Ricky Martin, Bad Bunny, and Lady Gaga after the Super Bowl halftime show.
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Cool rock n roll photos
- Thread starter Chad-Chicago
- Start date
52yrs ago Iggy And The Stooges played their last '70s era show, Feb. 9, 1974 at The Palace in Detroit.
Lester Bangs; ''Metallic K.O. is the only rock album I know where you can actually hear hurled beer bottles breaking against guitar strings. on one level I suppose all of this is very funny, but if you look past the surface violence and simple abusiveness to the person at the center, it’s not funny at all.''
https://www.youtube.com/watch?v=kHBp4fSKOXg
Lester Bangs; ''Metallic K.O. is the only rock album I know where you can actually hear hurled beer bottles breaking against guitar strings. on one level I suppose all of this is very funny, but if you look past the surface violence and simple abusiveness to the person at the center, it’s not funny at all.''
https://www.youtube.com/watch?v=kHBp4fSKOXg
18yr old Ricky Nelson at his parent's home, the Ozzie & Harriet Estate in the Runyon Canyon area 1958
photo-Ralph Crane
photo-Ralph Crane
The San Francisco Light Shows (1965 – 1971)
‘Liquid light shows surfaced around 1966 and were an integral part of the music scene well into the seventies. Shows could be as simple as a single operator and two or three modified slides or overhead projectors and a couple of color wheels or as complex as shows with ten or more operators, 70 plus projectors (including liquid slide, liquid overhead, movie and still image models plus a vast array of highly advanced (for the time) special effects equipment). ‘The style and content of each show were unique but the object of most was to create a tapestry of multimedia live event visual amplification elements that were seamlessly interwoven, in a constant state of flux and above all, reflected the music the show was attempting to depict in emotional visual terms. ‘Before the projected layers totally dried out a new slide would be switched in the projector slide holder, meanwhile the old glass would be removed, cleaned and refurbished with new dyes and the projection process would continue. The surface tension of the liquids largely retained the mixtures between the glass slides, but the process was nevertheless very messy indeed and operators had their hands almost permanently stained by the dyes.’ ‘Light Sound Dimension (LSD) was possibly the first psychedelic lightshow and was operated by Bill Ham. Ham pioneered kinetic lighting and actually used this technique at the Red Dog Saloon back in 1965. It was also at the Red Dog Saloon where Chet Helms first met Bill and asked him to produce lightshows at the Avalon Ballroom.’ Ben Van Meter was an experimental filmmaker and light-show artist during the late 1960s. The North American Ibis Alchemical Company, formed with Roger Hillyard and others, was the resident show at the Avalon Ballroom throughout the Summer of Love, 1967. His first business card read, “Ben Van Meter, Odd Films, Curious Photographs, Light Shows.” ‘Elias Romero light shows featured Elias Romero and Ray Andersen (who was also the manager of The Matrix at the time). Although he never went on to work the ballrooms, Romero was a long-time “light artist” with his own distinct approach utilising a unique, all-liquid show. Famous shows include 9 March 1966 Big Brother and the Holding Company show at the Firehouse, 3763 Sacramento Street, San Francisco.’ ‘Tony Martin began providing a visual component to avant-garde electronic music performances of the San Francisco Tape Music Center. The Pirex Plate light shows (Tape Center) of the '60s were created by Lee Remour but then shortly picked up by Martin who mounted the first Fillmore West lightshow and then did the light shows for the Mothers of Invention. Jerry Abrams Headlights began with Jerry Abrams, Glen McKay and Marilyn Ashman and they ran the lights at the Monterey Pop Festival in June 1967. McKay was influenced by what he had seen from Tony Martin at the Acid Tests back in 1966. Later they toured Europe with The Doors before working exclusively for Jefferson Airplane. After the Toronto Pop Festival Jerry and Glen parted company but both refused to give up the Headlights name, hence Glen McKay’s Headlights and Jerry Abrams Headlights. Glenn McKay’s Headlights performed many shows with Jefferson Airplane, as well as with the Grateful Dead, and later staged shows at the Whitney Museum in New York in 1968 and in 1999 at the San Francisco Museum of Modern Art.’ The Joshua Light Show (also known as Joe’s Lights and Sensefex) located in New York was founded by a filmmaker called Joshua White. The show was the ‘house lightshow’ at Bill Graham’s Fillmore East for almost its entire existence. Formed from a lighting company called Sensefex which had been started by Joshua White, Thomas Shoesmith and Bill Shwarzbach, they moved to the Fillmore and became the Joshua Lightshow. Cecily Jaffe (at that time Cecily Hoyt) had now joined the team. Later they changed their name to Joes Lights having parted company with Joshua White.’ ‘Brotherhood of Light (SF) was formed in 1968 as a collective group of lighting and multimedia specialists. Brian Eppes, Brother Ed Langdon, Marcus Maximist and Bob Pullum gathered for the purpose of visually enhancing and augmenting the psychedelic music of the day. Unlike standard stage lighting, which was generally static and non-interactive, Brotherhood of Light utilized liquid dyes, overhead projectors, color wheels, slide projection and 16mm film to produce not just a light show, but a live multi-sensory musical experience. The show performed at San Francisco’s Winterland Ballroom and Fillmore West with such classic acts as The Jimi Hendrix Experience, The Doors, Led Zeppelin, Traffic, Ike and Tina Turner, B.B. King, Crosby, Stills and Nash, Janis Joplin, Creedence Clearwater Revival, The Who, Santana, the Grateful Dead and the Allman Brothers Band. On a typical night in 1970 you could see, The Byrds, Fleetwood Mac and John Hammond with Brotherhood of Light providing visuals for all three bands or on a night later that year, Joe Cocker, Leon Russell and Van Morrison. They also performed at the Grateful Dead New Year’s Eve shows at Winterland.’ ‘Little Princess 109 became the house light show for Bill Graham Presents in 1968. Little Princess 109 worked at Fillmore West and Winterland continuously from December 1968 until Fillmore West closed in July 1971. According to the records of the Bill Graham Presents archives, they worked for Graham longer than any other light show, and performed more nights of light than any show for the entire Fillmore/Fillmore West/Winterland period.’ ‘The Heavy Water Light Show (Mary Ann Mayer, Joan Chase and John Hardham, SF), did shows and album covers for Santana, the Jefferson Airplane and the Grateful Dead before moving into planetariums in the 1970s. The cover of the LP Santana III is an image (or set of images) from their show. Their work is characterized by extensive use of photographs and film sequences in addition to psychedelic oil effects.
‘Liquid light shows surfaced around 1966 and were an integral part of the music scene well into the seventies. Shows could be as simple as a single operator and two or three modified slides or overhead projectors and a couple of color wheels or as complex as shows with ten or more operators, 70 plus projectors (including liquid slide, liquid overhead, movie and still image models plus a vast array of highly advanced (for the time) special effects equipment). ‘The style and content of each show were unique but the object of most was to create a tapestry of multimedia live event visual amplification elements that were seamlessly interwoven, in a constant state of flux and above all, reflected the music the show was attempting to depict in emotional visual terms. ‘Before the projected layers totally dried out a new slide would be switched in the projector slide holder, meanwhile the old glass would be removed, cleaned and refurbished with new dyes and the projection process would continue. The surface tension of the liquids largely retained the mixtures between the glass slides, but the process was nevertheless very messy indeed and operators had their hands almost permanently stained by the dyes.’ ‘Light Sound Dimension (LSD) was possibly the first psychedelic lightshow and was operated by Bill Ham. Ham pioneered kinetic lighting and actually used this technique at the Red Dog Saloon back in 1965. It was also at the Red Dog Saloon where Chet Helms first met Bill and asked him to produce lightshows at the Avalon Ballroom.’ Ben Van Meter was an experimental filmmaker and light-show artist during the late 1960s. The North American Ibis Alchemical Company, formed with Roger Hillyard and others, was the resident show at the Avalon Ballroom throughout the Summer of Love, 1967. His first business card read, “Ben Van Meter, Odd Films, Curious Photographs, Light Shows.” ‘Elias Romero light shows featured Elias Romero and Ray Andersen (who was also the manager of The Matrix at the time). Although he never went on to work the ballrooms, Romero was a long-time “light artist” with his own distinct approach utilising a unique, all-liquid show. Famous shows include 9 March 1966 Big Brother and the Holding Company show at the Firehouse, 3763 Sacramento Street, San Francisco.’ ‘Tony Martin began providing a visual component to avant-garde electronic music performances of the San Francisco Tape Music Center. The Pirex Plate light shows (Tape Center) of the '60s were created by Lee Remour but then shortly picked up by Martin who mounted the first Fillmore West lightshow and then did the light shows for the Mothers of Invention. Jerry Abrams Headlights began with Jerry Abrams, Glen McKay and Marilyn Ashman and they ran the lights at the Monterey Pop Festival in June 1967. McKay was influenced by what he had seen from Tony Martin at the Acid Tests back in 1966. Later they toured Europe with The Doors before working exclusively for Jefferson Airplane. After the Toronto Pop Festival Jerry and Glen parted company but both refused to give up the Headlights name, hence Glen McKay’s Headlights and Jerry Abrams Headlights. Glenn McKay’s Headlights performed many shows with Jefferson Airplane, as well as with the Grateful Dead, and later staged shows at the Whitney Museum in New York in 1968 and in 1999 at the San Francisco Museum of Modern Art.’ The Joshua Light Show (also known as Joe’s Lights and Sensefex) located in New York was founded by a filmmaker called Joshua White. The show was the ‘house lightshow’ at Bill Graham’s Fillmore East for almost its entire existence. Formed from a lighting company called Sensefex which had been started by Joshua White, Thomas Shoesmith and Bill Shwarzbach, they moved to the Fillmore and became the Joshua Lightshow. Cecily Jaffe (at that time Cecily Hoyt) had now joined the team. Later they changed their name to Joes Lights having parted company with Joshua White.’ ‘Brotherhood of Light (SF) was formed in 1968 as a collective group of lighting and multimedia specialists. Brian Eppes, Brother Ed Langdon, Marcus Maximist and Bob Pullum gathered for the purpose of visually enhancing and augmenting the psychedelic music of the day. Unlike standard stage lighting, which was generally static and non-interactive, Brotherhood of Light utilized liquid dyes, overhead projectors, color wheels, slide projection and 16mm film to produce not just a light show, but a live multi-sensory musical experience. The show performed at San Francisco’s Winterland Ballroom and Fillmore West with such classic acts as The Jimi Hendrix Experience, The Doors, Led Zeppelin, Traffic, Ike and Tina Turner, B.B. King, Crosby, Stills and Nash, Janis Joplin, Creedence Clearwater Revival, The Who, Santana, the Grateful Dead and the Allman Brothers Band. On a typical night in 1970 you could see, The Byrds, Fleetwood Mac and John Hammond with Brotherhood of Light providing visuals for all three bands or on a night later that year, Joe Cocker, Leon Russell and Van Morrison. They also performed at the Grateful Dead New Year’s Eve shows at Winterland.’ ‘Little Princess 109 became the house light show for Bill Graham Presents in 1968. Little Princess 109 worked at Fillmore West and Winterland continuously from December 1968 until Fillmore West closed in July 1971. According to the records of the Bill Graham Presents archives, they worked for Graham longer than any other light show, and performed more nights of light than any show for the entire Fillmore/Fillmore West/Winterland period.’ ‘The Heavy Water Light Show (Mary Ann Mayer, Joan Chase and John Hardham, SF), did shows and album covers for Santana, the Jefferson Airplane and the Grateful Dead before moving into planetariums in the 1970s. The cover of the LP Santana III is an image (or set of images) from their show. Their work is characterized by extensive use of photographs and film sequences in addition to psychedelic oil effects.
Humble Pie - Milano June 30 1971
Jerry Shirley; ''Wow, I have never seen this shot. This gig was in a Stadium with Grand Funk where we were tear gassed while we were performing. I tell the story in my book. The police were trying to control the crowd outside the Stadium, whilst doing so they decided to shoot tear gas over the Stadium walls into the Stadium where we were playing. The tear gas cannisters rolled down the seats along the side of the stage and then swept across the stage. Ouch we were all affected by the gas and had to leave the stage. Memories are made of this.''
Jerry Shirley; ''Wow, I have never seen this shot. This gig was in a Stadium with Grand Funk where we were tear gassed while we were performing. I tell the story in my book. The police were trying to control the crowd outside the Stadium, whilst doing so they decided to shoot tear gas over the Stadium walls into the Stadium where we were playing. The tear gas cannisters rolled down the seats along the side of the stage and then swept across the stage. Ouch we were all affected by the gas and had to leave the stage. Memories are made of this.''
Don Cerce of Long Island is a mentor to many, a local legend who's in the NYS Country Music HOF, sitting on a Fender Bassman that he installed a Realistic reverb unit in while playing a Tele he added a Bigsby to, put a Dynasonic pickup at the neck, painted it black, and custom-made pickguards for it with his can of Rheingold on a Fender steel. Mr. Cerce is in his 90's and can still kick butt on guitar today.
Billy Strings Asheville NC Feb 11 2026
Cory Wong with the Cletones on Jimmy Kimmel last night.
Robert Fripp - King Crimson at the Santa Monica Civic Auditorium March 19 1972 during their Earthbound tour with Mel Collins, Boz Burrell, and Ian Wallace.
