March 2, 2011 by JP - 17 Comments

THE DOORS | WHEN THE MUSIC’S OVER MORRISON HOTEL & HARD ROCK CAFE

After shooting the ‘Morrison Hotel’ images for said album, Jim Morrison’s need for drink drove the band down to L.A.’s skid row, where The Doors happened upon a little dive bar called ‘Hard Rock Cafe’. The boys were all piled in John Densmore’s VW van with photographer Henry Diltz, when they collectively spotted the joint with the now famous name on East 5th St. and all said, “Oh, we gotta go in there!”

Side one of ‘Morrison Hotel’ would end up being named ‘Hard Rock Cafe’, and famously pictured on the back of the album. The shots taken that day back in December of ’69 are some of my favorite Doors’ pics. Years later photographer Henry Diltz recalled–

“I guess though sometime the next year after the album came out with that picture on the back, they [The Doors] got a call from England and this guy says, ‘Hello. Would you mind if we use that name on the back of your album? We’re starting a cafe over here in London and we would like to use that name.’ And they said, ‘No, go ahead,’ and that was the beginning of it. Now every time I go into a Hard Rock Cafe, whatever city I’m in, I always feel like I should get a free hamburger.”

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December 1969, Los Angeles, CA — The Doors barside at the original Hard Rock Cafe on East 5th Street in Los Angeles’ Skid Row. Sadly, it’s no longer there. — Image by © Henry Diltz/Corbis

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December 1969, Los Angeles, CA — The Doors outside the Hard Rock Cafe in downtown Los Angeles — Image by © Henry Diltz/Corbis

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November 22, 2010 by JP - 23 Comments

THE ROLLING STONES @ ALTAMONT | WE’RE NOT IN WOODSTOCK ANYMORE…

Not barely four months after Woodstock, Altamont would prove to be worlds apart from its predecessor. For reasons largely unforeseen, or at least unacknowledged at the time, there was a definite divide in ideology between the American hippies in the crowd, and some of the English rockers onstage– for whom this hippie-trippy way of life was hard to swallow. For some it was simply naive, and to others– it was downright offensive. Pete Townsend in particular left Woodstock with a bad taste in his mouth– “All those hippies wandering about thinking the world was going to be different from that day on… As a cynical English arsehole, I walked through it all and felt like spitting on the lot of them…” Country Joe countered with his personal recollection of Pete at Woodstock. “I saw Townshend pull up in his limo, then do his set, and leave. That’s the sum total of his experience of Woodstock. He played at it but he wasn’t really part of it.”

Look, we all go through life with our own backgrounds, beliefs and expectations that impact our openness to ideas, and color our perceptions of attitudes and events. That being said– Is Townsend really there to “experience Woodstock”, or is he there to put on a great Who show? Whose place is it to dictate that everyone passing through the ’60s has to buy into the damn hippie lifestyle? It clearly wasn’t for everyone. Certainly not for the Rolling Stones.

By 1969, the Rolling Stones were a band with a well-established attitude of monstrous proportions. They were effin’ rock stars baby, and royalty at that. The world was their stage– and they saw Stones’ fans as their subjects. There to adore them and feed their egos. They didn’t come into Altamont with the idea that it would be a lovefest. Strangely, Mick Jagger was going through a phase of curiosity in Satanism and the occult at that time– but he would be far from prepared for the darkness that would unfold at his feet on that December day.

Altamont and the Charlie Manson murders would effectively usher out the age of the hippie. But was the hippie movement even real outside of the provincial confines of Woodstock and Haight Ashbury? Or, were we all just temporarily clouded by the sweet scent of a movement that was never more than a passing fad or fashion for most?

Photo above of Mick Jagger & Charlie Watts with Hells Angel. — Photograph © Ethan Russell. All rights reserved. From the start, the Altamont festival was a disaster in waiting. The stage was too low, the crowd too close, the Hells Angels too wired on beer and bad acid. Such was the rush to stage the festival that there were no food or drink outlets, and few toilets. –Sean O’Hagan

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September 14, 2010 by JP - 14 Comments

CARROLL SHELBY & THE FORD GT40 | FOUR YRS OF DOMINATION AT LE MANS

When Henry Ford II’s quest to buy Ferrari back in 1963 was spitefully squelched by Enzo, the mandate was given to, “Kick Ferrari’s ass.” And not just anywhere– at Le Mans, the world stage of auto racing. The ass-kicking would finally come in the beautiful & brutish form of the iconic Ford GT40–America’s most incredible racecar ever.

Originally developed in England by Ford Advanced Vehicles Ltd under the direction of Aston Martin’s former team manager, John Wyer, the GT40 failed at Le Mans in ’64 & ’65, as Ferrari finished 1-2-3 both years. With failure no longer an option for anyone who wished to remain employed by Ford, Carroll Shelby was tapped to give the GT40 the necessary bite to beat the Italians. Shelby’s success at Le Mans in his own Cobras, and again with the GT40, was not about technology, but by being crafty. He replaced the 289 c.i. GT40 engine with the same powerful, big block 427 c.i. V-8 that powered his Cobras. The lower revving, larger displacement V-8’s were more able to take the stress of long endurance races than the higher-revving, small displacement engines used by Ferrari.

Shelby not only ended Ferrari’s racing dominance, he exacted sweet revenge for Enzo’s snub– and garnered Ford a remarkable four-year winning streak from 1966 – 1969.

Two massive American automotive legends — Carroll Shelby and the iconic Ford GT40. Originally labeled GT, ’40’ was added due to its incredibly low 40-inch stance.

West Sussez, England — A Carroll Shelby masterpiece, 1960s JW Automotive/American Gulf Oil-sponsored Ford GT40 racecar at the Goodwood race track — Image by © Martyn Goddard/Corbis

1969 Carroll Shelby / Ford GT40 MK 1 racecar (JW Automotive/American Gulf Oil-sponsored) with body panels removed. This Ford GT P/1075 is one of the few racecars to ever win the 24 Hours of Le Mans back to back– here pictured as #6. — Image by © Martyn Goddard/Corbis

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July 25, 2010 by JP - 15 Comments

BUTCH CASSIDY & THE SUNDANCE KID | THE FILM THAT LAUNCHED AN ERA

Butch Cassidy and the Sundance Kid is hands-down one of my favorite films ever. Right up there with Cool Hand Luke, but in a completely different league. The film holds memories that go way back for me. I have a very special music box that plays Burt Bacharach’s “Raindrops Keep Fallin’ on My Head,” passed down by my Grandmother, that I will never part with.

Not only is Butch Cassidy and the Sundance Kid superb in its blend of action, drama and humor (extremely quotable)– Redford and Newman never looked better. Stunning, actually. The wardrobe is also spot-on. Particularly when the duo is cleaned up and donned in trim fitting suits, boots & Bowlers.

“Butch Cassidy and the Sundance Kid” directed by George Roy Hill, starring Robert Redford and Paul Newman– it was their first on-screen pairing, and supercharged Redford’s career. Surprisingly, Redford was offered the role of the Sundance Kid only after Jack Lemmon backed out, and Steve McQueen insisted on getting top billing over Newman. Marlon Brando was also considered for the role, as Fox studio execs felt Redford’s image was too squeaky clean, and wanted someone edgier.

1969 — “Butch Cassidy and the Sundance Kid” directed by George Roy Hill, starring Robert Redford and Paul Newman. — Image by © Bettmann/CORBIS

Paul Newman in the epic film “Butch Cassidy and the Sundance Kid” directed by George Roy Hill.

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July 4, 2010 by JP - 6 Comments

HAPPY BIRTHDAY, AMERICA & GOD BLESS JOHNNY CASH

Hugh Morton’s famous image of Johnny Cash holding aloft the American flag. –NC, 1974

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March 25, 2010 by JP - 21 Comments

BUDDY MILES | THE BAND OF GYPSY’S FUNKY BADASS MOTHER DRUMMER

Buddy Miles– blues/rock funkmaster legend if there ever was one. Miles was given the nickname “Buddy” as a child by his aunt– after the original drumming legend, Buddy Rich. He and Jimi worked their way up in the music scene together around the same time– Buddy playing in various jazz, soul, R&B, and rock acts before finally co-founding the short-lived Electric Flag. The band’s first album, Electric Church, was even produced by Hendrix. Miles returned the favor and recorded with Hendrix on Electric Ladyland. Later, with his signature afro and psychedelic get-ups that rivaled even Jimi– he, along with bass player Billy Cox, backed Hendrix in Band of Gypsys after the disbanding of The Jimi Hendrix Experience. They had an amazing and funky chemistry that really riffed. It’s been said that the Band of Gypsy’s album, recorded New Year’s Eve ’69 – New Year’s Day ’70, was primarily an obligatory move on Jimi’s part– as he owed the record company another album under the terms of his contract. Who really cares, if that was in fact the case? It worked, but unfortunately not for very long. By the end of January they were done– disbanded following the infamous show at MSG. And no, man– we aren’t going to talk about them California Raisins. R.I.P. Buddy Miles.

1968– Buddy Miles and Jimi Hendrix recording Electric Ladyland, The Record Plant, NYC — © Eddie Kramer “Jimi had a long standing warm relationship with Buddy Miles. As one can tell from this photo, Jimi and Buddy can hardly contain their laughter. One of Jimi’s most endearing traits was his amazing sense of humor. Even though at times it was directed at myself, Mitch and Noel, his humor was often quite self-deprecating. This was all done in the desire to keep the session loose!” — EK

Jimi Hendrix (Lucky Lager) and Buddy Miles, of the all-black badass funky rock trio Band of Gypsys.

Jimi Hendrix on bass, Johnny Winter on guitar, and Buddy Miles on drums Feb. of ’69 at The Scene. — © Bill Nitopi (via)

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March 21, 2010 by JP - 41 Comments

1969 DESERT TRIPPIN’ | GRAM PARSONS, ANITA PALLENBERG & KEITH RICHARDS

Anita Pallenberg, Keith Richards and Gram Parsons at Joshua Tree © MICHAEL COOPER

Gram Parsons and Keith Richards first met back in 1968. Gram was with the Byrds; touring Europe to promote their landmark Sweetheart of the Rodeo record. When Gram told Keith the band was headed to South Africa, Keith was like– “Man, we don’t go there.” The sanctions and the embargo were on. So Gram quit the Byrds, right there and then. Gram, with nowhere to stay, crashed with Keith in London and fed his friend a steady diet of classic Country music– which would seep its way into the Stones’ sound soon enough.

As a songwriter, Gram worked very much like I do, which is knock out a couple of chords, start to spiel and see how far it can go. Rather than sitting around with a piece of paper and a pen, trying to make things fit neatly together, if you just get on the microphone, things come to you. Lines come to you that you wouldn’t dream of, because they have to come to you in a split second. Gram liked to do that. But he would also work very hard — harder than I ever did — on honing it down. It’s difficult for me to pick one of his songs as a favorite. ‘Sin City’, on the Flying Burrito Brothers’ first album, is great. I love ‘I Can’t Dance’, on GP. But you’ll never get a full portrait of him from one or two songs.

–Keith Richards

Keith Richards at Joshua Tree © MICHAEL COOPER

In 1969, Keith Richards, Gram Parsons, and Anita Pallenberg took a trip (quite literally, I’m sure) to the Joshua Tree National Park. (The amazing photos of that epic trip were taken by Michael Cooper.) Joshua Tree was a place Gram Parsons was quite fond of. He’d spend days there on LSD getting lost, chasing UFOs, whatever. Tragically it was there that it all ended for Gram.

The drugs and drinking — he was no better or worse than the rest of us. He just made that one fatal mistake — taking that one hit after he cleaned up, still thinking he could take the same amount. And it was too f*cking much. But he didn’t get into dope because of us. He knew his stuff before he met us. I think he was just getting into his stride when he died (In ‘73 Gram Parsons fatally overdosed from a lethal combo of morphine and alcohol). His actual output — the number of records he made and sold — was pretty minimal. But his effect on country music is enormous. This is why we’re talking about him now. But we can’t know what his full impact could have been.

–Keith Richards

Anita Pallenberg at Joshua Tree © MICHAEL COOPER

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January 31, 2010 by JP - 9 Comments

QB “BROADWAY JOE” NAMATH | NEW YORK, BROADS & BOLD PREDICTIONS

From the desk of Contributing Editor, Eli M. Getson–

Teammate Sherman Plunkett gave Namath his nickname after seeing this 1965 Sports Illustrated cover with Namath standing in front of New York City’s infamous avenue. The Hall of Famer lived up to the name with both his brash fur coats and bold predictions, the most well known coming in 1969 when he guaranteed his 19-point underdog Jets would defeat the Baltimore Colts in Super Bowl III. They did, 17-6, and Namath was named MVP. Photographed by: James Drake for Sports Illustrated

Try to wrap your head around this– you’re the quarterback for the New York Jets in 1968-69; leading an upstart team from the counterculture AFL into Super Bowl III against the heavily-favored Baltimore Colts. You’re the poster-boy in the battle of the longhairs and freaks (Jets) versus the ultimate symbol of straight, corporate NFL excellence (Colts). You’re young, very single, and beyond sexy — like catnip to the ladies — you own NY. You have that sense of immortality that comes with being young, rich, and very, very good.

New York Jets quarterback Joe Namath lounges by the pool with press and fans before Super Bowl III. Photographed by: Walter Iooss Jr. for Sports Illustrated

To say it’s a charmed life is the understatement of the century. Those heady days leading up to Super Bowl III, rewrote the script for the celebrity athlete, the Super Bowl, and the fortunes of an upstart league of misfits, outlaws & free spirits. No matter what happened afterward, Joe Namath etched himself into our collective consciousness in that first month of ‘69. We all dreamt of being like Joe–carousing Manhattan’s hottest spots all hours of the night with a blond and brunette as bookends, armed with a bottle of Jack, letting it all hang out– and still having enough to burn the Raiders the next day. Dick Schaap, Namath biographer (and later co-host of the Joe Namath Show), said he witnessed just this before the AFL Championship that year. A legendary story celebrated by us fans– the ultimate testament to how cocksure our QB was. Today he would have been pilloried for his lack of “focus”, back then we celebrated how fun it all was and lived vicariously through “Broadway Joe”.

Circa 1970– Rome, N.Y.: Jets’ star quarterback Joe Namath turns equestrian for his role in the forthcoming motion picture, C.C and Company. — Image by © Bettmann/CORBIS

We all know what happened next– Miami, The Orange Bowl, the “Guarantee”, and then going out and making it happen. Miami Beach must have been a helluva good time that week. New York is a demanding town– you come to be great or be gone. If you can back up your bravado with action and bring home the prize then we will love you forever, no matter how much you embarrass yourself or us later on. We owe you that much for the memories alone.

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October 4, 2009 by JP - 9 Comments

THE FORD MUSTANG GT350 | CARROLL SHELBY & THE AMERICAN PONY WAR

Carroll Shelby, whose Ford powered cars have been a constant contender in International racing, plays a toy flute to charm a toy Cobra out of its basket on the hood of his latest offering to the automotive world, the Mustang GT 350, at the first showing of the car- January 27th, 1965 in Riverside, CA. The Shelby is a modified Ford Mustang Fastback, with a 289 Ford Cobra engine, front disc brakes, and improved suspension for road racing or high speed driving. -- Image by © Bettmann/CORBIS

Carroll Shelby was undoubtedly the greatest single force behind American auto racing over the last 60+ years. From his legendary racing career, to reinventing the image of American road-racers in European competitive racing and beyond. In 1962, and with no official engineering background, Carroll Shelby created the legendary, stallion-slaying Cobra, which soon ended Ferrari’s all-out domination of the World’s Manufacturing Championship. For him, the recipe was simple and oft repeated– put a massive engine in a lightweight, nimble car.

In 1965, the Shelby Mustang GT350 made its production debut setting off a legendary battle for power and prestige between rival Detroit automakers– which would from that day on be known as the “Pony War”.

The legendary Shelby Mustang GT350

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May 29, 2009 by JP - 22 Comments

The Goat That Launched A Million Muscle Cars | Pontiac’s Legendary GTO

John DeLorean led the charge behind the GTO– the car that put him on the map forever and started the American muscle car revolution (pictured here with a Pontiac Firebird). Folks at home, don’t attempt to adjust your screen– DeLorean really was that big, measuring in at a little over 6′ 4″.

My stepdad and I didn’t see eye-to-eye on a lot of things, he was crazier than a… well, let’s just say he was wound pretty tight. He was a mean, swearin’, rough-lookin’, physical s.o.b., and needless to say– the neighbors didn’t bother us much. He’d keep empty coke bottles rolling around in the cab of his pickup, and if he didn’t care for someone’s driving– wham!— he’d blast ’em with a bottle. And this is back when Coke bottles were glass. His signature look was long dark hair tied back with a faded bandana, a crazy long beard, and even crazier eyes hidden under dark aviators. He had a 50 lb. dumbell that he’d do curls and rolls with until his tattoo-covered forearms were the size of hams. He was a machinist with arms and hands that were already hard and toned from wrenching all night on the graveyard shift. He was just a tough mother. If he had a soft side in there, he never showed it to me. That would be weak– and he didn’t do weak.

Aside from all that nonsense, there was one thing we did share a love for– fast cars. He was a GTO man. GTO “Judge” to be exact– he loved his “Goats” as they were called back then. He’d tell stories about his old Goat he had as a kid, and when I was about 13 he got another– a ’69 GTO Judge with a souped-up 455 cid V-8 and a 4-speed manual tranny. I remember riding in that car, trying to control my laughter as it hopped like a crazed rabbit– the car had so much freakin’ power it couldn’t keep up with itself. That GTO was the best thing he had goin’ for him in my eyes. That and his Harley. I wish he hadn’t sold it, but there was an ultimatum on the table– either the Harley and GTO went, or mom did. They went, mom stayed– but eventually they split-up.

I couldn’t help from thinkin’– man, that’s gotta burn some.