THE RUNAWAYS | LA’S YOUNG CHERRY BOMB QUEENS OF NOISE WHO WERE BIG IN JAPAN

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1976, The Runaways — Lita Ford, Joan Jett, Jackie Fox, Sandy West, Cherie Currie — photo by Tom Gold

The Runaways teenage, all-female rock band was co-founded in 1975 by guitarist Joan Jett and drummer Sandy West. The two were joined by Cherie Currie, Lita Ford, and Jackie Fox and became the main core of the group. Vicki Blue, Micki Steele (who’d later join The Bangles), Peggy Foster, and Laurie McAllister also flowed in as others dropped-out, and they eventually broke up in 1979. The Runaways actually saw greater success in Japan than here in the US, where many critics and serious rock fans alike had a hard time taking the sexy teenage girls from LA seriously. Their mania and memory largely slipped into a slumber until being sparked again by the 2010 biographical flick, The Runaways.

Being a child of the ’70s & ’80s I was aware of The Runaways, but was exposed more to TV than the live music scene. Suzi Quatro (who inspired Jett) was riding a wave of curiously sexy, somewhat androgynous, lady rocker vibe and saw decent TV airtime. I’ll admit, I was intrigued. Pinky Tuscadero definitely had my attention too. Then Joan Jett and the Blackhearts, and Lita Ford (now a pursed-lipped, metal guitar goddess), shot back into the rock limelight wiser, and with stronger musical chops. Looking back at The Runaways, one thing I’ll say is that they were well-merchandised, as witnessed by the great archive of images that have successfully survived the test of time.

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ELVIS PRESLEY KING OF HOLIDAY ROCK | THE “WHITE CHRISTMAS” COVER CONTROVERSY

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1957 – Elvis Presley poses beside a Christmas tree in his home in Memphis, Tennesee. When Elvis recorded a cover of Irving Berlin’s “White Christmas, it made him livid, and he launched a campaign to have it banned from radio airplay. Berlin despised Elvis, and felt that he was degrading the song, which held a very personal and painful meaning for him, long kept secret.

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THE NIGHT THE COW CUT-UP THE BUTCHER | CASSIUS CLAY VS. SONNY LISTON, 1964

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“I was a senior in high school. I remember thinking Sonny Liston was the meanest, baddest man on the planet. He was an ex-con, controlled by the mob, and one look at him could shrink a man into a boy. Clay was the glib, smack-talking pretty boy. Most fans predicted his early demise. The fight was talked about for weeks after it was over. I was hooked. Boxing became my favorite sport.” –Jackie Kallen, fight manager

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It was an epic, wierd-ass time for this country. It just was. February, 1964 and just a few months earlier America had seen it’s golden boy, President Kennedy the King of Camelot, shot down in the street like a dog, in broad daylight, in Dallas Goddamn Texas.  The state would feel the impact for decades, as the entire country just could not forgive Texas for letting this happen to the President on their watch. America still had a collective black eye from the tragic loss and desperately needed something to rally around. And boy did we get it– the fight that would change boxing forever. The invincible, stoic champ, Sonny Liston vs. the young, brash showman (AKA the Louisville Lip) Cassius Clay. To add to the pandemonium, The Beatles had landed on our shore at JFK February 7th for their historic, record-breaking performances that would change music forever. I cannot even imagine what it would have been like to be alive during such an epic time in history.

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“The Beatles were royally pissed. They were brought to the beach first for a photo op with the champ. Liston took one look and said, ‘I won’t pose with those sissies.’ So they’re brought to meet Clay instead. I’m at the gym. Clay’s late. The Beatles are cursing. He finally shows up and says, ‘Come on Beatles. Let’s go make some money.’ They strike a pose in the ring where he taps George and the rest go down like dominoes. Clay says, ‘You boys aren’t as stupid as you look.’ John Lennon says, ‘No, but you are.’ Then they go off to their destiny and Ali goes off to his.” –Robert Lipsyte, who covered the fight for the New York Times

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ZZ TOP, THE MOVING SIDEWALKS & THE 13TH FLOOR ELEVATORS | TEXAS MUSIC LEGENDS

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“Our ’65 Chevy low rider convertible, flying the colors of ZZ Top’s El Dorado Bar is solidly a Texas car yet, equally at home on the streets of LA, Fresno, or Bakersfield.” –Billy Gibbons. This pic of ZZ Top has it all, in my opinion. Just checkout that custom-built Texas state Gibson guitar! The band has acquired an enviable car collection over the years, and is out and about in the custom scene. “We attend the Mooneyes Festivals in California and Japan and always make the SoCal Speed Shop summer ‘Open House’ gathering. Always a terrific time. As far as clubs are concerned, we think of ZZ Top as one.  We hang out, we shoot the breeze, we get down, we move on to the next town and, of course, it’s all about the arrival.  Loud, low, while you Rock and Roll…!” –Billy Gibbons

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Young ZZ Top Prom

“Dusty Hill, Frank Beard, and Billy Gibbons (ZZ Top) playing the Senior Prom in May, 1970 at Little Cypress-Mauriceville High School in Orange, Texas. Apparently sometime between signing the contract and the actual prom itself, the band broke-out big. They tried to get out of the contract, but the school couldn’t find a replacement on such short notice so ZZ Top still performed…people were climbing through the windows, crashing the prom, just to hear the band play. This was all at a really small school with a graduating class of around 100, maybe less.” via

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RANDY RHOADS’ RIVALRY WITH EDDIE VAN WHO…AND THE RIFF THAT SAVED OZZY’S ASS

Whenever I hear ‘Crazy Train’ I’m immediately transported back to 8th grade Guitar class. One dude will forever be etched in my mind. Dave was 1/2 Japanese, all of about 5 ft tall, and probably weighed 80 lbs soaking wet, if that. His hair, alone worthy of open adoration, making up the bulk of his weight and height. This ‘Metal Mane’ was streaked, sprayed, and stood a good 6 inches above his head, cascading down to the middle of his back in perfectly teased strands. My 13 yr old brain could not fathom the ridiculous routine and expense this must have required. But damn if he didn’t more the rockstar part than 90% of the bands on the cover Cream and Hit Parader magazine. His bare arms were like sinewy, wire pipe cleaners. And I’d never seen jeans that tight in my life. Not even on a girl. No sir. I don’t know where the hell he found them, or how he breathed. The entire situation was delicately perched upon tiny black (or white) Capezio, soft-as-hell-leather lace-up dance shoes. Boom. Mind blown. Only a handful of dudes had the nuts to wear these. Dave’s look was definitely balls-out for West Phoenix. But nobody questioned him, because Dave was the reigning guitar badass. While the rest of us fumbled through the opening of ‘Stairway to Heaven’, Dave was staring at the ceiling tiles, biting his lip, soloing like the Segovia of Heavy Metal.

Dave even brought his own guitar to class. Lugged it around in a case thicker than him, covered in cool stickers. Rather that than play the nylon-strung acoustic beaters they had in class. I don’t remember what kind of acoustic it was, but the strings (always Dean Markley) were so light that you could hardly see them, let alone feel them. You had to lean in to hear a damn thing, but it was worth it. And the action was set so low that you could run scales faster than a hot knife through butter. But if you strummed it would buzz like crazy. No worries. No one was strumming shit. Everyone was shredding– with varying degrees of success. Dave was a Rock God in the making, and everyone at Maryvale High School seemed to sense it. Dave was into the hot, new Japanese Metal bands that no one else even heard of. And he spoke of Yngvie, Eddie, and Randy in hushed whispers like they were comrades. Knew all their solos and tricks, and could perform them on cue. Eruption, Spanish Fly, Dee, and of course, Crazy Train were all in his finely honed repertoire. We moved from Phoenix to Tempe that year, and I changed schools, so I don’t really know whatever became of Dave. But my fascination with the marvel and mystery of Randy Rhoads was firmly cemented. No head-banging hooligan. A sensitive, immensely talented man taken too soon.

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Ozzy Osbourne & Randy Rhoads playing that epic polka dot Flying V! — photo by © Paul Natkin

“I never really got into Black Sabbath when I was in England. Right? And then Ozzy came out with this great first album, you know, it really was good. And we got to see them play after that, like almost every night. And so, Randy Rhoads, although being a wonderful guitar player, could not play Asteroids for shit. I beat him right across this country. From East coast, to West and back.

Randy Rhoads was like just, brilliant. You know, I mean of course he got better after he died. You know, because everybody does. Right? But uh, I loved Randy, yeah. He took risks. He wasn’t scared, you know. I mean, he knew his instrument, you know? So he’d just go for it. That’s what I used to like about him. And you could…like, Ozzy used to just throw him around, throw him up on his shoulders while he was playing. And he never missed a note.”

–Lemmy from Motorhead

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BON SCOTT, RENNIE ELLIS & RICHARD RAMIREZ | THE HIGHWAY TO HELL IS PAVED IN MYSTERY

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1978, Bon Scott and the Heathen Girls, Atlanta, GA. — Image by © 2011 Rennie Ellis Photographic Archive. “Up in his room, Bon orders one of those fancy American cocktails, then dials California for a 20 minute call with an old girlfriend. Lead guitarist Angus Young, the ‘enfant terrible’ of AC/DC, arrives closely followed by Rose Whiperr and the Heathen Girls– four stunningly beautiful, heavily made-up girls who’s singing act at the local gay bars could loosely be called ‘bizarre chic’. The girls and the band had met at the backstage party that manager Michael Browning had thrown an hour or so before at the end of a typical raging AC/DC concert.”

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