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Jaan Uhelszki Jaan Uhelszki rose through the ranks at CREEM Magazine from the subscription desk to noted critic and editor for the magazine. Working concessions in the Grande Ballroom as a teen in Detroit introduced her to music from the likes of Jimi Hendrix, The Stooges, Janis Joplin, The MC5 and Jaan (center) in makeup to perform others. Dave Marsh assigned with KISS her first story, covering Smokey Robinson’s retirement press conference. As a woman in the industry, she had to go further and work harder than her male counterparts. Jaan turned that into a strength though. “A man couldn't have done that story. He wouldn't have got the access. Being an underestimated under-gender I got away with things my male counterparts couldn't,” she wrote of performing onstage in full make-up with the band KISS, an experience she documented in her feature article "I Dreamed I Was Onstage with KISS in My Maidenform Bra.” She would say later that that experience helped her writing, because she understood the thrill of performing in front of thousands of screaming fans better than other critics and music journalists. Other notable interviews were with Jimmy Page of Led Zepplin - after following the band on tour for a week with Page’s publicist serving as an “interpreter” - and Lynryd Skynryd - where Ronnie Van Zandt told her that he didn’t see himself living to 30 (he died a year later) and that he “only drank while working”. In 1976, Jaan left CREEM to work for other publications and continues to work in the music industry to this day. Why I was inspired: Jaan was a pioneer who didn’t let anything hold her back from getting an exceptional story. --Submitted by Caitlin Donnelly .

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The e-journal of analog and digital sound. no.24 2009 NOTHING BUT ANALOG! MoMA’s New York Clearaudio, Lyra, Air Tight and More NEW Punk Exhibit Grateful Dead Book By Ben Fong-Torres STYLE: We Ride Ducati’s Newest Supermotard At Indy! Box Sets: AC/DC and Thelonius Monk Perreaux Returns to the US Bob Gendron Goes To NYC to View Punk’s Past at MoMA TONE A 1 NO.24 2 0 0 9 PUBLISHER Jeff Dorgay EDITOR Bob Golfen ART DIRECTOR Jean Dorgay r MUSIC EDITOR Ben Fong-Torres ASSISTANT Bob Gendron MUSIC EDITOR M USIC VISIONARY Terry Currier STYLE EDITOR Scott Tetzlaff C O N T R I B U T I N G Tom Caselli WRITERS Kurt Doslu Anne Farnsworth Joe Golfen Jesse Hamlin Rich Kent Ken Kessler Hood McTiernan Rick Moore Jerold O’Brien Michele Rundgren Todd Sageser Richard Simmons Jaan Uhelszki Randy Wells UBER CARTOONIST Liza Donnelly ADVERTISING Jeff Dorgay WEBSITE bloodymonster.com Cover Photo: Blondie, CBGB’s. 1977. Photograph by Godlis, Courtesy Museum of Modern Art Library tonepublications.com Editor Questions and Comments: [email protected] 800.432.4569 © 2009 Tone MAGAZIne, LLC All rights reserved. TONE A 2 NO.24 2 0 0 9 55 (on the cover) MoMA’s Punk Exhibit features Old School: 1 0 The Audio Research SP-9 By Kurt Doslu Journeyman Audiophile: 1 4 Moving Up The Cartridge Food Chain By Jeff Dorgay The Grateful Dead: 29 The Sound & The Songs By Ben Fong-Torres A BLE Home Is Where The TURNta 49 FOR Record Player Is EVERYONE By Jeff Dorgay Here Today, Gone Tomorrow: 55 MoMA’s New York Punk Exhibit By Bob Gendron Budget Gear: 89 How Much Analog Magic Can You Get for Under $100? By Jerold O’Brien by Ben Fong-Torres, published by Chronicle Books 7.
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Joan Jett & the Blackhearts
Joan Jett & the Blackhearts By Jaan Uhelszki As leader of her hard-rockin’ band, Jett has influenced countless young women to pick up guitars - and play loud. IF YOU HAD TO SIT DOWN AND IMAGINE THE IDEAL female rocker, what would she look like? Tight leather pants, lots of mascara, black (definitely not blond) hair, and she would have to play guitar like Chuck Berry’s long-lost daughter. She wouldn’t look like Madonna or Taylor Swift. Maybe she would look something like Ronnie Spector, a little formidable and dangerous, definitely - androgynous, for sure. In fact, if you close your eyes and think about it, she would be the spitting image of Joan Jett. ^ Jett has always brought danger, defiance, and fierceness to rock & roll. Along with the Blackhearts - Jamaican slang for loner - she has never been afraid to explore her own vulnerabilities or her darker sides, or to speak her mind. It wouldn’t be going too far to call Joan Jett the last American rock star, pursuing her considerable craft for the right reason: a devo tion to the true spirit of the music. She doesn’t just love rock & roll; she honors it. ^ Whether she’s performing in a blue burka for U.S. troops in Afghanistan, working for PETA, or honoring the slain Seattle singer Mia Zapata by recording a live album with Zapata’s band the Gits - and donating the proceeds to help fund the investigation of Zapata’s murder - her motivation is consistent. Over the years, she’s acted as spiritual advisor to Ian MacKaye, Paul Westerberg, and Peaches.
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The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 11 LOUIE LOUIE, The Kingsmen Produced by Ken Chase and Jerry Dennon; written by Richard Berry Wand 143 1963 Billboard: #2 Really stupid, really great. Not really dirty, but so what? "Louie Louie" is the most profound and sublime expression of rock and roll's ability to create something from nothing. Built up from a Morse code beat and a "dub duh dub" refrain, with scratchy lead vocal, tacky electric piano, relentless rhythm guitar, and drums that sound like the guy who's playing 'em isn't sure what comes next, "Louie Louie" scales the heights of trash rock to challenge the credentials of all latter-day rockers: If you don't love it, you've missed the point of the whole thing. Naturally, this Parthenon of Pop didn't spring from the head of the Muse. A Muse would probably have slain it on sight, or passed away herself from the shock of something so crude and fine. "Louie Louie" was born in much more prosaic circumstances, as the B side of "You Are My Sunshine," an R&B version of the Jimmie Davis country standard recorded by Richard Berry and the Pharoahs and released on Flip Records in 1956. Berry was a veteran Los Angeles session singer who'd sung lead on the Robins ' "Riot in Cell Block #9," the first big hit for producers Jerry Leiber and Mike Stoller. The Pharoahs were Berry's cohorts of the day, Flip his patron of the moment. "You Are My Sunshine" made only a small buzz but when L.A.
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The BG News January 31, 1980
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 1-31-1980 The BG News January 31, 1980 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News January 31, 1980" (1980). BG News (Student Newspaper). 3698. https://scholarworks.bgsu.edu/bg-news/3698 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. The 3*G He ws Bowling TSrccn State University Freshmen career goals reflect changing economy by Denlta Sakal "There is an American myth that stall raporter Profs say students now more materialistic than 10 years ago life in the business world is dull. Business is interesting, and a very coordinator of career development ever wanted. In fact, young people is a reflection of hearsay about the CASEY SAID one reason for meaningul life can be lived in it," A national survey of college and counseling psychologist, said today are even settling for less," job market. the general increase in business she continued. freshmen suggests that this year's the increase in those persons seek- Wygant said. "Women's horizons have expand- studies is the need to enter a class-especially women-are more ing business degrees is in accor- One of the major findings of the ed.
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1 When They Said Sit Down, I Stood Up
1 When They Said Sit Down, I Stood Up: Springsteen’s Social Conscience, Activism, and Fan Response Susan Hamburger, Ph.D. The Pennsylvania State University “Glory Days: A Bruce Springsteen Symposium” Monmouth University, West Long Branch, New Jersey September 9, 2005 Bruce Springsteen’s increasing politicization from supporting other musicians’ causes (No Nukes and Amnesty International) to social issues he personally embraces (food banks) inspires audiences to follow his lead with charitable causes. Whether donating food, money, or labor to community food banks, raising money for the Kristen Ann Carr Fund for cancer research, or saving the Tillie façade on Palace Amusements, Springsteen’s fans draw inspiration from his example. Yet dissention among fans arose when Bruce joined Vote for Change to actively campaign for John Kerry. This paper explores the interplay between Bruce’s activism and fan reaction. From singing at the No Nukes concerts to food bank exhortations from the stage to actively campaigning for John Kerry, Bruce Springsteen has consciously and thoughtfully selected the causes he supports and speaks out on behalf of. Although Bruce played at a benefit for presidential candidate, George McGovern in 1972, he did not involve himself in politics or causes, keeping a low profile. Beginning with the Musicians United for Safe Energy (M.U.S.E.) anti-nuclear benefit concerts, September 22-23, 1979, 2 filmed and released as No Nukes, Bruce’s association with grassroots activism and benefit concerts set the stage for his first phase of charitable work—showing up and playing music. By lending his musicianship to the benefit, Bruce implied that he supported the anti-nuclear movement yet he did not speak out on M.U.S.E.’s behalf either in the concert program or from the stage.
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A Chapter in Rock History Auringer’S Photos, Design Work Featured in CREEM Tribute Book
LapeerArea Thursday, December 13, 2007 VIEW Section C A chapter in rock history Auringer’s photos, design work featured in CREEM tribute book BY MIKE ARNHOLT from view. VIEW Editor CREEM has now been LAPEER — The resurrected publication this on a new month of a tribute website www. to the “golden age” creem maga- of rock ‘n’ roll, zine. com and Detroit style CREEM: with the new America’s Only Rock HarperCollins ‘n’ Roll Magazine, hit book by another bookstores across the former CREEM country with a strong photographer, local connection. Robert Matheu, Hadley native, Lapeer look of CREEM, and his along with Brian High 1964 grad and now J. Bowe. This col- VIEW Production Manager orfull hardcover Charlie Auringer was an coffeetable book integral part of CREEM for features historical its first 17 years. and I was reprints of stories, In 1964, Charlie left always too tired to party with covers and photos Lapeer and headed off to the the band.” from its beginning with com- Detroit to college at Wayne legendary Grande The years he spent at mentary from the editors and State. Ballroom, Olympia Stadium CREEM are a slice of history artists who were in CREEM He was caught up in the and Cobo Hall, including Jeff today, but at the time “We over the years. energy and excitement of Beck with Rod Stewart, Elvis were just having a lot of Charlie’s passion for design concerts by Bob Dylan, The and Cream, among others. fun,” Charlie says. remained, and he moved on Beatles and others. CREEM went national in His concert photos were to design Detroit’s alternative “It was the music that 1971 and Charlie pho- Auringer and two of his pho- electric, but he had fun with newspaper, Metro Times.
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Reviews Springsteen on Springsteen: Interviews, Speeches, and Encounters, Edited by Jeff Burger (Chicago: Chicago Review Press, 2014
91 Reviews Springsteen on Springsteen: Interviews, Speeches, and Encounters, edited by Jeff Burger (Chicago: Chicago Review Press, 2014. 432 pages). The published interview was not invented by music journalists—it was a staple of Paris Review and Playboy, to cite two antecedents before Rolling Stone came along in 1967—but this somewhat peculiar literary subgenre has always had a special significance in rock & roll. It emerged as a culturally distinctive magazine feature in the late 1960s and early 1970s, which is to say the moment when rock & roll became rock, when it shifted from a largely unselfconscious form of musical expression to a more cerebral, avowedly artistic, one. As in so many other ways, we mark our years AD: After Dylan. In its inaugural issue, Rolling Stone’s first interview subject was Donovan. But the patron saint (or, perhaps more accurately, sinner) of the form was Dylan: charismatic, elliptical, endlessly quotable. For musicians, journalists, and readers, the interview became an arena wherein the intellectual seriousness and philosophical ramifications of rock could be staked out and elaborated—generally free from the scrutiny of those (academics and other old people) who might regard the enterprise with amusement or ridicule. By the time Bruce Springsteen came along in the mid-seventies, the rock interview had already become a fixture not only of Rolling Stone, but also sister publications Creem and Circus, which were eagerly received by adolescents like myself as bulletins from faraway worlds that were simultaneously the locus of our inner lives. A not-quite-modest pronouncement from a reigning superstar would become a proposition we would ponder, test, and adopt as our own.
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CLOCKWISE from TOP LEFT Clarence Clemons in 1980; §Ruce Springsteen and Patty Scialfa; Nils Lofgren, Clemons, Springsteen, Stev
CLOCKWISE FROM TOP LEFT Clarence Clemons in 1980; §ruce Springsteen and Patty Scialfa; Nils Lofgren, Clemons, Springsteen, Steve Van Zandt, Max Weinberg, Scialfa, and Garry Tallent (from left), 2003; Clemons, Springsteen, Tallent, and Van Zandt (from left), 1980. AWARD FOR MUSICAL EXCELLENCE The E Street Band By Dave Marsh According to Bruce Springsteen, this house-rocking group of singular musicians has always expanded his line of vision - while creating the framework for the marathon live shows that have defined his career. Clarence Clemons Nils Lofgren Garry Tallent Patti Sci alfa David Sancious h e e s t r e e t b a n d h a s l a s t e d m o r e t h a n forty years with an independent and highly THIS PAGE, TOP individualized identity. The most essential The E Streeters in 1973: David Sancfc«s} albums of Bruce Springsteen’s career - ..Springsteen* Vt|4 *Maddog* .Lopez, Clemons, Danny T Bom to Run, Darkness on the Edge o f Town, The River, Fedeife^jiifid T a fle ri|M ite ft), Bom in the USA., The Rising - are built around the group. Yet only four albums and an EP, all live except an anthology, bear the group’s name on the spine. the most virtuosic, produced Lucinda Williams’ iconic You could say that the ESB is the greatest instru Car Wheels on a Gravel Road. Garry Tallent has been ment Springsteen plays. He recently said almost ex a mainstay of Nashville’s Americana scene for a cou actly that: “I write to live up to the band’s abilities ple of decades - as producer, instrumentalist, talent and power onstage.
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The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 24 BORN TO RUN, Bruce Springsteen Produced by Bruce Springsteen and Mike Appel: written by Bruce Springsteen Columbia 10209 1975 Billboard: #23 Springsteen once said that after he'd come up with this maelstrom, he walked around for the next few days wondering where he'd stolen it from. Which makes sense because "Born to Run" has the audible ambition of recapitulating the first twenty-some years of rock and roll's public history, fusing a seven-layer Duane Eddy guitar lick with Dylanesque lyrics, Roy Orbison vocal histrionics, Spectorian production effects, Stones-style rhythm section, King Curtis sax break, and subterranean references to half-forgotten one-shot hits from "Little Star" to "Mountain of Love." Critic Greil Marcus once described it as "a '57 Chevy running on melted-down Crystals records," and only the part about the car was metaphor. Celebrated as Springsteen is for his lyrics, it's the music that makes "Born to Run. " The lyrics are still remarkable, sketching a philosophy of determined outward rebellion, a desire to move, a sense of goals and purpose that skirt the edges of the larger-than-life. But this hopeful abandon is tempered by an equally powerful melancholy; the future seems so bright largely because the present's so dismal. Truth to tell, Springsteen seems most vibrant when depicting the kids cruising the Jersey strip: "The girls comb their hair in rearview mirrors and the boys try to look so hard . Kids are huddled on the beach in a mist." From bar to bar.
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Detroit Rock & Roll by Ben Edmonds for Our Purposes, The
"KICK OUT THE JAMS!" Detroit Rock & Roll by Ben Edmonds For our purposes, the story of Detroit rock & roll begins on September 3, 1948, when a little-known local performer named John Lee Hooker entered United Sound Studios for his first recording session. Rock & roll was still an obscure rhythm & blues catchphrase, certainly not yet a musical genre, and Hooker's career trajectory had been that of the standard-issue bluesman. A native of the Mississippi Delta, he had drifted north for the same reason that eastern Europeans and Kentucky hillbillies, Greeks and Poles and Arabs and Asians and Mexicans had all been migrating toward Michigan in waves for the first half of the 20th Century. "The Motor City it was then, with the factories and everything, and the money was flowing," Hooker told biographer Charles Shaar Murray." All the cars were being built there. Detroit was the city then. Work, work, work, work. Plenty work, good wages, good money at that time."1 He worked many of those factories, Ford and General Motors among them, and at night he plied the craft of the bluesman in bars, social clubs and at house parties. But John Lee Hooker was no ordinary bluesman, and the song he cut at the tail of his first session, "Boogie Chillen," was no ordinary blues. Accompanied only by the stomp of his right foot, his acoustic guitar hammered an insistent pattern, partially based on boogie-woogie piano, that Hooker said he learned from his stepfather back in Mississippi as "country boogie." Informed by the urgency and relentless drive of his Detroit assembly line experiences, John Lee's urban guitar boogie would become a signature color on the rock & roll palette, as readily identifiable as Bo Diddley's beat or Chuck Berry's ringing chords.
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A Go D N Ag D Iloce
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Graceland-National Historic Landmark Nomination
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