UNCUT 366 ----- March 2025



ROCKMAN

The Wire -- March 2025



ROCKMAN

ROCKMAN

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Rockman


UNCUT 366 ----- March 2025

Very good article. Sucks that Rod did that.

THE AUSTRALIAN --- 22 February 2025



ROCKMAN

[podcasts.apple.com]



ROCKMAN

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Rockman



[podcasts.apple.com]

Thanks Rockman

Pleasure Glimm....



ROCKMAN

Jerry ....... Bianca .....



ROCKMAN

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Rockman


Jerry ....... Bianca .....

when? where?

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1962

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Rockman


Jerry ....... Bianca .....

when? where?

at a new years party held by one of the sons of the sultan of brunei at the dorchester hotel in london dec 31, 2013



the daily mail

and here they are together again at a book launch party in september of 2014

One of the passengers interviewed from that recent Southwest flight 2504 near-miss is wearing a Stones shirt on camera interview .. Maybe Rockman can work his magic

Just for you snoopy .......



ROCKMAN

Best Of British Lifts 'Damp Spirit'
THE AUSTRALIAN ----- 26 February 2025



ROCKMAN

thanks man

.... no problem snoopeeeeee ...



ROCKMAN

The Rolling Stones get a mention in this boxing story ...

By BRIAN MAHONEY

NEW YORK (AP) — Gervonta Davis will pack the place Saturday night, just as he always does when he fights.

“Tank” set a record for a boxing card in Brooklyn with an announced crowd of nearly 19,000 fans the last time he fought there, then drew more than that in Washington and Las Vegas for his next two fights.

The WBA lightweight champion’s crowds are so large that they get measured against acts much bigger than boxers. The live gate at Washington’s Capital One Arena for his 2023 bout broke the building record set by the Rolling Stones, and if Davis (30-0, 28 KOs) can set the overall Barclays Center record Saturday, it would again mean bumping off Mick Jagger and Co.


[apnews.com]

Chanel and Charles Finch pre-Oscar Awards dinner 2025



ROCKMAN

Emilie Livingston .. Jeff Goldblum .. Mick Jagger .. Melani Hamrick



ROCKMAN

Charles Finch ... Mick Jagger ... Melanie Hamrick

Chanel and Charles Finch pre-Oscar Awards dinner 2025



ROCKMAN

Melanie Hamrick ... Mick Jagger ... Victoria Pearman

Chanel and Charles Finch pre-Oscar Awards dinner 2025



ROCKMAN



Edited 1 time(s). Last edit at 2025-03-02 23:54 by Rockman.

keep em' coming rockman

love it!

ROCKMAN

oh my god "rock n' roll soap"

one of my most favourite concert pics
1975 or 1976

Rock forgot one of its wildest front men. He’s got a story to tell.

[www.washingtonpost.com]


Peter Wolf befriended music legends, married a movie star and led the J. Geils Band. His new memoir reminds us: He was there.

More than 20 years ago, Peter Wolf, the former front man of the J. Geils Band, drove across town to see his buddy David Bieber, a local media figure known for his equally nocturnal habits.

It was past midnight when they hopped into Wolf’s car, and he put on a song he had just finished for his next record. A wash of gritty guitars gave way to that voice, raspy and melodic, delivering the opening lines of “Nothing but the Wheel.”

Well I’m past the boulevard
Out here underneath the stars

They sat in silence as another singer joined in the second verse: Mick Jagger.

“Oh my God, Peter, you finally did it,” Bieber told him when it was done. “You pushed every button necessary.”

The song was a rootsy rocker in the spirit of “Exile on Main Street.” The Stones hook was the clincher. Wolf was about to launch a massive tour.

“Radio,” Bieber said, “is going to eat this up.”

Wolf pauses as he relates the conversation. We’re sitting in his kitchen, where his longtime partner, Nora O’Connor, has assembled a plate of cold cuts, cheese and olives. He’s a master storyteller, who’ll pull out yarns from his years fronting one of America’s most electrifying live bands and his huddles with everyone from Julia Child to Alfred Hitchcock. This story, about showing a new song to an old friend, takes place years later, past the MTV-era heights when a single named “Centerfold” became one of the biggest things in the world.

That Jagger duet, the one destined for radio?

“Never got played,” he says.

Long after his fame peaked — after the hits and the famous marriage and the arena tours — Wolf could be seen around Boston, a nighthawk about town. You would spot him dressed all in black near the back of a club as a band played. If inspired, he might hop onstage and sing an Otis Rush song. Then he would wander back out into the night.

The pandemic finally shut that down. At 79, he doesn’t want to get covid, and there’s also Grace, Nora’s younger sister. She’s an accomplished painter who has been battling amyotrophic lateral sclerosis, or ALS, which has compromised her immune system. They’ve grown closer as Grace has served as Wolf’s primary sounding board for his latest project, a memoir.

“Waiting on the Moon” (out this coming Tuesday) is not just another celebrity confessional. For Wolf, it might be a final shot in a career suspended during the Reagan era by circumstances that still pain him. Since splitting with the J. Geils Band, he’s made eight solo albums that have been praised by critics but played to a dwindling audience. He’s toured with a crack band, done Letterman and Fallon, but nothing’s broken through enough to cement a legacy. Could a book?

“I hope it does for Pete the equivalent of what ‘Just Kids’ did for Patti Smith, which is establish him as a writer and an observer and a raconteur,” says the writer Bill Flanagan, a friend. “Because he is all those things. But you know, what I really hope is that people will just get why Peter Wolf is important.”

Celebrities often wrestle with when to write the book. But Wolf’s delay tactics went beyond simple procrastination. The proof is in a black binder he sifts through at the kitchen table, typed notes that read like a dream dinner party guest list: Tennessee Williams, Aretha Franklin, Norman Rockwell, Jack Nicholson, Robert Lowell, Andy Warhol and Bob Dylan. All of these people played some part in his life.

How old is the binder? Wolf once took a proposed chapter to Harvard English literature professor William Alfred for review. Alfred died in 1999.

When Wolf finally signed a book deal in 2023, he tried to avoid writing about the two things he’s most famous for: his time with the J. Geils Band and his intense, five-year marriage to actress Faye Dunaway.

“I knew there were stories, if I included them, that could help sell more books, but I didn’t want it to be a kiss-and-tell,” Wolf says. “I wanted it to be about the privilege I had to meet the characters in my chapters, the hope of capturing and sharing something about them.”

Grace and another longtime friend, acclaimed Elvis biographer Peter Guralnick, nudged him to reconsider. It was a process. O’Connor would work with him on those chapters only in his house.

“I wanted Peter to feel safe,” she says in an email. “I also felt it would be cathartic for him. … Little by little he grew more secure.”

“He did not want to make it into a pop memoir, and he didn’t,” Guralnick says.

The Dunaway chapters offer a window into Hollywood’s last golden age, when the actress made “Chinatown” and “Network.” And the J. Geils Band section lays bare the bizarre and abrupt end of the band that, more than a decade after their first record, finally hit No. 1 at the dawn of the ’80s. It’s not an amiable split. Seth Justman, his longtime writing partner, ended up delivering the blow. Wolf named the chapter “Fratricide.”

“As novelist Graham Greene wrote, ‘Success is more dangerous than failure, the ripples break over a wider coastline,’” Wolf writes. “For the Geils band, success took its bite with razor sharp teeth, causing a divide between me and my bandmates. They chose to change course and follow a captain whose blind compass would soon have them smashed against the rocks.”

Peter Blankfield’s life of serendipity began just after World War II in the Bronx.
The book opens in 1957. His parents took him to see a French film, “He Who Must Die,” in an art house. When the lights went down, a couple rushed in, and the lady — wearing a mink coat over a lacy nightgown — sat next to him. She leaned her head onto his shoulder, and young Peter nodded off. Only when the film finished and she scrambled out did he recognize her. The chapter is titled “I Slept With Marilyn Monroe.”

Wolf went to high school in Harlem, regularly hitting the Apollo Theater and seeing James Brown and Jackie Wilson. In 1965, he saw Dylan play at the Forest Hills tennis stadium in Queens a month after his famous performance at the Newport Folk Festival. A year later, Wolf moved to Boston for art school. Naturally, his freshman-year roommate was David Lynch.

Wolf immersed himself in Boston’s ’60s music scene, hovering around Cambridge’s famed Club 47.

When Muddy Waters and his band drove up, Wolf was outside, asking if he could help with the amps. Sure, kid. When the band realized the folkie venue was dry, Wolf skipped out to buy James Cotton a pint of scotch. Before long, Waters and the guys were at “Little Wolf’s” apartment listening to records.

“I remember when we first met, he was already a font of information,” says the Rolling Stones’ Keith Richards. “He was about the only one that really knew soul music. He used to hang with Muddy Waters, which put us all in awe.”

(Article continues… it’s massively long.)

Fanks STG ..... good read

There was an article from around the time of
81-82 tour where they said Keith and Peter Wolf spent a
lot of time between shows playing rare doo-wop to each other .....

Now man that'd be a cool room ta be in wouldn' it ....



ROCKMAN

Then I guess you’ll need the rest of it! Part II:

… Wolf formed a band, the Hallucinations, and started to DJ overnights on WBCN, a revolutionary rock station that emerged in the late ’60s. On air, he developed a version of his stage rap, the “Woofa Goofa” persona (“with a yamma gamma gooma looma … doing it to it and getting right through it”), and became pals with Van Morrison, who was living in town.

He watched as Morrison, coming off the pop hits “Gloria” and “Brown Eyed Girl,” developed the mystic soul style that would lead to “Astral Weeks.”

These observational portraits were a high point for Elvis Costello, a longtime friend who read an advance copy of “Waiting on the Moon.”

“One of the beautiful things is the way he positions himself slightly outside some of the scenes he’s describing, almost like a student to the master,” Costello says. “He’s not saying, ‘I was there, and I witnessed Dylan playing.’ He’s looking in as we might have been ourselves if we’d been there at the time.”

To truly understand Peter Wolf, you had to see him leading the J. Geils Band.
They began as an acoustic trio formed by guitarist John Geils, harmonica player Richard “Magic Dick” Salwitz and bassist Danny Klein. In 1968, they went electric, adding Wolf and a Hallucinations partner, drummer Stephen Jo Bladd. Justman, a piano player and songwriter, was the final addition.

The J. Geils Band produced minor hits throughout the ’70s (“Must of Got Lost,” “Give It to Me,” “One Last Kiss”), but the divine moments took place onstage.
Lori Hocutt-Spain was 16 when she got a ticket to a gig on the campus of William & Mary in Williamsburg, Virginia. It was 1973.

“He was wearing a black leather jumpsuit, and it was unzipped so you could see the hair on his chest,” Hocutt-Spain says. “He exuded charisma and had the people eating out of the palm of his hand. I’ve seen the Stones, Little Feat, Allman Brothers, but nobody had the ability to attend to the crowd like Peter Wolf.”

The J. Geils Band was an anomaly among 1970s rockers. They emerged from the same movement that sparked the John Mayall and Paul Butterfield blues bands. But they thrived by tapping into the dramatic theater of the soul revue. Wolf and Justman were songwriting partners in the Jagger-Richards mold. Klein and Bladd kept it tight. The flashiest player? Curly-haired Magic Dick on harp.

Mario Medious, a promotion guy at Atlantic Records, heard the J. Geils Band by chance while in Boston helping Dr. John. By 1969, he’d helped them get their deal with Atlantic.

“They were doing ‘Serves You Right to Suffer,’ a John Lee Hooker tune,” Medious says. “I’m a blues fanatic. I was born in Mississippi, raised in Chicago. And it was just like John Lee Hooker, same groove and everything. And so I thought it was some Black cats from Chicago, since I missed seeing them. They come offstage, and I went into the dressing room, and I said, ‘Where’s the brothers that just got through playing?’”

Wolf was already “a commanding presence,” Flanagan says.
“Even if they were opening for somebody else, it was like: ‘We are here because we deserve to be here. And aren’t you in luck because you’re about to see the greatest live show you ever saw.’ Pete just stepped forward like Muhammad Ali,” he said.

Offstage, Wolf could be tentative, anxious, the plan maker and contemplator. Onstage, he was a striking figure, bearded, in shades and perpetually in motion. He had studied this role for a lifetime.

“The role of the front man — as a young kid, it was seeing Jerry Lee Lewis jump on top of the piano and kick it across the stage, or Chuck Berry duckwalking and just being totally entertaining,” Wolf says. “Some bands stand there and do the record. I always gravitated toward people that were showmen.”

Dunaway caught the band live in San Francisco in 1972. Not long after that, she visited Wolf’s hotel room. Nothing scandalous: She ordered her favorite, a club sandwich, and they watched a “Gunsmoke” marathon on TV. They would get married in 1974. Wolf was drawn to both the stunning beauty who broke through in “Bonnie and Clyde” and the unpretentious girl from the Deep South.

“It was Dorothy Faye that I loved,” he says now, referring to her given first name. “That’s the woman with me at the hotel eating a club sandwich. The one that’s on the road loving being in this ice-cold school bus riding into the snowstorm. Never once was there any kind of, ‘I’m a movie star.’ She was just one of the gang.”

The relationship could be glorious. It could be difficult. Work meant they were often apart. Wolf also writes of a humiliating incident at the home of Dunaway’s “Chinatown” co-star Nicholson. During a visit, Dunaway went upstairs under the auspices of working on the script. With the sun coming up and still no Faye, Wolf felt suckered.

He gently picked up a coffee table covered in books and cocaine and walked out to the pool. There, he lowered it into the water, watching the books float to the surface and the drugs form a cloud. He carefully placed a chair on either side, watched them sink and took a taxi home.

“I felt certain that Nicholson, an art lover, would appreciate my homage to Duchamp,” he writes.

(There is more but am getting Phorum database errors when I try to post. Will try later when I figure out how computers work.)