This is the good stuff, good people, a genuine once-in-a-blue-moon recovery of a lost treasure trove. You, Dangerous Minds’ readers, are literally the first people in the word to see these photos, apart from the photographer and a tiny handful of others.
In 1976, Dave Treat, a student at the now defunct Cooper School of Art in Cleveland, Ohio, lived in a Lakewood apartment building that also hoveled the members of a rock band that had just re-christened itself from Frankenstein to the Dead Boys. As he was both the nearest accessible art student who owned a camera and a close friend to singer Stiv Bators, Treat was recruited to shoot publicity photos of the band, and while one of them may have been used (it remains unclear, but we’ll get to that), the rest have sat unseen since then. They became obsolete quickly, as Jeff Magnum would be added as the band’s bassist shortly after these were shot. In the last year, their existence became known to art historian Brittany Mariel Hudak and photographer/gallery owner Bryon Miller, who are working to release them in a book, and preparing them for exhibit in Cleveland, with the possibly of a New York exhibit later in the year. What the photos reveal is a band unknowingly on the cusp of achieving legendary status, and a sensitive, vulnerable Stiv Bators very, very unlike his self-consciously bratty public persona.
From Hudak’s introduction to the forthcoming Stiv 1976: Lost Photographs of Stiv Bators & The Dead Boys:
This is not about the onstage, very public Stiv or his antics – you can visit that guy on YouTube, read about his New York shenanigans in Legs McNeil’s Please Kill Me, or watch him wield a baseball bat as tough guy “Bo-Bo Belsinger” in John Water’s film, Polyester. In contrast, these photographs taken by his neighbor Dave Treat in 1976 capture a different Stiv altogether – what they capture is “Stiv” in the making. They offer a rare glimpse into the private life of a young man on the brink of something, with a marked sense of unfettered opportunities and grand plans. There’s an unquestionable eagerness in his eyes, a what-do-I-have-to-lose attitude – and even hints of the onstage Stiv being built. He poses quite consciously for the camera, wearing the soon to be comfortable guise of the seductive rock star – lanky, languid, oozing sex appeal and confidence, complete with outrageous platform boots.
But if you look closely you can detect another, more vulnerable side of the performer. Crouched in a corner or staring off into the distance, at times there’s a palpable sadness – a peculiar malaise. This too could be a pose – the tortured artist suffering for his art, another familiar component of the rock-star myth. But one gets a sense that this side is genuine, and for Stiv rarely seen, which makes these photos all the more special.
The negatives for these amazing photos were buried in a closet for almost 40 years, and most have been printed for the first time this year by Miller, a gallery proprietor and photographer for High Times and Billboard, who, out of respect for their origins and provenance, actually printed them old-school gelatin silver style. In an actual darkroom. Some of those still exist. The photos will be exhibited at Miller’s Gallery 160 in Cleveland beginning on Friday, June 5th, to mark the 25th anniversary of Stiv’s death from injuries sustained when he was hit by a car, with an opening reception beginning at 6:00PM. Apart from Treat, Hudak, Miller, myself, and the Dead Boys’ Cheetah Chrome, nobody has ever seen these images before you, right now. Clicking on an image spawns an enlargement in a new browser tab.
I’m in my mid ‘40s, and I’ve lived my entire life in Cleveland, OH. Go ahead and fire up your jokes, I’ve heard ‘em all, and frankly, if you still think it’s a punchline, I’m perfectly happy for you to keep your uninformed pierogi-hole on lockdown and stay far the hell away so as not to pollute my zen (OR: if you want to check it out with an open mind, I know a ton of very cool people who’d be glad to point you in all the right directions). I’ve traveled plenty, though obviously one can never travel enough, and I’ve had opportunities to live elsewhere, but so far I’ve taken none of them. Part of that was because until a few years ago I had enviable job security in an industry I loved, and I still have a crazy low cost of living, but the REAL magnet that’s kept me here? The music scene is and always has been beyond utterly fucking brilliant. I have never wanted for gifted mutants to rock with, and while everybody steeped in punk and New Wave lore knows what a musical atom bomb Northeast Ohio was in the ‘70s, and while the success of the Black Keys, indie champs Cloud Nothings, and garage/soul shit-fucker-upper Obnox are attracting attention here nowadays, the rarely-told stories of the ‘80s, ‘90s and oughts scenes are doozies, as well. Almost every time I’ve pondered a move, it’s been a band that’s kept me around, even though nary a one of ‘em has ever made a dent, and I while I abidingly love a lot of other cities, I’ve yet to seriously regret sticking it out here. A close-knit music scene teeming with talent is just that strong an attractor for me.
Recently, the excellent archival record label Soul Jazz have, as part of their ongoing PUNK 45 series, released two excellent compilations documenting the ‘70s/early ‘80s roots of that music scene, one each for Cleveland and Akron, both with extremely generous liner notes. They cover all the stuff I missed out on by being not being born 10 years earlier, but obviously these bands still weigh heavily on the region’s underground musical legacy. Both are assembled from early, independently-released 7"s, and both accordingly feature some previously compiled material AND some serious treasures.
The Akron comp, Burn Rubber City, Burn!, has the early DEVO single “Mechanical Man” and the rarity “Auto Modown,” the Waitresses’ early single “The Comb,” and Tin Huey’s awesome “Squirm You Worm.” (Versions embedded in this post may not be the same as what’s actually on the comp; they were the versions I could find online. )
I wish I could give you any kind of deep background on how this came to be. A friend shared it on Facebook yesterday, and it caught my eye not just because it’s Smashing Pumpkins in the worthy Gish era, well before Billy Corgan became an insufferable, bloated ego making insufferable, bloated albums, but because it was taped in my neighborhood.
I moved to Cleveland’s Tremont district a few years after this was shot, when it was still a cheap rent haven well on its way to becoming a hip arts district. It’s now neither, particularly. The gazebo they’re playing in still stands in Lincoln Park, where it’s now MUCH more difficult to get murdered than it used to be. (Also, some self-referential trivia: sometime Dangerous Minds contributor Jason Schafer got married in that gazebo.) The band sings “Blue,” from the 1991 Lull EP—the song later turned up on Pisces Iscariot—before they goofily riff on BÖC’s “Godzilla” while guitarist James Iha thanks the academy. An edited version of this exists, but I much prefer the raw footage.
NYC-via-Moscow painter Dimitri “Dima” Drjuchin and Indianapolis’ Jason “Homeless Cop” Fennell will be the subjects/stars of a two-man show, “Mutually Assured Destruction,” at the newish gallery BUCKBUCK in Cleveland, OH, bringing all the colors at once to that fabled grey city. The show’s opening reception is on Saturday, July 5th.
Mutually Assured Destruction (MAD), is a doctrine of military strategy and national security policy in which a full-scale use of high-yield weapons of mass destruction by two or more opposing sides would cause the complete annihilation of both the attacker and the defender.
Summer is here, but nuclear winter has just begun! Celebrate your independence (again), and come watch the heavens open up as we blast BUCKBUCK into oblivion with an arsenal of paintings and music by Dima Drjuchin and Homeless Cop. If you haven’t been reduced to a shadow on the sidewalk, crawl your ass home with a piece of history (and I’m not talking about radiation poisoning). We’ve been waiting longer than the second coming for this show, so cram your gullet with leftover potato salad and fold up your star-spangled vinyl lawn chair, because if you’re not at this show, you’re probably messing yourself in a concrete bunker.
Fans of Reggie Watts, Marc Maron and Eugene Mirman will recognize some of those comics’ album covers as Dima Drjuchin illustrations. His best-known cover was the piece done for Father John Misty’s Fear Fun album. The Brooklyn-based painter also boasts a large portfolio of concert posters, all on view at his Tumblr.
“My work channels different points of reference from my Russian background, to pop culture, to comic books, to fine art, to spirituality, to the occult. I can’t truly say that it’s a commentary on anything, because I am not interested in judging anyone or anything. I believe it’s more of a reflection of multiple influences that get filtered through my mind and come back out all at once on my canvas redefined to my own liking. That said, I also try not to take anything too seriously and on some level I believe I still paint in a similar mind set I did as a child scribbling on a piece of paper. Most of my ideas are on the spot and I let how I’m feeling at that moment guide me to what happens next in the piece. I think ultimately I’m just trying to entertain myself.”
Homeless Cop’s work is likely best known to most of us from his bump animations on the Adult Swim cable network. His paintings strongly resemble vector illustrations, but are in fact rendered in oils.
“I’ve always painted things I like. People, places, and things. My whole life I’ve been drawing and painting, and I really feel like I was born to do this. I think my work evolves in terms of subject matter, but the execution just stays true to my style. My paintings look look like a robot made them, and I get a lot of pleasure being able to say I made them with my hands. My favorite artist is Jean-Michel Basquiat, and my favorite band is Nirvana. I also like pizza.”
Ohio garage/soul band Obnox is kicking up a hell of a ruckus this year. On the heels of his latest LP Louder Space the band’s only full-time member Lamont “Bim” Thomas has been on tour damn near constantly, and has been racking up rave review after rave review.
(Here’s a big pile of disclosures: Thomas is an old friend of mine. I’ve played guitar on one of his E.P.s, and written two promotional bios for his label, and was, in all cases, compensated in Irish whiskey. I’m not even going to pretend to be an objective voice here—Bim’s a beautiful cat and Obnox fuckin’ rocks.)
And I’m hardly alone in thinking so.
Thomas was previously known—to the degree that he was known at all—as a drummer in Columbus and Cleveland punk and garage bands like The Bassholes, Puffy Areolas and This Moment in Black History. He began dabbling in writing his own songs very recently, as the stay-at-home dad of a school aged girl, and in the mere three years since he released his uncommonly headstrong and passionate debut LP I’m Bleeding Now, the absurdly prolific 42-year-old has released two more albums of his remarkable skillet-to-your-damn-face R&B/punk hybrid, including the acclaimed 2XLP Corrupt Free Enterprise, and well over half a dozen singles and EPs. His recordings tend to be heavily layered and drenched in lo-fi filth, almost recalling the “Shitgaze” “movement” that emerged in Columbus about a decade ago. This was partly a consequence of his extremely direct recording process—everything was done quickly, on an elderly 16-track tape machine set up in the living room of a punk flophouse. Somehow, instead of obfuscating his ideas, all that grime imbues his recorded work with a remarkable depth, an earthy quality Thomas has retained despite using a proper recording studio for Louder Space.
A couple of weeks ago, he released a video for the songs “Molecule” and “How To Rob (the Punk Years).” In it, he does the laundry, gets high, smashes records, does the dishes, gets high, raps, gets high on the stairs, shaves his head, gets high in a recording studio, dances, and gets plenty fuckin’ high.
For the past several years, WCSB 89.3 FM, one of Cleveland By God Ohio’s toweringly excellent college radio stations, has thrown an extremely cool Halloween party. They’ve hit upon a winning formula for booking it: the headliner is invariably a beloved classic punk band - past bill-toppers have included The Dickies, The Avengers, and The Angry Samoans. Second on the bill would often be a classic Cleveland underground band reunited for the occasion, then the rest of the bill would be filled in with contemporary worthies. It’s free of charge, and always a very popular night out, with the best, brightest, and weirdest of CLE’s freak-scenesters doing their best to outdo each other in insane costumery and irresponsible drinking.
So OK, I wasn’t present for this, so some of the “specifics” of this post are cobbled from Facebook reportage shared by party-goers during and after the event. If I screwed up any of these pieced-together details, that’s all on me. This year, the party apparently got too popular. After the venue had already hit capacity, there were still hopeful revelers lined up around the block, waiting hours to get in, in costume, in frigid Ohio winter weather. This could be due to the booking of The Dead Milkmen. That band famously went, in a mere 5 years, from being the smartass Philadelphia maestros behind THE surprise underground hit album of the ‘80s with Big Lizard in My Backyard to the 120 Minutes darlings who came astonishingly close to achieving actual mainstream success with Beelzebubba and Metaphysical Graffitti. This would have been a hotly anticipated show even if it wasn’t an admission-free bacchanal. BUT - in Cleveland there always seems to be a “but” - right before they were to take the stage, the power went out in much of the city’s Near-West Side, including the newly-chic Gordon Square neighborhood where the party was being held. The Milkmen attempted a drums-and-a-capella singalong to mollify the capacity crowd - some of whom, being, you know, punks and everything, had reflexively jumped to the conclusion that the police had shut off the power to stop the show and were getting all pissed off - but it really didn’t work, and sadly, the theater was cleared out.
But for all their bird-flipping, wiseass posturing, The Dead Milkmen are clearly some damn cool guys:
Hello Loyal Listeners,
As you all probably know first-hand or have heard, the Gordon Square community of Cleveland was hit with an untimely and unfortunate power outage in the Gordon Square and Ohio City neighborhood on November 2 just before The Dead Milkmen were to take the stage at the 2013 WCSB Halloween Masquarade Ball at the Cleveland Public Theater – something WCSB and The Dead Milkmen felt completely terrible about for everyone involved.
The Dead Milkmen being class acts drove themselves and their equipment up to the WCSB studios and did their ENTIRE SET (encore included) live over the CSB airwaves for the entire city to enjoy. They even stuck around and answered some questions after their inspired performance.To make sure no Dead Milkmen fan missed out on this historic (and odd) evening, we have extracted the audio and posted it here for all to enjoy.
The recently published graphic novel, Cleveland, by the late Harvey Pekar and illustrator Joseph Remnant, is a flat-out masterpiece of the form. One (hefty) part “biography” of a city, Pekar being Pekar, Cleveland is also another piece (and a key piece at that) of the grand tapestry recording the life of one of the city’s most notable residents, and certainly the man who will forever be known as Cleveland’s unofficial poet laureate.
In Cleveland, Pekar, who famously said “Life is a war of attrition,” tells his own story (as is his wont, of course) alongside that of the city he loved so much. It’s a broadly sweeping narrative for a writer usually so invested with the minutiae of life, but the Pekaresque observations are no less potent as the author takes an aerial view of over 200 years of the rise and fall of what was once one of America’s greatest cities and placing the events of his own 70 years living there in the larger context of Cleveland’s role in the American experiment itself. This is not the “day to day” life, little—yet potently illuminating—observations we’ve come to expect from Pekar, but in the beautifully-rendered pages of Cleveland, Harvey’s take on a slice of American history that he witnessed first hand (well, about a third of it, let’s say) is no less rewarding.
Cleveland is so beautiful and so heartfelt that it brought tears to my eyes several times (reading it, as I did, mostly in a dental office). I can’t recommend it highly enough. If you hail from Cleveland (or anywhere near it) the book is a must-read, but I’d say the same to anyone who simply wants to be dazzled by a great American writer at the very tip top of his game and working with one of the best visual interpreters of his long career. Cleveland is a masterpiece, a modern American masterpiece.
I sent Dangerous Minds pal Jeff Newelt, who edited Cleveland (Newelt is also behind Smith magazine’s delightful online “Pekar Project”) a few questions about the process of bringing a work like Cleveland to fruition and keeping the flame alive of one of America’s most distinctive literary voices.
In what kind of shape was the project in when Harvey Pekar died?
When Harvey died, the script was totally done, and Joseph had already drawn 18 pages. Harvey had seen those pages and was pleased to say the least. He was thrilled and it wasn’t easy to thrill Harvey!
Joseph Remnant’s artwork in Cleveland is just stunning, he’s clearly one of Pekar’s most inspired collaborators. What kind of research went into the panels?
Joseph was the clear and only choice to illustrate Cleveland. He was already working with Harvey and myself on The Pekar Project webcomics, and after he did such an incredible job on the story “Muncie, Indiana,” that clinched it. Because half of the book is literally a history of Cleveland, Joseph did TONS of online research searching for images, and also took out piles of books from the library. Regarding Harvey himself, luckily we were blessed in that we spent a nice chunk of time with “our man in person. The whole Pekar Project crew flew to Cleveland for Harvey’s 70th Birthday Party in 2009, and we had a wonderful weekend, him giving us a guided tour of his favorite spots. Priceless experience.
As an editor, how did you approach the material?
Cleveland was originally developed with Vertigo editor Jonathan Vankin, who did the initial heavy conceptual lifting of what the book should be. Then the powers that be at DC couldn’t be bothered to look at this incredible script, so on behalf of Harvey, I brought in Josh Frankel/ZIP Comics to publish the book, and brought in Top Shelf Comix to co-publish. So with Cleveland, the toughest editing was done, and I just copy-edited/ cleaned up some inconsistencies here and there. With short webcomics he wrote for The Pekar Project, Harvey would call me up and read me each story over the phone, then we’d jam on it for a few minutes and choose which artist to give it to.
I love the fact that the book is a parallel biography/autobiography of the city and one of its most notable and emblematic lifelong residents. It just works so brilliantly.
Cleveland was always so prominent in Harvey’s work as to almost be a character, so it was inevitable that he’d one day do a book with the city as the focus. I think Harvey identified with the perma-under-doggedness of the city.
Cleveland is such an unabashed love letter to what most people would consider a drab, horrible city, but Pekar’s magical voice and pithy, erudite historical observations and Joseph Remnant’s wonderful illustrations really evoke the city’s heyday, its rise and fall and fall in such a vivid, vivid way. It’s an extremely moving historical/dramatic arc that is unique in American literature.
It’s all about the love. The appreciation. The key to understanding Harvey’s work, IMHO is realizing how much of an “appreciator” Harvey was. Too many words are wasted on the Harvey-as-curmudgeon labeling, reinforced by the excellent-yet-ultimately one-dimensional performance by Paul Giamatti in the American Splendor film. All the little mundane moments in his many classic autobiographical stories come down to Harvey noticing, appreciating and wanting to share a special something he overheard, or a magic-yet-mundane moment he witnessed. Also so many of Harvey’s stories are appreciations of underheralded jazz musicians, klezmer artists, Russian novelists, etc. So it’s the same with his city. He was frustrated with Cleveland but he LOVED it nonetheless, so that love charges a jazzy poetry in his narration.
How did Alan Moore come to be involved with Cleveland? He not only wrote the introduction, he also generously helped you raise money to defray the cost of publishing, too, right?
I passed a galley to Alan through comics scholar Paul Gravett a longtime pal of Alan’s who I hung out with for 10 days at the Rio Comicon along with Melinda Gebbie (Alan’s wife and artist of Lost Girls) and Kevin O’Neill (artist for The League of Extraordinary Gentlemen). Alan Moore was always a huge Pekar fan. He even drew a one-page American Splendor story. Plus, Alan was a character in Pekar story because Joyce, Harvey and Danielle visited Alan and Melinda in England on the movie tour. Harvey Pekar was to Cleveland what Alan Moore is to Northampton. When we were thinking whom we should get to do the intro, he was my only choice. Then Alan helped raise money for the Harvey Pekar Memorial Statue on Kickstarter by offering a 2hr live webcam chat as a reward!
What else is still to come from Harvey Pekar?
Over at the Pekar Project the next installment of the epic Harvey Pekar / Douglas Rushkoff teamup, illustrated by Sean Pryor, is coming soon. Also, released next week is Not The Israel My Parents Promised, illustrated by JT Waldman. This is my blurb on the back of that book: “Pekar peppers accounts of perpetual persecution with poignant autobiographical anecdotes in this concise compelling and sure-to-be-controversial graphic history of the Jewish people and state of Israel. Waldman’s art, juxtaposing realism with ancient styles, rocking exquisite mosaics and elaborate medieval and middle eastern design flourishes, is nothing less than a majestic tour de Schwartz.”
Today’s resurgence in black rock and Afro-punk has been accompanied by a boosted interest in obscure post-Hendrix black rock from the late ‘60s and early ‘70s, as shown by the rediscovery of Detroit bands like Death and Black Merda.
Elsewhere in the heartland, Cleveland’s late-‘60s soul and R&B scene (a role-call of which can be found in this bio for the Imperial Wonders) also boasted a clutch of guitar-centered rock bands, including the excellently named Purple Image. Rising from the 105th St. & Superior area (which took a big hit during the unrest resulting from the 1968 Granville Shootout), PI traded on a thumping, harder-than-Parliament psychedelic sound fortified by powerful group vocals and the two-guitar attack of Ken Roberts and Frank Smith. Unfortunately Purple Image’s excellent self-titled 1970 debut would be their one and only, becoming a rare black-rock nugget before it was re-released by the UK’s Radioactive label in 2007.
It would take another Midwestern black rocker to pick up the