1956 sci-fi film Forbidden Planet.

The boys still love their '50s sci-fi cinema, as witnessed in "All Stood Still," which takes its title from Robert Wise's 1951 classic The Day the Earth Stood Still (and certainly not from the unnecessary 2008 Keanu Reeves remake of the same title!), the "We come in peace, Earthlings" film that gave us the immortal catchphrase "Klaatu barada nikto."

After all, it's what brought them together years ago, after Baltimore native Fiore underwent his "Dave Grohl Transformation" - switching from playing drums (most notably in 1980s New Wave band The Accused) to strumming guitars - and wrote the tune that would become the title track of that 2010 BVE release.

Williams and Fiore met through Voices

Williams and Fiore initially met when a Baltimore, Md., management company assembled musicians from neighboring East Coast states to form a concept band called group Voices. Besides their shared love of sci-fi, the pair soon found that they also shared an affinity for the type of melodic rock exemplified by the Killer B's - Beatles, Badfinger, Bowie - as well as artists as diverse as George Harrison (Fiore's Fab Four fave), Cream, Mott the Hoople, and Pink Floyd. They've been friends and collaborators ever since.

So what's on offer here?

Artwork by Ron Komber, Jr.

A Side: "Anne Boleyn"
(M. Fiore, D. Williams)
Dane Williams: guitars, vocals
Michael Fiore: guitars
Gerard Moore: bass
Brian Hughes: drums
Available on iTunesAmazonCD Baby

A guitar riff opens in the left channel, switches to the right channel, and comes to rest in full stereo balance as Dane Williams steps to the mic to lyrically set the chamber pop-rooted tableaux for this lushly produced powerpop tune.
A young girl's charms of her wit and grace
Speaks to the heart's most royal estate

The court of the King is a temping place
When Winter's cold wind sparks a lover's embrace

The flame of desire inside of the heart
When love don't answer, tears the soul apart

Like trees reaching for the skies at dark
The passion and fire of a million stars
Then comes the hook-laden chorus, powered by Williams' silky smooth backing vocal "aaahs" (deftly multi-tracked by engineers Drew Mazurek and Dan Skeen)...

Where've you been? Where've you been?
Where've you been? Where've you been?

Anne Bolelyn
Then, right on cue, comes the sweetest slide guitar segue since George Harrison's All Things Must Pass, a riff that sticks to the lobes like glazed honey and holds the whole pop confection together for the duration of its four minutes of sonic glory. And after another verse and chorus, there's a pure powerpop moment when Williams and Fiore trade perfectly overlapping lead guitar and slide guitar motifs.

It all leads to the dramatic end the listener knows is coming: the inevitable "heads will roll" coda, the denouement de decapitation:
Tales of the Queen in her lover's bed
Sadness and sorrow will quickly spread
When each broken heart's on a thread
When you lose your love, don't lose your head

It's a slick, well-engineered production full of hooky hooks and merry melodies that rise above the song's downer subject matter. That's what good pop does!

Ron Komber, Jr.'s Gort from "The Day the Earth Stood Still"

B Side: "All Stood Still"
(M.Fiore, D. Williams)
Dane Williams: guitars, vocals
Michael Fiore: guitars, backing vocals, tambourine
Angelo Cammarata: bass
Taso Kotsos: drums
Availble on iTunes, Amazon and CD Baby

When all stood still it saved us
It saved you and me

BVE's "All Stood Still" - not to be confused with the Ultravox song of the same title from their 1981 album Vienna - returns the lads to their sci-fi obsessions, in this case Robert Wise's film The Day the Earth Stood Still (1951). Unlike many American sci-fi movies from the '50s, in which evil aliens stood in as symbols of fascism or our new nemeses, the Commies, Wise's film was a pacifist plea for empathy, cooperation and peaceful co-existence among diverse peoples. It might as well have been called "What's so funny 'bout Peace, Love and Understanding?"

In BVE's hands, this leisurely-paced rock ballad (running over 6 minutes), which churns along on chunky Mick Ronson guitar chords and spacey solo guitar runs, references a Christ-like outlier who comes to shed light on a world of blight.

I remember when there was darkness and despair
War and hatred, destruction everywhere
I looked up to the sky and what did I see
I saw a silver savior coming to save me

The silver savior (OK, it's Michael Rennie in Klaatu's shiny space suit!) spoke of "peace and love and kindness in the air." In Robert Wise's film, the World didn't listen, but BVE imagines a more positive outcome. They even add a "Hey Jude"chorus at the halfway mark, with Williams and Fiore chirpily chanting an infectious "Na-na-na-na" over guitar leads that pepper the melody like comets blazing past.

Here's hoping this duo continue to work together and follow up with another long player in the not-too-distant future. If these two songs are any indication, that future looks very bright indeed.

Fiore & Williams: BVE's Dynamic Duo

Be sure to check out BVE's web site (www.BlackVelvetExpress.com), which allows fans to view the lyrics and register for a free cover art print, view the lyrics. The website also provides song samples and the ability to purchase the EP thru CdBaby.com., iTunes, Rhapsody, and other digital distributors.


Saturday, November 29, 2014

Americana - The Kinks, the Riff, the Road: The Story

As a lifelong Kinks fan, but one who likes "real" bios (and not dramatic-fictional bios like "X-Ray"). I was looking forward to this, but it's really not all that. Ray Davies may be a genius, but he's a very guarded, non-intimate one, and that comes through in his writing. You get the feeling that his work ethic is unrivaled (he lives to write songs) but at the cost of ever having a truly meaningful relationship with anyone - be it family, brother Dave or the various women muses over the course of his life. I would, however, recommend reading this book in conjunction with listening to Ray's most recent solo effort, WORKING MAN'S CAFE, because a lot of the songs reference very people, places and events Ray describes during his New Orleans soujourn in AMERICANA.

Monday, November 4, 2013

Those Photogenic DC Punks

Washington, D.C.'s late-70's/early '80s punk scene wasn't really my thing. I hated hardcore, straight-edge and all that sweaty-crewcut-moshpit-shirtless-B.O.-vapor-lock boys club business (where were the girls, fellas?) and was more into the area's pop (Tru Fax & The Insaniacs, The Razz, Tommy Keene) and surf-psych-garage bands (Slickees Boys, Wanktones, Insect Surfers).

Yet history seems to gild this scene and this era, especially in print. There are now at least three books paying tribute to the scene that spawned Bad Brains, The Teen Idles, Minor Threat, Government Issue, No Trend, Fugazi, Henry Rollins, Dischord Records and their ilk.

The latest is Hard Art, DC 1979 (Akashic Books, 2013), which collects the punk pics of Pulitzer Prize-winning Washington Post photographer Lucian Perkins, with narrative by Alec MacKaye (Ian's brother) and an essay by Henry  Rollins.

I saw this at the Towson Public Library and picked it up because I actually recognized some bands (Slickees, Bad Brains - the latter reigning as hardcore gods in these books), clubs (Madam's Organ - a true shithole that my old band Thee Katatonix once played at), and people (Sab Grey, Tommy Vacant, Anne Bonafede) I knew slightly from Oddfellows Hall and Marble Bar daze. Plus, these type books tend to go out-of-print rather quickly.

Sab Grey and Tommy Vacant make the DC Scene

"He's Tommy, Tommy Vacant - and he don't care!"

Hard Art - taking its name from DC's Hard Art Gallery on 15th Street - is a quick flip-through "read," but its true value is that editor Lely Constantinople has identified all the peeps appearing in the pics. Priceless! Helped jog my memory banks from "Hmmm, he looks familiar..." to "Wow, it's Tommy vacant!"

The other DC Punk books of note are Mark Anderson and Mark Jenkins' detailed Dance of Days: Two Decades of Punk in the Nation's Capital (Soft Skull Press, 2001; reprinted by Akashic Books, 2009)...

 ...and a previous photo book (also featuring Anne Bonafede, btw), complied by Sharon Cheslow, Cynthia Connelly and Leslie Clague, called Banned in DC: Photos and Anecdotes from the DC Punk Underground (79-85) (Sun Dog Propaganda, 1988).

Banned in DC (Caroline Records, 2003) is also the title of a hardcore punk and reggae songs by Bad Brains.

There are other mentions of the scene in other hardcore punk books, including a chapter in Steven Blush's American Hardcore: A Tribal History (Feral House, 2001; expanded 2nd edition 2010) (also the title of a documentary film about the scene), but these three stand as the best DC-specific ones. (By the way, Steven Blush is a dick: he calls Tru Fax one of "the stupidest bands" while Tommy Keene is merely "woeful" in his esteem. Apparently anything remotely resembling melody or tunefulness is considered sissified and bourgeois, while tuneless cacophonous noise is revered as bold and manly. And these guys wondered why chicks didn't dig hardcore!)

Of course, in another medium, there's the Kickstarter-funded documentary-in-progress, Scott Crawford and Jim Saah's Salad Days: The Birth of Punk Rock in the Nation's Capital slated to come down the pike sometime soon in 2013. Two trailers of this documentary - which looks at DC's '80s hardcore scene and features interviews with John Stabb, Ian Mackaye, Henry Rollins, Dave Grohl, and Alec Mackaye - have been released so far. A nation's capital awaits!

Oh, and once again this look at DC Hardcore will feature the photogenic fanboy-turned-bandboy-turned-novelist (Skinhead Army) Sab Grey (Iron Cross) in action. In fact, below is a pic of Sab back in the day with Iron Cross, followed by a picture and trailer of Sab being interviewed today.

Sab Grey of Iron Cross

Watch Sab Grey being interviewed in Salad Days.

Sab Grey today (hey that rhymes!)

Thursday, August 22, 2013

Pratt Sale Rack Books: Literary Finds for Cheap-ass Minds!

Give me your tired, your poor
Your discarded books yearning to breathe free
The wretched refuse of a teeming collection
Send these, the dog-eared and discolored to me
That I may plop my quarters on the checkout desk!
While “The Rack” at Nordstrom’s might be more famous, “The Rack at Pratt Central” has just as much value – at least to book lovers. Tucked away around the corner from the Computer Commons area in the Central Library’s main hall, it’s easy to miss this selection of discarded books (and some audio books-on-tape) that is split into Fiction and Non-Fiction shelves. But it’s well worth a look for the discerning bibliophile. I’m in the process of moving, so the last thing I need to do is add more books to the stacks of boxed books already in my living room. But as a book-loving hoarder, I simply can’t resist – especially at these prices (25 cents for paperbacks, 50 cents for hardbacks). Sure, there’s a lot of junk mixed in, but like the saying goes, ya gotta kiss a lotta frogs before ya find your prince. And where else for a total cost of a buck can one find such esoteric treasures as this recent Four Score:

Venus Envy:A History of Cosmetic Surgery by Elizabeth Haiken (Johns Hopkins Press, 1997, 370 pages). We live in fast-paced, high-tech times where change is constant – even with one’s own body. Be it face lifts, nose jobs, breast implants, liposuction, collagen injections or gender changes, surgical alteration is now an accepted part of American culture. I love this book because it dedicates whole chapters to “The Michael Jackson Factor,” “Beauty and the Breast,” and even my favorite Twilight Zone episode, the 1960 broadcast of “The Eye of the Beholder,” which addressed the difference between what society considers beautiful and repellent.

Beauty truly is in the "Eye of the Beholder"
(Click here to watch the complete "Eye of the Beholder" episode on Hulu.)

The VillageVoice Anthology (1956-1980): 25 Years of Writing from the Village Voice, edited by Geoffrey Stokes, an out-of-print collection that contains Mark Jacobson’s fascinating “Paranoid Notes on the Strange Death of Bruce Lee” (Village Voice, December 4, 1978; also available in Jacobsen's own anthology Teenage Hipster in the Modern World). According to The Grand Masters’ Theory, Bruce Lee was murdered (killed by the “Iron Fist,” an ancient assassination technique known only to elder martial arts teachers) to stop the Third World Alliance he was forging through his films with “inferior, potentially mindlessly violent people” (e.g., Americans) who were not to be trusted with the ancient martial arts secrets revealed through his jeet june do style of kung-fu. Here’s an excerpt:
“To any student of paranoia…the Third World Alliance Theory had to seem tenable. After all, times were changing…It was every man for himself…Kung fu could be the ultimate weapon of these times, and Bruce Lee its Messiah. And before Lee was finished preaching in the drive-in and sleaze Temples of the Inner City, Western civilization could go down the tube in a flurry of sidekicks and nunchakas. Would the CIA allow a menace to exist? Obviously, something had to be done.”

I Just Want My Pants Back by David J. Rosen. This hilarious fiction paperback hooked me with its cover – yes, I judged a book by its cover! – and held my interest throughout because it documented a glib 20something world of bar-hopping, partying, texting and tweeting completely alien to mine (call it living vicariously). Narrator Jason Stride even perfectly captures the essence of  post-modern, post-irony hipsterdom in this passage: "They'd seen it all before, and even if they hadn't, they'd pretend they had...any sincere thoughts were immediately roughed up and taken advantage of...people laughed out loud a little less here, they were guarded. They didn't want to be surprised or something." Plus, the protoganist embarks on a Joseph Campbell-worthy Heroic Quest – to reclaim his Dickie slacks after a one-night stand with a stranger. The stuff of Great Lit!

Bonus points awarded for name-checking the Universal Life Church, Buzzcocks, Devo, Ramones, Sex Pistols, Dead Milkman, Bushmills, Pabst, Rushmore, Harold and Maude, and that most obscure of cult film references, Ronnie Cramer's 1991 black comedy Even Hitler had a Girlfriend!

Staying Dry: A Practical Guide to Bladder Control by Kathryn L. Burgio, Ph.D., K. Lynette Pearce, R.N., C.R.N.P., Angelo J. Lucco, M.D. Laugh at me all you want, but this is one of my most treasured finds. 

Why? Because I carry it with me whenever I take the bus to guarantee that no one sits next to me – it’s a veritable “seat saver” when combined with frequent legs crossings and facial grimaces!

Monday, April 22, 2013

Rock, Don't Run, to the Nearest Exodus (*****)

Ernest Gold's epic theme from Otto Preminger's epic 70-millimeter 1960 war film Exodus (itself from an epic Dalton Trumbo screenplay adaptation of Leon Uris's epic 1958 novel) is, well, epic. It's just so overly dramatic, like the Dragnet theme. Small wonder that Gold's song won the Oscar for "Best Original Song" and Grammys for "Song of the Year" and "Best Soundtrack Album."

Ernest Gold's "Exodus" theme (1964)

That's why I've always loved cover versions of it, and there certainly have been a lot - from Ferrante & Teicher and Edith Piaf (who added lyrics) to Ice-T, Nas and T.I, who've sampled bits of the iconic theme in between their rhymes and riffs.

I was especially fond of The Slickee Boys' rock version that appeared on their Here To Stay (Line Records, 1988) album, which featured Marshall Keith's brilliant new arrangement and blistering guitar solos. Even better was their live version, which usually ended their six-song "TV Medley" set and can be found on Dacoit's 2002 Somewhat of an Anthology CD.

Slickee's "Theme from Exodus" (1988)

But today I just discovered The Skatelites' 1964 ska version of "Exodus" on Jamaica's Coxsone Records and can't get it out of my head.(The original Coxsone label credits the band simply as "The Skatelite."). The track appears on the excellent 2004 Studio One Ska compilation CD put out by the folks at Soul Jazz Records, whose liner notes add: " Whilst Ska music became easily identifiable by playing on the off-beat (usually the piano and guitar) The Skatalites brought their wide influences into the music. Ska could include Modal Jazz, Pop, Jump Up R’n’B, Rastafarian and Burro music, US Western and film soundtracks, Easy Listening and even classical music." (Indeed, a subsequent version of another Western movie theme, "The Guns of Navarone," gave the Skatelites a minor UK hit in 1965.)

Skatelites' "Exodus" (1964)

The Skatalites at this time were Tommy McCook, Roland Alphonso (tenor saxes), Lester Sterling (alto sax), Don Drummond (trombone), Johnny Moore (trumpet), Jackie Mittoo (piano), Jah Jerry (guitar), Lloyd Brevett (bass) and Lloyd Knibbs (drums). According to Wikipedia, the Skatelites broke up at the end of 1965 and split into two "supergroups":  Rolando Alphonso and the Soul Vendors and Tommy McCook and the Supersonics.

Monday, April 8, 2013

Love Comes to a Building in Hell

I Dreamed I Was a Very Clean Tramp
by Richard Hell
(Eco, 2013, 304 pages)

"This is the story of my life up until I stopped playing music and stop using drugs."
- Richard Hell

I just finished reading Richard Hell's new autobiography, I Dreamed I Was a Very Clean Tramp (an anniversary present from my sweetheart), which covers Hell's wild sex, drugs & rock 'n' roll adventures from the time he fled the hills of Lexington, KY in 1966 to reinvent himself in The Big Apple through his "retirement" from pop music and (more importantly) drug addiction in 1984. That's right, the book ends in 1984 when the man christened Richard Meyers finally decided to attend Narcotics Anonymous and commit himself to a comparatively healthier life as a full-time writer.

Blank Generation: He can take it or leave it each time

I have to admit that - while I was a fan both of his band The Voidoids and his abilities as a punk lyricist (for me he's right up there with Dylan, Syd Barrett, and Robyn Hitchcock as a wordsmith) - I was a little disappointed in his actual life story. Perhaps the book is just a reflection of what he wrote about his most famous song, the iconic punk anthem "Blank Generation": "...really the song was an evasion of explanation, as most attempts to write something decent are."

The rock 'n' roll part of his CV with three legendary bands (early Neon Boys/Television, The Heartbreakers, The Voidoids) and three legendary guitarists (Tom Verlaine, Johnny Thunders, and Robert Quine) has previously been exhaustively examined in two excellent oral histories - Legs McNeil and Gillian McCain's Please Kill Me (1996 - the title came from a line on an early Television poster) and Clinton Heylin's From the Velvets to the Voidoids (1993) - and there are few surprises here. Yes, Hell and Verlaine famously loved, and then loathed, one another, as only egomaniacs seeing  mirror reflections of themselves could ("I'm like him for God's sake. I am him"); Johnny Thunders was a fellow addict, so they did lotsa drugs together, but in Thunders Hell found someone even lazier than himself, as least intellectually, and completely rooted in the old Chuck Berry-era School of Rock; and the introspective Quine - arguably the most talented and original guitarist with whom Hell worked -  was every bit as insecure and angry as Hell, but lacked his spiky shock of locks and effortless club-scene cool, so their partnership was born to lose as well. Quine was particularly miffed when Hell, at the height of his junkiedom, couldn't be bothered with playing bass (not that the world's ears suffered any from the loss). Few spoilers there, either.

Early Television was Hell-bent for leather

Hell sums up his Big Three musical collaborations rather succinctly: "I was happy for 5 minutes in Television, 10 in Heartbreakers, and 20 Voidoids." 'Nuff said!

Richard Hell and Patty Mucha

Hell comes off as unblinkingly honest in his self-examination, but that honesty reveals a fairly lazy, egocentric narcissist who was obsessed with fame and drugs and sex - and hoo boy there's a lot of the latter! Love may have come in spurts, but sex came in a tidal wave of opportunities and Hell was delighted to be awash in them. Everyone from escorts and friends' girlfriends to Claes Oldenburg's Cougar Town ex-wife Patty Mucha ("She was...a funny rich chick who liked my company and took good care of me and loved having sex"), CBGB club girl Anya Phillips (who was also stripper and dominatrix but was Hell's ties-that-bind sex slave), and even Baltimore's own Dreamland Studios starlet Cookie Mueller ("A trailer-park-style girl" and "kick-ass memoirist" with "the most muscular ass of any woman I've ever known" that Hell genuinely liked, even though he would go on to steal drugs from her in his darkest hours), who went from having sex with chickens in John Waters's Pink Flamingos to writing a health column for the East Village Eye - a juxtaposition Hell rightly finds quite amusing!

That's the way it crumbles, Cookie-wise

"When you're young enough, you can get away with anything," Hell observes at one point. And he did, for a long time (especially with the ladies). He adds that "it's part of the beauty of rock and roll that it's about people with no conventional skill, but only assertive youthfulness, becoming fascinating."

Anya Phillips: Slave to love.

Hell was certainly a Bad Boy and dove deep into the shallow waters of the rock lifestyle. After all, as a writer, he understood that "doing bad" is what sells.

"Who's good and who's bad anyway? People like villains as often as they like heroes. Americans love winners all the more if they lied and cheated and coerced their way to the top...in America losers are considered fools if they haven't played dirty enough. Winning justifies everything." In his case, he could have added, "Being a rock star justifies everything."

And, speaking of strange fascinations...in a sign of his furry '70s times, Hell admits he really likes pubes (wonder if he subscribed to Hair To Stay?), as revealed in this passage about his girlfriend Nan: "In those days girls didn't groom their pubic hair. That was sexy - it was an animalistic sign of individuality, despite a girl's otherwise carefully managed appearance." He added (in a line destined to stick with me forever, unfortunately), "Nan's pussy...was slick, like a squeaky rubber duck."

But what's surprising is how dispassionate Hell is talking about his multiple trysts, relationships, and betrayals (Hell may have sang "Betrayal takes two," but his "one" always guaranteed a betrayal well done) - he waxes far more poetic talking about drugs (heroin, cocaine, and speed being his Holy Trinity) and his apartments. Especially 173 Elizabeth Street: "The best I ever had."

Yes, Hell got way more emo for his bare-boned living quarters - not to mention his shooting galleries, his beloved bookstores and rock 'n' roll clubs - than for any single woman or relationship mentioned in the 300-plus pages of his autobiography.

Maybe that's because, as he writes "Anything said about sex is going to push people's buttons and arouse resentments, interfering with communication...everyone's sensitive to how it's talked about, including me..."

Richard Hell's New York (New York Post)

Writing about things was easier. In fact, the New York Post even featured a list of Hell's Top 10 favorite NYC locations called "My New York," that contains some of his most inspired writing - about "broken-toothy" buildings and other inanimate objects! One of Hell's favorite spots was a weed- and graffiti-covered vacant "Mystery Lot" (as shown below) between 14th Street and 13th Street east of Third Avenue (soon to be an 82-unit, eight-story development).

Vacant Lot, north side of 13th Street between 2nd and 3rd Ave.

Here's Hell's full Top 10 countdown of favorite NYC buildings and spaces:

1. Ziegfeld Theatre, 141 W. 54th St.
“I love it! It has a huge screen, which is rare now. And the auditorium is really big — the size that you just don’t see anymore. And all the seats are really comfortable. The whole environment still has that flavor of going to see a movie where they wanted to make you feel like royalty. Beautiful lighting, curtains, the seats are plush. I saw Scorsese’s ‘Hugo’ there in 3-D. The Ziegfeld was the perfect venue for it.”

2. Madison Avenue, between 59th and 86th streets.
“It’s mildly embarrassing, but I like to window-shop here and buy shoes sometimes, where it’s all the really haute designer label kind of stuff. If something takes me up to that area, I’ll usually take 20 minutes and look at it all. It’s like a beautiful walk in the woods in the winter, looking in these shop windows. Everything is sparkling and pretty.”

3. The courtyard of his grandmother Linda Meyers’ apartment building, 72 Barrow St., at Hudson Street
“I came here when I just turned 17. She would invite me over for dinner every couple of weeks. That courtyard has always been a kind of little oasis to me. The walkways are paved with shale, and there are these flower beds — filled [in season] with Life Savers-colored tulips. And a really pretty urn on a stone pedestal in the middle, and a couple of fruit trees. Going where my grandmother lived is good for my disposition, soothing.”

4. Underneath the Manhattan Bridge, Manhattan side
“For about 10 years — from the mid-’90s — I had a car here, a ’68 Plymouth Satellite, bright yellow, kind of souped-up. You could go park your car there and work on it. I might be changing the sparkplugs, replacing some part. It was all desolate. There were just these big, wide streets, vacant lots, seedy buildings. I like emptiness.”

5. Horn & Hardart, formerly on 14th Street, near Irving Place
“I was living with a roommate at 1 Irving Place shortly after I arrived here. It had a Horn & Hardart automat underneath it. I used to go in there because they didn’t have a very thorough busboy service. So I’d go in and sit down at a table that had just been vacated, and eat the food that was left on the table.”

6. Cinemabilia, 10 W. 13th St. (no longer there)
“I worked here, and I started off packing. They sold scripts, film literature — just about anything made of paper associated with movies. I got some good stills from [Jean-Luc] Godard films there of [actress] Anna Karina. I also got this amazing education there about movies, and used to enjoy Andrew Sarris’ film columns for the Village Voice. By the time I left Cinemabilia, I had a side business going writing term papers for students in his film class at Columbia. $75 was a guaranteed B+. It was significant to me because we actually got off the ground as a band [Television] when I was working there. It was the manager of the store, Terry Ork, who enabled us to get on our feet as a band. He knew Richard Lloyd, who became our guitarist, and we practiced at Terry’s loft in Chinatown. He also became, nominally, our manager.”

7. Strand Bookstore, 828 Broadway
“I got my first job there when I was 20. I packed — down in the basement, when it was just for employees — for libraries and also for private customers. The great thing about it was that the management was really kid-friendly. It tended to attract young people to work there who were artistically inclined — writers or musicians — so it was really congenial. And you got a discount on the books. I bought books every payday. It’s amazing that it hasn’t lost the kind of appeal that it had for me then.”

8. Hudson’s army-navy store, formerly at Third Avenue and 13th Street
“They had all kinds of functional and low-priced clothes — jeans, T-shirts, work boots. I got the suits that the Voidoids wore for our debut at CBGB. They were black corduroy, suits you’d imagine a miner would wear to church in West Virginia.”

9. Chinatown market area, near corner of Bowery and Canal Street
“It’s just full of life, and almost all locals, not tourists. You just feel this whole other flavor of another culture. It’s almost like going to China. All this beautiful fresh fruit and this wild seafood — half of it is alive. I was down there a week or two ago with my wife, and there was this big plastic bucket, 2-feet-high, and we glanced down and it was filled to the brim, completely thick with 4-inch-long frogs — alive. I wish I knew how to prepare that food.”

10. Vacant lot, north side of 13th Street, between Second and Third avenues (now a construction site)
“Whenever I would have to walk across town, I’d try to wrap myself down 13th Street. The lot was all overgrown. And when you were walking down 13th, the buildings that were still standing on 14th Street gave it this kind of broken-toothy kind of edge to it. A friend of mine wanted to make a movie with me — and my first idea was to do something in that lot. I put on a bunch of wounded-person makeup and staggered out from behind one of the 14th Street buildings. I have the footage, somewhere.

And don't forget, Hell even wrote a 1,000-word essay lauding the merits of "CBGB As a Physical Space" as the intro to the John Putnam (photos)  and Christopher D. Sayles (text) book CBGB: Decades of Graffiti (Mark Batty Publishing, 2006).


Hell concludes the book with this reflection:
"If I had died in 1984, at the point this book ends, as could easily have happened, there would have been left such scant evidence of me that my life would be mostly just a sad cautionary tale. It's by writing a book like this one that I am redeemed at all. My life is not different for having written this book - my life only comes into being by having been written here."

Like Ray Davies musing that "People Take Pictures of Each Other" just to prove that they really existed, I think Hell was motivated to pen this memoir so that there would be a record of his scarred, "broken-toothy"-edged existence back in the day, warts and all. Much like his beloved vacant lot on 13th Street between Second and Third Avenues - before it's bulldozed over and prettied up for a new (blank?) generation. He - and we - can take it or leave it.