[LC]

January 14, 1977

3318 N. 86th Street
Milwaukee,
Wisconsin 53222

Dear Mr. Secretary,

Congratulations on your receiving the Medal
of Freedom. It is a well deserved award.

I am writing to commend you on your years of
service to the nation. I believe you have given
this nation a foreign policy in line with the
new realities of the world, especially the
changing relationships between the great powers.
The Third World has also been taken into account
for the first time, and our interdependence of
food, fuel and raw materials has finally been
acknowledged.

Your insights and brilliance have moved
these changes. I have seen you in televised
interviews and feel that your talents of
persuasion and tact have also educated the public
on these matters. I trust you will continue
this effort at expanding intelligent discourse
when you leave office.

I would very much appreciate a moment of
these years of change and adjustment: a personally
signed photograph suitable for my office wall.
Thank you. And best wishes for the future. I
trust we'll hear from you again.

7679 Cloverhill Court
Pisgah, Ohio 45069

December 2, 1976

The Honorable Henry Kissinger
The Secretary of State
Washington D.C.

Mr. Secretary,

It is with deepest regrets that I bid you farewell. Although only sixteen years old, I have kept up with your diplomatic travels and negotiations and am deeply sorrowed by the fact that the office of Secretary of State will be assumed by someone else. I have always admired you as one of the greatest diplomats that the world has ever seen and I only hope that the new President will find a useful job that will keep you representing the United States.

I have kept a collection of political autographs over the past five years. I am honored to have the autographs of such men as Richard Nixon, Spiro Agnew, Robert Taft, and Peter Rodino in my collection. I would be greatly honored if you would send me your autograph to add to my collection.

I realize that you are being kept very busy with the transition of power now. However I would be greatly honored if you would take a minute out to grant my request. Thank you for your time.

Jan. 24, 1977

Dear Dr. Kissinger,

Throughout your tenure as Secretary of State you have been
a most contoversial administrator. Often times your diplomacy
was subjected to severe criticism. Through this all you
remained a stable ship in the midst of a tumultuous sea.

I, too, at times, have been critical of some of your negotiations. I, too, at times, have not been in agreement with some of your beliefs, and you were not in agreement with some of mine. However, one of greatest characteristics of this republic which you represented in the world arena is that it not only tolerates these sort of disagreements, but demands them for its very survival.

Criticism is always easy, but positive action in the midst of
such severe criticism is indeed an act of bravery. Although you
and I were not always in agreement, I will always remember you
as a good and honorabe man who did his best to preserve human
dignity.

As a citizen of the United States and as a citizen of the
world, I thank you for all you have done in both spheres of my life.

Shalom,

Thomas A. Janson
2222 Harriet Ave. So.
Apt. 106
Minneapolis, MN 55405

[LC]

Box 522
Oak Ridge, TN 37830

January 11, 1977

Henry Kissinger
Secretary of State
Washington, D. C. 20001

Dear Mr. Kissinger:

Just had to write to you and tell you how very, very much we appreciate all your efforts for our country and other countries during your tenure in office. Your work has not gone unnoticed. We will forever be indebted to you and want you to know how very proud we are of you. There can never be anyone to replace you as capable and dedicated as you have been.

We have been honored greatly in having a person of your caliber represent our country as Secretary of State.

Our best wishes to you and your family as you leave the White House for another field of endeavor.

God bless you and thank you again for a job well done!

bj

P.S. If available, would appreciate a photograph of you.

From Chico Calif. Enterprise-Record 12/4/76

## End Of An Era

Henry Kissinger's tenure as Secretary of State is drawing to a close. This week, he is scheduled for what is probably his final foreign trip as Secretary of State, to attend a NATO meeting in Brussels, Belgium. A State Department transition team has been briefing representatives of President-Elect Carter on foreign policy matters. The new Administration must make important decision in the areas of nuclear arms limitations, relations with China and Viet Nam, and Middle East peace talks. After leaving office, Kissinger is expected to begin writing a book on his experiences. The book could bring him over a million dollars.

<table><tr><td>11.75</td><td>$9.99</td></tr><tr><td></td><td>$11.49</td></tr></table>

COLA
GINGER ALE

NO DEPOSIT
NO RETURN

1 liter 33.8 oz.

S★

<table><tr><td></td><td>$5.99</td></tr><tr><td>ERN.</td><td>$5.59</td></tr><tr><td>CH.</td><td>$5.99</td></tr></table>

3/89 cents

S★

<table><tr><td></td><td>$5.49</td></tr><tr><td></td><td>$4.99</td></tr><tr><td></td><td>$6.99</td></tr><tr><td></td><td>$6.99</td></tr><tr><td></td><td>$6.99</td></tr><tr><td></td><td>$4.99</td></tr></table>

Ray's Liquor
and groceries

LOCATIONS

[LC]

Probably no one can appreciate what another has done
until he steps into the other's shoes.

I suspect that ever more important work is now waiting
for your talents, and you will be guided to it.

With all good wishes,

P.S. This article is enclosed just in case you have
not already seen it - a fine tribute.

Mrs. Carl J. Jensen
473-B Heritage Village
Southbury, Connecticut 06488

[LC]

# WHO'S WHERE IN MUSIC, MAGAZINE

DON JOLLY, PUBLISHER/EDITOR

(213) 938-2139

RATE AND DATA INFORMATION

WWIM

A National Quarterly

Copyright 1976

## PUBLICATION

A NATIONAL AND REGIONAL CONSUMER PUBLICATION COVERING THE ENTIRE MUSIC SPECTRUM AND THE PERFORMERS, PEOPLE BEHIND THE SCENES WHO MAKE IT HAPPEN.

SIZE 8 1/2 X 11

Full Color Covers, 64 to 104 pages, 50% photos 50% text.

## EDITORIAL CONTENT

A FAMILY MAGAZINE FOR ALL MUSICAL TASTES. THE CONSUMER AUDIENCE OF WHOS WHERE IN MUSIC MAGAZINE. The readers of this publication can be from 14 to 80. Heres why! First depending on the personal likes of the individual. If there is a reader who's a fan of a Rock Artist, he or she may just buy the magazine just to read that one article. The older members of the family may be more interested in the classics and will turn to one of the features in that category. Articles and photo content will appeal to the Country music lover, soul music. These are the people who will buy the issue at their local newstands, super markets, where ever consumer magazines are sold. These are the subscribers who will want to be informed on Music in America, not from a unions point of view or from a record company newsletter, but from a fresh journalistic approach.

The magazine's use of between 40 to 60 percent photo content along with editorial matter makes the publication fast reading. It serves as a quarterly directory of forthcoming musical events, such as concerts, club dates, film opening, T.V. musical previews, people who are music minded are the readers of WHO'S WHERE IN MUSIC MAGAZINE!

Average length of time each issue is kept is 12 to 26 weeks. The readers of this magazine are great mail order buyers, T-Shirts, music instruction books, schools, record clubs, stero equipment, concert goers, anything to do with mail order items. Classified ads, you name it WWIM has the consumer reader. Why?

5410 WILSHIRE BLVD., SUITE 905 * LOS ANGELES, CALIFORNIA 90036

[L]

DON JOLLY, PUBLISHER/EDITOR

(213) 938-2139

Simply, music is a universal language no matter where you go
you can find it every where.

Read the facts of our CONSUMER READERSHIP, A PERSONAL PROFILE

A DYNAMIC FORMAT THAT ALSO REACHES THE 2½ BILLION DOLLAR
RECORDING INDUSTRY. . . . HERES HOW!

HERES HOW YOUR ADVERTISEMENTS REACH the 2½ billion dollar a
year music industry in Los Angeles, San Francisco, Las Vegas,
New York, Nashville, Chicago, Boston, Philadelphia, Miami,
Detroit, Dallas, Portland, Seattle, Hawaii. The multi million
dollar a year music industry in America continues to grow
each year. This publication is of great interest to the VIP's
of this industry, the hundreds of record company presidents,
thousands of personal managers of major recording stars whose
incomes reach into the millions, the multi-million dollar music
publishing business, ASCAP, BMI and other members of music trade
unions, AFM and others are just a few of the readers of this
magazine!

The spending power of these people is listed in this folder
for your information. It is constantly changing. WWIM
format has been compared to PEOPLE, NEWSWEEK. Why? It reminds
the reader of these great publications, except WWIM talks about
only one subject--MUSIC! Because its photo & text content covers
every spectrum of the music industry, rock, country, soul, jazz,
Latin, classics, music from the theatre, films, T.V. stories
on the famous and the ones coming up. Stories of the executives
behind the scenes who make music happen and written so any one
can understand it. WWIM is not a teenage fan club oriented
magazine. This magazine with full color cover features, a real
estate section geared to various parts of the U.S.A., which
means that a local realtor can expose his offering in Los Angeles,
but also New York as well and at one cost. This means that
an advertiser with expensive exotic cars, classics, clothing,
stero equipment, movies, entertainment complexes, restaurants,
airlines can now buy a specific kind of an audience with this
fantastic format.

YOU GET THREE MONTHS EXPOSURE ON YOUR ADVERTISEMENTS. . . HOW???

Who's Where In Music Magazine is a quarterly publication which
means that your insertion will be exposed for a 12 week period
of time. It's like getting three months advertising for the
price of one. Printed on 100 lb color cover stock, 45 lb glossy
 slick gives your product, black & white or full color a full
selling effect.

[lc]

DON JOLLY, PUBLISHER/EDITOR

(213) 938-2139

Each section of the magazine is designed in regional formats for the local advertiser to get his message read. Who's Where in New York, Dallas, Boston, etc, are sectionalized that gives a built in city review of what's going on in those cities - which means if you were traveling to New York, Chicago or Los Angeles, you would know where and what to do.

## CIRCULATION-DISTRIBUTION, PRINTING 225,000

Circulated in all the major cities, Los Angeles, San Francisco, Mpls., Las Vegas, New York, Nashville, Chicago, Boston, Philadelphia, Miami, Detroit, Dallas, Portland, Seattle, Hawaii and other areas where live music is being performed in clubs, hotels, theatres, recording studios, etc. Sold at leading newstands in major cities at $1.50 per copy. Subscriptions - $4.50 per year - $7.00 for 2 years.

## FOR MORE INFORMATION CALL OR WRITE:

Advertising Offices
Who's Where In Music Magazine
5410 Wilshire Blvd., Suite 905
Los Angeles, California 90036
Telephone (213) 938-2139

# Get Serious...with Contemporary Keyboard!

Serious keyboard players are reaching out. Combining electronic and acoustic instrument sounds. Augmenting traditional keyboards with new electronic gear.

And they're reading *Contemporary Keyboard*. To keep in touch with the artists exploring new musical forms. And the engineers who make the new music possible.

*Contemporary Keyboard* is the one magazine that covers all keyboard instruments. All keyboard playing. It's as broad, as varied as the keyboard field today. And as serious about music as today's serious keyboard players.

Each issue contains in-depth interviews with the top keyboard artists. Classical virtuosi like Vladimir Horowitz, Alexis Weissenberg, Charles Rosen, Anthony Newman. Jazz greats like Herbie Hancock, McCoy Tyner, Marian McPartland, Keith Jarrett. Rock stars like Edgar Winter, Rick Wakeman, Gregg Allman. As well as country and western, ragtime, dixieland and ethnic stylists of distinction.

Columnists include: David Burge, on contemporary piano ... Leonard

your subscription, if at any time you decide you no longer want to receive CK.) Just complete the form below. And mail it today with your payment.

Feather, on jazz ... Bob Moog, on synthesizer technology, Roger Powell, on synthesizer technique ... Chick Corea, on electronic keyboards ... Misha Dichter, on 18th and 19th Century piano ... Bill Irwin, on pop organ ...and more.

Enter an introductory subscription now. $12 for 12 issues. (You're guaranteed a refund for the unfilled portion of

CONTEMPORARY KEYBOARD

Box 907-YY, Saratoga, CA 95070

YES! Enter a fully guaranteed, introductory subscription to CONTEMPORARY KEYBOARD in my name for:

1 year @ $12

2 years @ $24

NAME

ADDRESS

CITY

STATE

ZIP

(Prices good in U.S. Foreign rates on request. Payment must accompany order.)

## WHO'S WHERE IN MUSIC

WWIM

WWIM CORPORATION
5410 Wilshire Blvd., Suite 905
Los Angeles, CA 90036 • (213) 938-2139

PUBLISHER
DON JOLLY

MANAGING EDITOR
MERLE DAUTREY

SENIOR EDITOR
BARBARA JOLLY

ART DIRECTOR
JOHN E. DICKENS

- CONTEMPORARY MUSIC EDITOR
  MERLE DAUTREY

COUNTRY MUSIC EDITOR
GENE BEAR

SOUL/R & B/DISCO EDITOR
RAY WILLIAMS

CLASSICAL MUSIC EDITOR
RICHARD BERNSTEIN

INSPIRATIONAL MUSIC EDITOR
DON R. BENNETT

National Sales Director/Advertising

Art Weinstock

Circulation Director

Kim Stanley

Business Manager WWIM Corporation

Thomas W. Leffner

Public Relations Film/T.V.

Elaine Blythe

Publicity

Jan Brown

Consumer Products Analyst

Tim Curran

Staff Writers

Michael Horn

Lucinda Smith

Don Ray Bennett

Bob Bleyer

Staff Photographers

Lee Gurst

John Robb

Chico Fernandez

Contributing Correspondents

Mark Bloom

Johnny Rosembuam

Will Connue

Peter Fletcher

Contributing Photographers

Louri Krupicka

Norman Seeff

Steven A. Beyer

Allen Whitman

New York City Office

Advertising Representative

Pete M. Veltre

521 Fifth Ave., New York, NY 10017

(212) 697-4034

Detroit Office

Advertising Representative

Conrad Smith

23701 Beverly, Oak Park, MI 48237

(313) 545-3631

San Francisco Office

Advertising Representative

George Medina

111 No. Montgomery, #400,

San Francisco, CA 94108

(415) 648-8538

European Office

Advertising Representative

David E. Jolly, Jr.

45 Rheinland Street, 734 Geislingen (Steige)

West Germany

2

THE

PUBLISHER SPEAKS

Dear Reader:

We're here! At last, the millions upon millions of
everyday people like yourselves who love music have
a publication of their very own.

I am taking this opportunity to welcome you to the
pages of W-W-I-M (WHO'S WHERE IN MUSIC),
America's first personality music magazine.
Since music plays such an important part in
all our lives, we naturally have an interest in
the people who make up that giant, fascinating world
which touches us almost every waking minute
of our day. Think of it, it would be very hard to
imagine our lives without music, whether that music
be Elton John, Beethoven, or anything in-between.

WHO'S WHERE IN MUSIC focuses on the
real people behind this world of music:
the superstars, the big people, the little people,
the on-toppers, and the starter-outers.
It shows you what they're really like;
what they think, feel and do in their everyday lives.
No fan magazine or gossip stuff here, but an
honest, real look at the flesh-and-blood people
who are behind this world of music—
people just like you and me.

Because WHO'S WHERE IN MUSIC is a
family-oriented magazine, it will be dealing with
areas of interest to every member of the family,
whether that member be 14 or 50.
In each and every issue, we will be dealing with
people in pop, rock, country, folk, jazz, classical,
music from yesteryear, TV, radio, stage, and movies,
and even people behind the scenes who rarely
get credit for the contributions they make to
the world of music.

Let's face it, people are interested in people,
and music people are some of the most interesting
people we know.

Take a journey with us into this fascinating,
and to a large extent, unknown world, which has
as many faces as the people who are in it.
And discover....

DON JOLLY
PRESIDENT-PUBLISHER

4

HOTEL AND
TRANSPORTATION
ALL IN ONE UNIT.

Meet Duane Dwyer of EM
& A Industries, Woodland
Hills, California

Now you can rent a class "A" motor home, 24 to 30 feet long with all the comforts of home, completely self contained with air conditioning, shower, bathroom and plenty of sleeping accommodations.

Television's and films personalities have rented these homes from the King of the Motor Home, Duane Dwyer, for television and film locations.

Special services now available for performing groups on tour! Now road managers and concert groups can make one call and have their needs custom tailored to fit their itinerary. Your hotel on wheels will meet you and your group at the airport and take you on to your performance. Connections for one way trips, or other combinations in the U.S. and Canada available.

**Family Tour Packages:** What ever your family's needs, we can meet them.

**Tour Packages from Europe and Canada:** wherever you fly in the United States your motor home will be waiting at the airport ready to take you on your tour of America. Just leave your motor home wherever is convenient for your return flight.

**Economical Rates:** For as little as $275.00 per week and up, (plus mileage) you can see America.

Call collect for reservations (213) 340-6483 or (213) 887-5920 - Brochures available upon request: EM & A Industries, Inc. P.O. Box 215, Woodland Hills, California 91365

Travel Agency Inquiries Invited

5

[L.C.]

# TOGETHER

BRIAN & BRENDA,
TWO RUSSELS CALLED LOVE

"We both have learned so much from each other," Brian explains. "One thing I've learned from Brenda is that Black people, in general, are more in touch with their feelings. And Brenda's helped me get in touch with mine."

In the last twenty years, perhaps the singlemost impetus for change has come through the rock 'n roll/pop/folk/country/R & B ad infinitum world of music. The influences started with the rise of Elvis, and certainly didn't end with the demise of the Beatles.

Well, something new is happening — and once again it seems to be coming out of the pop music society. What it involves is a new beginning of family togetherness, a new statement that yes, love is important, even marriage (that institution treated like a terminal disease in the swingin' sixties) *can* be important. We've seen it with Paul and Linda McCartney as they sing (their

silly love songs) and play-work-travel as a unit — the Cartneys.

Now we have Brian and Brenda Russell, the next step in Rock's showing us how fresh and vital momma and poppin' it when you're reelin' and rockin' it can be. From the minute you meet Brian and Brenda, you see that very clearly.

Brian greets you at the front door, tall, whiskered, with laugh lines coming out of the corners of his eyes; he's relaxed and homey. Up a spiral staircase to their living room with its earthen fireplace and sink-in furniture; there to meet Brenda, who holds out a warm hand, while holding a baby,

6

"It kinda seems our lives were steadily
moving towards the same crossroads,"
notes Brenda. "The great thing," adds
Brian, "is that it happened!"

"We both love to cook. Brenda makes an incredible curry. Her Italian food is great, roast chicken, roast beef, traditional English fare - she's good at all of it. My specialty is scrambled eggs - I make the best scrambled eggs in the world."

nursing from a bottle, in the other.
Then everyone sinks into the
sink-in furniture.

"I guess the best place for us to start," says Brian, as he settles crosslegged in the thick carpet and Brenda gets up to join him, "is to tell you a little bit of our background. To begin with, you could say that Brenda and I have come from so far apart, and yet we're so close together," with a contented look at his wife.

Brian explains that he was born in
Falkirk, Scotland, the son of a rather
staid "John Knox-type Presbyterian
minister, whose somewhat dour taste
in music began and ended with the
hymnal. I was not allowed to listen to
the radio, and there were no records,
television, or movies either," recalls
Brian, who had to sneak into his
father's church next to the house to
develop his rock 'n roll "chops" on the
parish organ. Brenda, on the other
hand, lived a life full of all kinds of
music. "My mother used to have all
these people up to the house to sing,
and even when I was only five years
old, she'd get me out of bed to sing a

part." Brenda, being black and from
Brooklyn, you'd just naturally assume
would be the one with the gospel
influences, but Brenda explains, "Not
at all. I didn't have hardly any gospel
influence till I met Brian. My
background was almost all pop and
blues, what with my father having
been in the Ink Spots. No, just listen to
Brian's melodies, and he's the melody
man in this team, and you'll hear those
gospel influences."

After many years of separate
experiences, his as a theatre-arts
teacher, and a performer in many local
clubs, and hers as a young songwriter,
and singer playing the four-girl,
sequin-gown, rhythm and blues circuit
around Ontario, their lives very
gradually and very nicely came
together. "We'd both moved to Canada
when we were twelve, of course each
of us not knowing about the other, yet
looking back, it kinda seems our lives
were steadily moving toward the same
crossroads," notes Brenda. "The great
thing," adds Brian, "is that it
happened," with a big smile, talking
right to Brenda.

The fateful inevitability occured one
night at a rehearsal for a new back-up
TV group called Dr. Music. Brian was
there, due to a phone invitation from
Allan Blye and Chris Bearde, "who'd
called me up that day and asked me to
join this group formed to back up Ray
Stevens. There was this girl," chuckles
Brian, reaching to cuddle Brenda, "who
had just left the *Hair* company, and
just like me, this was her first rehearsal
with Dr. Music." The fateful
instrument that brought them together:
a microphone. Brian continuing,
"There weren't enough mikes to go
around, so Brenda Gordon and I
shared the only extra one, and," he
laughs, "we've been sharing the same
mike, so to speak, ever since. It's great
to have someone to share it all with."

When asked about their life together
as a so-called "mixed couple", Brenda
answers, "We've been around the
world together, and we've never
had a problem that way, even six-
and-a-half years ago, when it
wasn't as acceptable. It's all kinda

7

Brenda and Brian's 11-week old daughter Lindsey. "She's the light of our lives," beams Brenda, "Our great hope is that she'll grow up trusting us."

the way you look at something as to what comes back to you, and Brian and I see what we are together as perfectly natural, and so, we believe, that's why everyone else does too."

"And I thank God that she's here," says Brian. "Alone, I don't know if I could shoulder all the pressures. We're different in a lot of ways, and yet the ways in which we're different seem to complement each other. For instance, even though I'm a Taurus and she's an Aries, I'm a starter, and Brenda's a good finisher. Like if I'm fooling around at the piano, and if I hear Brenda yell in from the other room, 'Yeh!', then, it gets done."

"We try not to discourage each other when we work together," says Brenda, handing their baby girl, Lindsey, to Brian to finish feeding. "There's a responsibility to make sure not to discourage a germ, just because the first time you hear something, you don't have a strong, positive reaction to it. In fact, we try not to discourage anything the other wants to feel or express."

Brian and Brenda's relationship is very free. "We're very equal as a couple," remarks Brian. "Even when something's bothering one of us, we can usually get the other one up again. But," he pauses, "if we're both down, then we try not to burden one another. Also, I've learned a lot about my own feelings through Brenda. Black people are, I feel, more in touch with their feelings, and Brenda's helped me get more in touch with mine."

Photos By: Chico Fernandez

"Just because the first time you hear something, you don't have a strong, positive reaction to it, doesn't mean you should discourage that thing. In fact, Brian and I try not to discourage anything the other wants to feel or express."

"We've learned too," Brenda adds, "that we love to be together. Once, a few years back, we split for nine months and when we got back together, it was doubly strong. We love to work and play together."

"Not only do we love each other, but we like each other a heck of a lot."

Brenda nods her head in agreement. "Say, would you like to hear a song?" And they both get up to the piano, and begin to sing *You're My Highly Prized Possession*, both to each other, and to baby Lindsey. ☐

8

Kershaw looks very content these days, but he's come the long, winding road to get there.

The place: The Palamino Club, North Hollywood, California; The day: Sunday night; The Event: Doug Kershaw, the Rajun' Cajun.

Doug Kershaw has been fondly called by that title for well over 16 years, and it becomes evident why, as even the most composed-looking members of the audience are suddenly on their feet, cheering wildly, clapping their hands and stomping their feet. Like a bolt of lightning, Doug Kershaw hits the stage, tall, almost Dickens-like in appearance, what with mutton-chop whiskers, crushed velvet-like maroon jacket and pants, and frilly shirt. And if for a moment you wonder how this 19th-Century-looking character could possibly be called The Rajun' Cajun, with all that name implies, you get your answer, the minute he raises his cowboy-booted foot and stomps the wooden stage.

Kershaw is kinetic energy onstage, and a photographer's delight, going through poses and movements with his fiddle that defy explanation. But then you don't explain Kershaw; you experience him. He's sheer energy, and within the first eight bars of *It Takes All Day (To Get Over Night)* — off his latest Warner's album, *Rajun' Cajun*, his horsehair bow starts to fray; by the end of the song, all that's left of the bow is horsehair hanging down toward the floor. That doesn't stop Kershaw, who merely turns the bow over, and plays with the back. Fourteen bows

10

Doug, playing off the lead guitar player from Slidin' Jake, the only band, Kershaw feels, "that understands my music."

and three encores later, the Louisiana Man settles back in his dressing room and talks. Doug Kershaw offstage is softspoken and slow moving:

"I first played for a live audience, and believe me they was live, when I was eight years old. It was at a place called the Bucket of Blood, where the performers worked behind a protective screen of chicken-wire, what with whiskey bottles being thrown by the audience," Kershaw remembers. "Whew, them were rough days, but the family was out there makin' a livin', so we didn't have a lot of choices as to where we would or would not play. Ma used to throw herself on me when things got too rough," Kershaw shakes his head as though his living that kind of life is hard for even him to believe.

Kershaw looks very content these days, but he's come the long, winding road to get there: years of having to

Other positive changes for Doug these days include his wife Pam, and baby Zach, who he proudly shows off from the stage.

[il]

A performance by the Rajun' Cajun, Doug Kershaw, means no-holds-barred, and all stops out, as he whips himself up into a sweating fury.

Photos By: Chico Fernandez

play with pickup "country pickers" who didn't understand what Cajun music's all about; producers who would so over-produce him that his fiddle would end up buried, —"and that's what sells me." And in his earlier years, his Mercurial nature would get the best of him, with Kershaw often coming on stage, playing two or three numbers, firing the band, and walking off. Doug chuckles, "That's where I got my name, I reckon."

But that's not the Doug Kershaw of today, who's wowing and wooing audiences from small clubs like the Palamino, to gigantic concerts, like Doug Kershaw Day, which is held every year at the Houston Astrodome, replete with Cajun food, folk dancers, and Doug heading it all up with 90 minutes of nonstop energy and fun.

Other positive changes for Doug these days, include his wife Pam, and baby Zach, who he often shows off from the stage; his manager of late, Michael Barnett, who in Kershaw's words, "has done a great job," a super band called Slidin' Jake, which is the first band that has ever done Kershaw's Cajun music justice, and a hot new album (his ninth for Warners), *Rajun' Cajun*, which the liner notes refer to as, "the first true Doug Kershaw album."

Yeh, for the Rajun' Cajun, everything seems to have changed for the better. One thing that hasn't changed, though, is the number of horsehair bows Kershaw demolishes each performance: "Bout fourteen bows a night, I reckon...somewhere around that," he quips. "At $12.50 a bow to restring, that's a lot of money."

Pausing for a second, he continues, "But, the way I figure it, I reckon somebody's got to keep those guys in business," he laughs, good-naturedly. Without a calculator, all you can say is, that's a hellava lot of bows.

MERLE DAUTREY

11

"Classifications, yeh, they've always been a problem," notes Catherine Mitchell Lord, serious, but still with that bubbly, intensely warm, involved-with-life look she always seems to have. "It always seemed producers would take one look at me, y'know, 'cause I'm black, and say, 'Aha! R & B!' or 'Aha! Disco!' They could never comprehend," she continues, "that I just sing what I feel, no matter what kind of music it is." But Cathy had been confronted with the havoc "pidgeon-holing" someone can bring, long before she became a singer-songwriter.

When Cathy was a very young girl growing up in Houston, she'd lay for hours on her bed, listening to the radio, humming softly, and dream—dream about two things, mainly—growing up, and becoming a singer. "Even though I had a childhood," Cathy remembers, "I didn't like the limitations being a child put on me." Her time was spent mostly in the house, making up her very first songs, playing them on the piano for her jazz-musician father, "who I'd ask all the time for opinions on my songs. I was a loner, which is so hard to conceive of, 'cause I love being with people so much these days."

Although her father helped her with her songs, both he and Cathy's mom had already decided that they wanted all their kids to be "doctors, lawyers, teachers," Cathy recalls. "I guess they were trying to insure we'd all make it in this world—and I thank them for that," she smiles. "My very first experience with being pushed into a category was with my parents trying to fit me to a middle-class mold that considered a career in music as impractical, and at best, very risky." But to Cathy, blocking her musical urges seemed very unnatural. "I joined every choir and glee club I could get into," laughs Cathy, "and never stopped listening to music—all kinds—I was never very far from a radio. I was bound and determined, for sure, to stay in touch with my music."

But there were other categories Cathy had to come to terms with—she was born black, and she was born a woman. And, there were those parental plans. She had to get an education.

Cathy, following the game plan, became a speech correctionist in Denver, but still kept her promise to herself by singing on *Center Stage*, a

local Denver TV show. Reflecting warmly on that time of her life, "Sure I enjoyed the work as a speech correctionist—I even went on to be a department head, but," she sighs, "something very obviously was missing. I never had that great burning desire," Cathy explains, "to be the best in that field."

But one night, six years ago, she and her burning desire had a rendezvous which was to be the turning point of her life. "One night I went to see a group at a club in Denver. Suddenly, it hit me," Cathy pointing, "right here, right in the pit of my stomach. I wanted to be doing *that*...not just once in a while, but all of the time! I was supposed to sign my tenure contract very shortly...I never signed; Mom and Dad took it very hard."

First in a singing trio, and then in a rock 'n roll band which she had put together and called C.M. Lord, "my old friend of categories," she laughs, "was still right there behind me. When we came to LA, and started playing the Whiskey, Starwood, and other popular places, record people would come to hear us, and they'd invariably say, 'Wow! The chick is great; the band is great—but she should be R & B and they should be rock 'n roll!'" Cathy,

exclaims. And then the offers started to come, but none of them were right, and so she and the band turned them all down.

"I really loved those guys," her sudden seriousness switching just as suddenly back to her almost ever-present bubblyness. "Even the guys," Cathy chuckles, "kinda stuck me in a slot. Whenever we'd have problems communicating, in other words arguing (laughter), me being a woman, and the only woman in the band, all the guys would get that look, y'know the one, the look that says, 'She's a woman, so what can you expect?'"

And when Cathy left the band, the classifications continued, "Even though I was doing everything—pop, hard rock, country, funk, producers always

"It always seemed producers would take one look at me, y'know, 'cause I'm black, and say, 'Aha! R & B!' or 'Aha! Disco!' They could never comprehend that I just sing what I feel, no matter what kind of music it is."

13

"I really loved those guys," remembers Cathy, "and I tried to show them how they could get everything they wanted out of me. Just take me for what I am."

saw me the same, and would even go so far as to tell me what kind of bag I should be in — of course, the *obvious* one.

That is, until I met Ken." (Ken Mansfield, who produces Waylon Jennings and Jessie Colter). "I sang for Ken one afternoon in my garage studio." So used to being put in categories, Cathy hadn't even remotely considered Ken as a possible producer; after all, "He's basically country-oriented, right?" she muses. "I just thought he might be able to recommend somebody. Well, was I in for the surprise of my life! What was going to be a twenty-minute session ended up two and a half hours, with Ken signing me to his production company. Meeting Ken was really freedom," says Cathy. "He gave me the freedom to be all the things that I am." Ken started on Cathy's album right away, Capitol Records heard two tracks, and immediately signed her.

The problems with categories aren't over yet," she adds, "but I think this is a beginning. You see, when I sit down to write — it's how I feel that determines how I write; one day I might feel country. It's just however it feels. I let the song tell me how and what it's gonna be..."

Reflecting on the fact that she's had both her dreams fulfilled, growing up and becoming a singer, Cathy thoughtfully adds, "Ya know, grownups used to tell me, 'Cathy, don't be in such a hurry to grow up; you'll be a woman soon enough,' and y'know they were right, maybe not in the way they meant it, but in the sense that when you stop being a child, you stop growing." Smiling with her mother-earth warmness, she continues, "Maybe that's why I think kids are so neat, because they're all the time discovering, they're awed by even the simple, little things. And that's kinda what's happened in my life lately, I grew up to become like a child again. I've rediscovered some of the simple, little things. And," she adds with a wink, "I try, I really try, not to put things into categories."

MERLE DAUTREY

14

All Photos By: Chico Fernandez

## ROLLING THROUGH TIME WITH THUNDER, MCGUINN IS HERE TO STAY

Chico Fernandez

> "Yeh, we were the first...we started country-rock and didn't get the credit for it," but in keeping with his nature adds, "but, that's all right, too."

Roger McGuinn's face on Bob Dylan's recent *Hard Rain* TV special, was a study in controlled stoicism. Looking at McGuinn, one gets the impression of all those busts of Roman Caesars and Generals. Well, stoic he's not, but if the stamp of myth and legend has any weight at all, then noble would apply to this soft-spoken man. Noble, because though he's warm and friendly, he's also slightly inaccessible, which is characteristic not only of nobility, but of brilliance and inventiveness, both of which McGuinn possesses in no small measure.

Roger, once known as Jim, like most inventive people in our society, has been very productive. Besides being the man who helped put another legend, Bob Dylan, on the map, McGuinn is of a small select group of artists (i.e., Dylan, Beatles, Elvis) who have shaped the music of the last twenty or so years. In fact, it was 1956's Elvis who was a shot in the arm for the then 13-year-old McGuinn. "My earliest

recollections," notes Roger, were songs like Dean Martin's *When The Moon Hits Your Eye Like-a Big Pizza Pie*, and Peggy Lee, etc., but that didn't really excite me very much. Then, when Elvis Presley came out with *Heartbreak Hotel*, that turned me on." McGuinn continues: "It was then that I asked my parents if I could have a guitar for my birthday."

Roger McGuinn has done a lot of things by himself. He taught himself guitar and later, five-string banjo; he developed a twelve-string guitar style and electrified it, later to be copied by countless imitators; he took the folk-social commentary songs of Dylan and others, combined it with a rock 'n roll beat with layered harmonies, and came up with what was later labelled "folk rock". He ventured into the then unexplored country-rock territory, long before Buffalo Springfield, the Flying Burritos and others appeared. In fact, McGuinn quite matter-of-factly comments on this: "Yeh, we were the first...we started country-rock and didn't get the credit for it," but in keeping with his nature adds, "but that's all right, too."

Even then, young Roger was doing things that most of his peers were not, and therefore, doing them alone: "Back in those days, there were not a lot of kids playing—it was mostly an older people's thing to do—and the kind of music the kids were playing wasn't rock 'n roll, they weren't really experienced enough to do it, so I was doing it all by myself."

McGuinn, typical of pioneers in many fields, has not always gotten recognition for his milestones. Then again, sometimes he's been misunderstood by all but a select few with a vision. "Take *Eight Miles High*, for example," Roger explains. "When that song came out, Bill Gavin sent out reports to all the radio stations recommending they take it off their playlists, because he said that it would result in drug abuse." McGuinn pauses for a sip of red wine. "In truth, the song had nothing to do with drugs—it was about flying in a jet to England, when the Byrds made their first trip there labelled as the American Beatles, and how we felt about the whole experience."

"The record was such an obvious smash, and so innovative," he continues. "It was number 12 with a bullet (*meaning it was one of the fastest rising songs for that period of time - Ed.*) when it was pulled off the Billboard charts. I'm sure it would have gone to number one." But McGuinn, with his usual penchant for turning a negative into a positive, adds, "But what came out of all that, even though I was upset at the time, was *Eight Miles High* became a sort of underground folk hero itself, and today wherever I go is still the most requested oldie. People are always shouting out for it."

McGuinn, though probably possessing some insecurities, has been tenacious enough to survive the folk era, the folk-rock era, the many incarnations of the Byrds, to evolve back to doing what he did in the beginning—doing it on his own.

His recent achievements: four solo albums, the last of which, *Cardiff Rose*, has been a commercial success, along with a single from that album, *Take Me Away*; a tour with Bob Dylan's Rolling Thunder Revue, in which he had his own segment; a very successful songwriting alliance with the brilliant playwright-lyricist Jacques Levy. It looks like McGuinn is, after 10 years of success, finally beginning to define his image clearly, a feat which countless other innovators have never been able to do. And if the determined innovative McGuinn has anything to say about it, he'll be ahead of us all again very soon. ☐

15

WHERE
THEY
ARE NOW

Seated behind the desk in his rustic offices, Dean, president and "85% of my staff", epitomizes the mature ex-surfer-singer, subculture hero turned executive.

Chico Fernandez

In the early sixties, curious ears were tuned towards the California coastline, for songs of perpetual blond-haired bliss were leaking out and people in Nevada were wondering if you could surf down a mountain and experience the same type of Nirvana. California extolled visions of a foamy Shangri-La, centralized around the beauty of the rocky coastline, the 75 degree surf, the un-setting sun, beautiful, shaggy bronzed youth and a customized automobile.

These tales of splendor-in-the-sun were infused into the thirsty world through two main sources: The Beach Boys and Jan and Dean. While the Beach Boys were basically "on the beach" reporters, Jan and Dean sang about the essential lifestyle of the surfer: his girlfriend and his car.

Inevitably, the "dings" of age "wiped-out" the majority of surfing songsters, but Jan and Dean managed to survive for five years and fourteen record albums. During this period they recorded such classics as *The Little Old Lady From Pasadena, Dead Man's Curve, Sidewalk-Surfin', and Who Put The Bomp In The Bomp, Bomp, Bomp.* Most likely, Jan and Dean would still be producing hits with the same predictable success as the Beach Boys if not for the tragic accident of Jan Berry.

Jan had always been known for his somewhat reckless capabilities with cars. One night in Beverly Hills, he ran his Corvette Stingray into a parked truck and although he miraculously survived, he ended a career in music as well as any future in medicine: an occupation for which he studied while simultaneously coping with the many pressures his singing career demanded.

It took Dean Torrance five years after the shock of Jan's accident to put himself back into the public eye. Despite the tragedy and termination of a partnership that had every reason to continue, Dean was able to find a new career for himself in design: one which had always been a frustration to him as an entertainer. "When we were recording, they told us what to do. We'd just do the music, which was really ludicrous because music should be linked with visuals; they go hand in hand."

"The last couple of years I was with Jan, I had gotten into graphics, but the Beatles really broke the barrier. They started with visual-conceptual covers which combined the two areas. As a result, some of their conceptual covers are classics."

17

Chico Fernandez

Jan and Dean have a permanent place in history guaranteed by being included in United Artists' Legendary Masters Series. Only four such albums have won that honor.

The frustration that had accumulated during his years as a singer combined with a basic talent for art, resulted in Dean Torrance's current project, Kitty Hawk Graphic Co. Seated behind the desk in his rustic offices, Dean, president and "85% of my staff", epitomizes the matured ex-surfer-singer, sub-culture hero turned executive. In fact, with his blond, casual appearance and various surfing paraphernalia scattered about, Dean looks very much at home in his woodsy Sunset Boulevard environment.

I'm a package designer for the record industry", he explains. "I don't design pretty pieces of art that don't do anything except look pretty. It's like packaging soap or anything else, you have to appeal to an average buyer."

With a list of clients that include The Beach Boys, The Nitty Gritty Dirt Band, (these covers won three Grammy nominations) and Harry Nilsson, Dean Torrance can describe his formula for success with confidence. "An album has to have visual and tactile appeal so that you're able to have a visual experience while you're listening." He continues, "I consider an album as supporting cast. If the music is good, it is important to enjoy the package as well."

Dean's latest design is the Beach Boys' new album *15 Big Ones*. This album demonstrates his multi-merchandising concepts. "I prefer to do a total campaign. For the Beach Boys, I used everything from a kite to a frisbee and a mobile. I usually design

18

Jan and Dean when they were riding the top of their wave in the 1960's.

everything from neon signs to press kits, concert books and personal stationery." This current album cover is a recapitulation of The Beach Boys' career. The inside photograph is a collage of passports, ticket stubs, fan club cards, etc.; all memories of Dean's long association with the group. The outside is a multi-colored neon-olympic insignia framing each member of the band. On the side, he added a personal touch which none of The Beach Boys noticed until much later. It read: "Printed In Surf City."

The long road from "Jan and Dean," a single record Dean made called *Laughing Gravy*, a brief attempt at acting and now Kitty Hawk is most predictably not the settling point for Dean Torrance. In addition to the tremendous expansion possibilities Kitty Hawk has stimulated, Dean has also considered an offer from Brian Wilson to join The Beach Boys. At present however, the majority of his

Chico Fernandez

Dean's latest project is the Beach Boys' new album "15 Big Ones." Dean even designed kits, frisbees, and mobiles to go with the album.

Courtesy of United Artist Records

musical interest is focused on a band called "Papa Doo-Run-Run." He is an occasional singer with the group, but primarily Dean is their manager and is now working on a record deal. "Papa Doo-Run-Run", got their name from a line in the Jan and Dean song *New Girl In School*. At the time it was released they could not use the original title, *I'm Gonna Hustle You*. However, with the current trend in "hustling", Dean plans to re-release the song with its original name.

In 1974, Dean was invited onstage to join Papa-Doo-Run-Run to sing old Jan and Dean hits. He has been involved with the group ever since, and although they don't have a record contract, they have already been booked at the Roxy Club in Los Angeles.

Despite the results of Jan's tragedy and Dean's success, their long friendship has not altered. "I still consider Jan to be one of my best friends. It was like that even before,

but apparently the public thought otherwise. We were extremely good friends, and at one time even roommates." Jan and Dean were originally called Jan and Arnie. "It was purely by accident that we met. Arnie decided he would rather surf, so I joined. Jan was a dreamer. He had two goals, to join the Army and write a song."

Now, many songs later, with Kitty Hawk and Papa Doo-Run-Run in the future, Dean describes himself as a "borderline perfectionist." He recollects, "I can almost say I never remember being frustrated as an entertainer. But now, trying to put a business together and dealing with people on a one to one basis is really hard. Before I didn't have to deal with anybody, they came to me. I guess I'm more sensitive now . . . things have gotta be really good."

LUCINDA SMITH

Dean Torrance (r. foreground) keeping in touch with his vocal talents in a recent performance with Papa Doo-Run-Run, which Dean also manages.

In the attic at Kittyhawk, Dean takes a "pool-break", his way of winding down from the days' hectic demands.

Chico Fernandez

[L]

19

COMING UP

CONTEMPORARY

[L]

THE FLAMIN' GROOVIES,
THAT'S WHO...

Who's the band that Elton John flew all the way from LA to the Olympia in Paris to see and introduce on stage, only to take one look at 2500 wild fans, and back out, quipping, "I was afraid they might not know who I was, and tear me to pieces!" Who's the band that played the Beatles' stomping ground, The Cavern Club in Liverpool, and people told them the walls had heard nothing like it since 1964? Who's the group that's never had a hit in the U.S., that is a throbbing legend in more than one European country? The answer to all these questions is the Flamin' Groovies, perhaps the first group to give the world some real rock and roll since the Beatles emerged.

But make no mistake about it: the Groovies are no current upstarts; they've been doing what they do for nigh on ten years now, and like the Beatles were legend in Germany long before their homeland had ever really heard of them, so too with the Flamin' Groovies.

Emerging from a cellar in San Francisco during the halcyon days when the Haight was just beginning to blossom, the Groovies' seminal rock and roll did not fit with the flood of musical psychedelia that was beginning to rise from the Bay Area, and so the band was shunned by fellow musicians and audiences of that time, because they weren't "mellow" enough.

Well, the Groovies have outlived most of the head bands of the Sixties, bringing some vital fresh air to those of us who have been suffocating from all the over-produced pap of the Seventies. If it sounds reminiscent of the conditions which preceded the Beatles' emergence to international fame, so be it. That's all the comparison that will be made, 'cause the Groovies are the Groovies, and if you don't know what that means, check out their new album on Sire Records, *Shake Some Action*. The opening lyrics of the first track spell out what you're in store for: *Shake some action is what I need, so let me bust out at full speed.* / Betcha haven't heard anything like that in a long time. ☐

20

KIKI DEE ISN'T SANDRA DEE,
BUT STILL SHE'S BREAKIN'
THOSE HEARTS

Kiki's simple, honest looks, and
throaty, heart-filled voice are
beginning to make people realize
here is a real gem.

Rocket Records' artist Kiki Dee, whose
real name is Pauline Matthews, is as
unglamourous as her original name.
And yet, in an age where pretty faces
(which are plentiful) are beginning to
take a back seat to live, flesh-and-
blood music (which is not so plentiful),
there is real appeal in this 5' 7", 125-lb.
belter and swooner from the English
industrial town of Bradford.

When she sings *Don't Go Breakin' My Heart*, you believe her, because you remember your own school days and the army of "plain Janes" who, more likely than not, got passed up by the fellas for the cotten candy queens.

Well, Kiki's simple, honest looks,
and throaty, heart-filled voice are
beginning to make people realize here
is a real gem. When Kiki surprised
everybody by walking onstage during
Elton John's recent U.S. tour, audiences
were treated to her own special brand
of superhot writhing, strutting, and
jumping which once and for all proved
that the most potent sensuality and
sexiness are not always wrapped up in
an exquisite body.

Managed by John Reid, and
encouraged by flashy Elton himself,
Kiki is bouncing off her initial
successes as lead singer for the Kiki
Dee Band to a new album, which Elton
believes will soften up the territory for
a possible solo tour. Meanwhile,
boyfriend Davey Johnstone, Elton's
lead guitarist, is sharing his expertise
on guitar with her. Kiki innately
realizes that a couple of splashes
with two hit songs isn't the only
stuff of which long-term careers are
made, and is busily carving out her
own niche. By the way, whatever
did happen to Sandra Dee? □

21

CHRIS-REED PRUETT SAYS,
"THERE'S NO REASON I CAN'T DO
ALL THESE THINGS"

[LC]

Los Angeles' Chris-Reed Pruett;
a multi-talented oasis in a desert
of specialization.

Courtesy of Chris-Reed Pruett

There are perhaps few Americans
living who remember the times when
there existed in this country a species
caled the General Practitioner — the
doctor who was all things to all people,
and could perform surgery, deliver
babies, and give you a little bit of
marriage counseling on the side. People
being able to do a great many things
were a natural part of the early days of
our society — it was a necessity for
survival. Not so today, where

everybody seems so specialized, you
just about need a chain of human
beings to complete one task.

Most everybody's specialized these
days — except for people the likes of
Chris-Reed Pruett, a multi-talented
oasis in a desert of specialization.
Pruett, a native of Los Angeles, got his
start, like a lot of talented people of the
last couple of generations, in a rock
band, went on from that to musical
theatre, and began to write.

"I could see where it was all going,"
muses Chris, sitting in his music room,
which has only two actual furnishings:
a wall full of books and albums, and a
grand piano. "I always was bothered

by the idea that I had to depend on a
large number of other people to get a
project off the ground, and I didn't
want to be in that position, so I
prepared myself to become a multi-
media artist and apply what I
developed to any and all of
my projects."

Chris has done just that. For several
years now, he has been developing his
first project, an American Film-Opera
in the form of *Street City*. "At the
beginning of this century," explains
Chris-Reed, "the motion picture was
created and since has become the
ultimate audio-visual presentation.
Before that time, stage, dance, and
song were combined in unity to form
the top entertainment of its day, and
that was called Grand Opera." Chris-
Reed pauses for a sip of water. "The
United States has been a musical, as
well as social, melting pot, people
bringing their own musical
contributions when they'd come to this
country. Today, the result is a
distinctly American music. Now, an
American film Opera is the application
of all these musical styles for the
purpose of describing, translating, and
conveying in operatic terms, human
emotion and events — and is
specifically designed for the motion
picture presentation which allows
absolute usage of all movie story-
telling techniques."

Pruett's *Street City* is indeed an
example of his definition. A daring,
stark, and bold artistic endeavor, *Street
City* is the story of people in love, and
trying to survive in big city America.
The work, in the spirit of his self-title
of multi-media artist, is starring,
written, produced, directed by Chris-
Reed; music composed, arranged, and
produced by him also. And although
there's intense impact in the work,
which probably will have far-reaching
effects, the long-range influence of
Pruett himself is possibly of ultimate
significance. Let us hope his efforts will
contribute to a new flowering of an
artistic renaissance long overdue. ☐

22

[L]

# WHO'S GONNA MAKE IT IN 1977?

In our Spring issue, W-W-I-M (WHO'S WHERE IN MUSIC) will announce the names of twenty-five personalities in the world of music that you have picked as Coming Up Contemporary for 1977. Simply fill out the questionnaire below, and return immediately to: PERSONALITIES
WHO'S WHERE IN MUSIC
5410 WILSHIRE BOULEVARD, SUITE 905
LOS ANGELES, CALIF. 90036

Name of Personalities:

What does this personality do?

(e.g., Songwriter, Guitarist, Singer, Dancer, etc. If Other, describe)

Their affiliation (what business or company, if any, are they associated with?)

Why do you feel this personality should be considered

coming up contemporary?

## MONEY'S NO OBJECT

Not only can't money buy happiness, but we've found a place where it can't buy anything at all. MCB, a California trade club, has done away with the dollar by developing a highly sophisticated system of barter for professionals, craftsmen, tradesmen and businessmen. Through MCB, members trade their own goods and services for whatever they need. If, for example, you're an accountant (or an electrician, boutique owner, shoemaker or whatever) and need, say, $1,000 worth of dental work, MCB will hook you up with a member dentist who'll do the job in exchange for the services you're able to provide. But if the dentist doesn't happen to need what you have to offer, he can spend his $1,000 worth

of credit any way he chooses among other MCB members. And with 3,500 people currently signed up in MCB, he'll have a pretty wide range to pick from. The trade arrangements are handled by computer and MCB does all the bookkeeping. provides advertising for members and has its own customer service staff to track down any specific or hard-to-find items a customer may need. You can even swap for a vacation through MCB and they'll handle all your travel arrangements. In fact, the list of benefits is so long it's enough to make money obsolete. Membership costs an initial $49.50 (cash), for which you get $49.50 back in trade credit. You can get more information from MCB, 6420 Wilshire Boulevard, Los Angeles, Calif. 90048 (213-655-1091).

# THE NUMBER TO CALL IS 1-(800) 621-8318

Your newsstand may be out of W-W-I-M (WHO'S WHERE IN MUSIC) just when you want yours. And who's got the time these days to rush all over town looking for your favorite magazine?

End the hassle, and save money too. Now you can get four issues (one year) for only $4.50, saving $1.50 off the regular newsstand price of $6.00. Act now and get a fifth issue free (a total savings of $3.00)!

This limited offer is also available for those who want to double the length of their enjoyment. You can order eight issues and get two additional issues free — a total of 10 issues for only $8.00, your savings — $6.00 over newsstand and cost. Just give our operators a call today giving your Mastercharge or BankAmericard number, and they'll do the rest. All you have to do is sit back and enjoy each new issue of W-W-I-M (WHO'S WHERE IN MUSIC) delivered to your door. Now, that's a comforting thought. Simply call 1-(800) 621-8318. Toll free. From Illinois, call 1-(800) 972-8308. In Los Angeles call (213) 938-2139.

For foreign orders, surface mail, please add $3.50 for ever four issues. Please send all subscription inquiries to WHO'S WHERE IN MUSIC, 5410 Wilshire Blvd., Suite 905, Los Angeles, California 90036.

23

MUSICIAN'S PRESIDENT
SPEAKS OUT ON
SYMPHONY PROBLEMS

Hal C. Davis, President of the American Federation of Musicians, is not the ivory tower type of musician. Hal has always been concerned with the needs of all of his members.

In response to the widespread interest in the crisis faced by symphony orchestras and the strikes that have frequently marked local symphony negotiations, Hal C. Davis, President of the American Federation of Musicians, recently gave an interview to ABC-TV network commentator Bettina Gregory. A portion of the interview was broadcast on the network's Evening News. This is the full transcript.

**MS. GREGORY:** Mr. Davis, can you tell me, is it true that musicians, symphony orchestra musicians in particular, are becoming more militant?

**MR. DAVIS:** Yes, they are. This has occurred during recent years and was bound to happen. Until recently, the players subsidized the orchestras. They were overworked and underpaid. You know, it costs as much to become a musician of symphonic caliber as it does to become a physician or a lawyer. Many people don't realize that. And it goes even deeper because it's a matter of constant study over a lifetime. Of course, we have to understand that there are limits in some areas beyond which we cannot go. But we don't feel that we've reached those limits yet.

**GREGORY:** Let me ask you this. You mentioned a changeover during the last few years. What caused it?

**DAVIS:** The fact that musicians just could not exist any longer under the status quo. They had a choice to make. If they were to follow the profession of a symphonic or opera musician, then they had to receive money sufficient to maintain themselves and their families.

Otherwise they would have to give up the profession and they were not about to do that.

**GREGORY:** Over the last two years most of the major orchestras, the big five, have all been out on strike. This is something that you don't imagine—musicians striking—as coal miners do, for example...

**DAVIS:** Well, any worker in this country has the right to withhold his services and when we have a situation where a stalemate occurs, there isn't any choice except to withhold services. People call that a strike. I refer to it as a work stoppage.

**GREGORY:** The orchestras claim that they are losing money, that they are not getting as many philanthropic contributions as they used to and also that the state grants are being cut back. They are not self-supporting and most of them never have been. Coupled with musicians getting better contracts, the orchestras are cutting

24

back. We've got a problem there.

**DAVIS:** We have and it's a problem that's been in existence for some time. The symphony orchestras never have been and never will be self-sustaining. Unfortunately, the private monies that once funded these orchestras have been disappearing. Huge fortunes are no longer able to be amassed as they were back in the 1800's or the early 1900's. This means that money has to come from some other sources. You cannot increase ticket prices because you only defeat the purpose of trying to bring serious music to the people. So if orchestras are a cultural asset of this country, they should be treated as such. And it's going to take the federal and state and local governments together to fund these arts in the future. They've been funding the arts in New York City for years, which is why today we have the culture in New York that we do...

**GREGORY:** The federal government has made a beginning in funding the arts. What evidence do you have that they're not shelving this attitude? Are we going to see symphony orchestras closing down? What will happen?

**DAVIS:** Well, we started to get some considerations through President Kennedy and President Johnson and these have been continued up to date. But they're still inadequate and we're trying to educate the members of Congress to the need for greater funding of the arts, and what these monies are used for. Certainly we feel that the appropriations to the National Endowment for the Arts are monies well spent. In fact, there's a movement afoot right now to give the taxpayers a choice on their tax forms as to whether they wish to contribute to the arts and if so how much of their tax money should be contributed. You know, in this country the per capita contribution to the arts is something like 38 cents as compared to Germany's $2.44. It's more than a dollar in Great Britain and Canada and more than $2 in Austria. The United States' investment is very low compared to other countries.

**GREGORY:** But, of course, we have a much bigger population.

**DAVIS:** Of course, and we have many orchestras. We have a greater need.

**GREGORY:** Are symphony orchestras becoming more popular in terms of audience?

**DAVIS:** Yes, I think they are. We've been trying to encourage that popularity through a series of school concerts — in the high schools and in the grade schools throughout the country. This program has been going on now for the past several years. It's

developing a future audience for symphonic and opera performances and we find that the feeling that once existed is dissipating — the feeling that in order to attend the symphony you have to wear high hat and tails. Today, as long as we can keep the ticket prices within range, the general public will enjoy symphony and opera performances and is eager to attend.

**GREGORY:** Because there have been several strikes going on, is it realized that musicians have erased that image of second class workers or second class citizens? Are they on a par with other workers?

**DAVIS:** Yes. They always have been, only people didn't seem to recognize it until recently. We've had strikes in other areas of the profession over the years — in the recording area and in the theatre area. Certainly our union is not a "strike happy" union. We've had very few strikes by the International Union and I'm very thankful for that. The causes for many of the local strikes that you refer to is that some managements of symphony societies are corporate management people, who look at an orchestra as

though it was a production line. They're accustomed to increasing production and increasing prices. Well, music just cannot be handled that way. You cannot increase production; you cannot cut costs. Costs are going to increase, not only to musicians, to artists, to engineers, to electricians and to ushers, but all symphony costs are bound to increase. And we've got to find ways and means to meet those increases.

**GREGORY:** Are the board members in those cases recognizing the needs of the musicians to have a dependable income, year round, and to have other benefits as workers?

**DAVIS:** In the majority of cases today, I'm happy to say, they do recognize that basic fact.

**GREGORY:** On the question of artistic authority: many of the orchestras or symphony members are bargaining for artistic authority. How important is this?

**DAVIS:** In the case of many of the players, it's very important.

**GREGORY:** Could you just briefly explain to us why?

**DAVIS:** Well, players believe, for example, that their well-being should not be left to the whim of a musical conductor; that a conductor should not arbitrarily make decisions which affect perhaps their seating in the orchestra — perhaps their eventual

[L]

25

livelihoods. They should have some
sort of an appeals process instead of
having this decision rest with just one
person. This, basically, is what they're
concerned with.

**GREGORY:** In the past, in other
words, the conductor could have the
power of hiring and firing. Is that
right?

**DAVIS:** The conductor could arrange
the seating in the orchestra; he could
arbitrarily, during the course of the
season, move players around. He
could hire. He could fire. Now we've
found some relief over the years, but
we still have some problems with
some conductors. Not all conductors
present this problem to the players,
however. There are many who are
very well loved by the players and
there is no clash of personalities. It's
just a few that create the problem
for all.

**GREGORY:** Where do you see the
union and the musicians going
from here?

**DAVIS:** There will always be music,
and as long as there is music there's
going to be an organization to protect
the players. So I would say that our

union is going to continue, hopefully
growing not only in numbers but in
strength; and I would hope that we
will convince all levels of government
of the need for the strengthening of
the arts in this country and of the need
to fund them. Then we'll continue
down the road on much firmer
footing. And I think perhaps 50, 75,
100 years from now we'll be able to
look back on this day and say: "Well,"
culture in America has certainly not
only been sustained but it's been
developed and we now are not only
one of the greatest industrial nations
in the world but one of the greatest
societies in the world in terms
of culture."

**GREGORY:** I noticed from your list
that the N.Y. Philharmonic makes
about the highest salary, which is
roughly $20,000 a year for the average
player. I know there are a lot of
contracts that are separately bargained
for...Is this a fair salary? Do you aim
to get all orchestra musicians
wherever they play in whatever city
this kind of salary?

**DAVIS:** Much depends upon the
economic conditions of the various
locations throughout the country.

There is no disputing the claim that it
costs more to live in New York City
than practically anywhere else in the
United States...and although $20,000
sounds like quite a handsome salary
today, compare it to the annual
income of the average lawyer or
average doctor...The amount of
training, because they all had to have
the initial talent to be developed, is
just as costly and just as lengthy...

**GREGORY:** I notice from studying the
list of symphony scales you gave me
that the minimum salary is
approximately $8,000 a year.

**DAVIS:** Yes, and in some areas it goes
below that...It's the old story of being
under-employed and under-paid.
Because often the musicians do not
have a guaranteed annual salary. They
work less than 52 weeks a year and
therefore must find other sources of
income in order to maintain
themselves and their families for the
balance of the year.

**GREGORY:** Did I cover everything?

**DAVIS:** That's a question I should ask
you. Did you cover everything you
wanted to?

**GREGORY:** I certainly did.

Thank you. ☐

You know, it costs as much to become a musician of symphony
caliber as it does to become a physician or lawyer. Many people don't realize that.

All photos courtesy of American Federation of Musicians

26

Mary Hartman, Mary Hartman has caused a lot of people to take a fresh look at television's oldest and most durable institution — the soap opera. Singer-actress Bobbi Jordan has; and now, she's in one. "It's funny, if anyone had told me a year ago I'd be starring in one of these things, I would've told 'em they were nuts," says the pretty redhead, trying not to smile while her make-up man put on his finishing touches. Later, in her ABC dressing room, she continued:

"I had just finished shooting sixteen episodes of *Joe and Sons* with Richard Costellano, and the show was really very well done. It's just that we had some minor problems like being pre-empted by other shows four times and airing opposite *Welcome Back Kotter*. I could see the handwriting on the wall, and for sure, we were yanked off." Shortly after this disappointment, she got a call from the mother of Barry Meller of *Joe and Sons*, who told her about *General Hospital*. "I wasn't sure I wanted to do this. I said to myself, 'A soap, are you crazy?' But my friends

said, 'Are you crazy? Take it!' I thought about the fact that this role, playing nightclub singer-owner Terri Arnett would give me a chance to sing." "After all", she points out, "how many singing-acting roles are there? I also thought about my acting friends who weren't working and how dumb it is to turn down a steady job, so I went in and read, and they were interested."

Born in Hardingsburg, Kentucky, Bobbi had tried various careers and cities before choosing LA and singing. Although she had sung in church back in Kentucky, "my father always wanted me to be a country-western singer." She didn't begin professional training until her first marriage broke up. To support her two children she went into musical comedy where she got a starring role in a show called

"Even with songs, my accompanist Richard Raphael and I get no rehearsals. The first time we ever do a new song together is one time before the take," says Jordan.

Chico Fernandez

Bill Bixby directing Bobbi in a scene from Barbary Coast.

28

Cindy. William Morris Agency spotted her, and soon Bobbi was in a series called *The Rounders*. Various roles and commercials followed, including *Texas Across The River* with Dean Martin, and *Mame* with Lucille Ball.

Adding all these credits together was still not enough to get Bobbi a sufficient R.Q. (Recognition Quotient), the method by which the industry picks its stars. "In other words", explains Bobbi, "the people pushing buttons in screening rooms didn't recognize me that often when viewing clips which had me in them."

Now, only six months later, the reaction to Bobbi's Terri Arnett has been incredible. Not only has there been the opportunity to sing on the daily show, but since *General Hospital* is the longest running and highest-rated soap to come out of the West Coast, Bobbi's R.Q. is rising dramatically, and so is her fan mail.

"The mail I get is amazing, especially from kids 9, 10 and 11. It's surprising the number of kids that watch soaps. I try to answer all their letters."

In addition to her much healthier R.Q., and an abundance of fan mail, Bobbi's done 15 layouts for daytime TV magazines in the last three months.

Despite all the bonuses to come out of her starring role in *General Hospital*, acting in a soap has been a real test for Jordan's professional discipline and stamina. Her husband, Bill "BJ" Bartlett, a director, sympathizes with her exhausting schedule. "Producers don't realize how hard their actors work when they have to come home each night and still have twenty pages of script to memorize ahead of them."

Even though her three sons are grown, Bobbi still finds the pressure and the hours grueling at times. "It's up every AM at 5:30. Rehearsals start at 7, then it's non-stop til 4:30 or 5:00. What makes the pressure even greater," she adds with a sigh, "is that we only get one take."

Except for two weeks off each year, Bobbi will have to continue her pace for the one-and-a-half year balance of her two-year contract.

"Even with songs, my accompanist Richard Raphael and I get no rehearsals. The first time we ever do a new song together is in dress rehearsal. Depending on how fast the show is going, the director can say, 'Pick it up

Chico Fernandez

> Playing nightcub singer-owner Terri Arnett on T.V.'s "General Hospital" has given Bobbi the unique opportunity to sing and act. "After all," she points out, "how many singing-acting jobs are there?

from the last seven bars' and that's all we do of the song."

Bobbi has very little time for anything these days except *General Hospital*. She is very athletic, and although she doesn't get much time for tennis or golf, she manages to keep a strict discipline in yoga.

In her Woodland Hills home, surrounded by their book collections, Bobbi and her husband are grateful for the show as an opportunity in her

career, and yet at the end of her long day with still pages to memorize and a 5:30 call to look forward to, Bobbi Jordan settles back and compares the industry. "For *Joe and Sons* we had one week to prepare for the taping. Soaps are the hardest work in the business," she shakes her head and continues. "Movies, with their long, choppy schedules, are total luxuries." ☐

29

[L.C.]

Jerry Lewis has posed over the years with many MD poster children, but his involvement runs much deeper than that, with Jerry working for a cure for this dread disease.

It has been estimated by A. C. Nielson Company analysis that the annual Jerry Lewis Labor Day Telethon for Muscular Dystrophy Association, Inc., last year, was viewed by 82 million people and the national show was aired over 200 stations.

The national Telethon show is held at the Space Center, the Hotel Sahara, Las Vegas, Nevada, and for the last three years, this author has celebrated in the excitement of the final tote board figures escalating over $16 million, $18 million, and $21 million, respectively. These totals, singularly, are the largest sums ever raised in a single event for humanitarian purposes.

This incredible feat is the blending of 365 days of love, compassion, and hard work from Jerry Lewis, National Chairman (26 years), the MDA staffs

And what would the evening have been without Tony Bennett sharing his classic hit, "I Left My Heart in San Francisco" with everyone. Bennett has always been available when Jerry needed him.

30

MUSIC PEOPLE
HELP RAISE
OVER $21 MILLION
ON JERRY LEWIS'
LABOR DAY TELETHON

Jerry's long-time friend Perry Como came down to the Sahara to make everyone feel good. He was one of the reasons why 82 million people watched that night and collectively donated $21 million.

Buddy Rich wowed young and old, alike with his unique brand of jazz, clearly showing age hadn't crimped his style one bit.

Sparkling Dionne Warwick appropriately belting out one of her early hits, "What the World Needs Now is Love", one of many songs Burt Bacharach and Hal David have written for her.

and volunteers, the corporate sponsors (McDonald's, 7-Up, Reynolds Metals, to name a few), and the variety of talents contributed by the top names in the entertainment industry.

When Jerry Lewis isn't making personal appearances, he is totally dedicated to the muscular dystrophy cause, on a year-round basis. His love for "his kids" is genuine, and he expends an incredible amount of personal time and energy, traveling and meeting with "his kids," doctors, scientists, researchers, corporate executives and MDA staffs hoping to find a cure for this dread disease. In addition to this, he generously guest-speaks for various groups regarding MDA, and he spends several weeks in preparation for the corporate sponsors commercials.

But, the Labor Day Telethon is not a one-man show. Mr. Lewis has one of the finest personal staffs and a tremendous supportive staff from MDA (both national and local offices). The executive producers of the Jerry Lewis Telethon are Joe E. Stabile, Personal Manager to Jerry Lewis, and Robert Ross, Vice President and Executive Director of MDA. The Campaign Director for the Telethon is Gerald C. Weinberg, and Mucio F. Delgado is the Director of Program Development. Horst Petzall is the Director of Public Health Information,

31

and Sylvester "Pat" Weaver, Jr. is the
President. For the last three years, the
Telethon has been produced and
directed by Arthur Forrest.

Others who have quietly worked
behind the scenes but deserve
recognition are Janet Friedlander,
Rosalie Farkas, and Mae Frankel, all of
the MDA headquarters.

In front of the camera, the kudos go
to a star-studded Telethon '76 show
which will be hard to top: Ann Maria
Alberghetti, Tony Bennett, Vikki Carr,
the Coasters, Perry Como, Barry
Crocker (the Australian superstar),
Scatman Crothers, Jimmy Dee (Guam
rock star), Chad Everett, Fabian, Lola
Falana, Frank Gorshin, Dick Haymes,
Joey Heatherton, Lainie Kazan, Abbe
Lane, the Lettermen, Marilyn McCoo
& Billy Davis, Jr., Donald O'Connor,
Tony Orlando, Oral Roberts' World

Action Singers and the Grandfather
Mountain Cloggers, Peter Marshall
and the Chapter Five, Buddy Rich and
his band, Mickey Rooney, Annette
Thomas, Ed McMahon, Dionne
Warwick, Joe Williams, the Moiseyev
Ballet from Moscow, and the special
guest appearance of Frank Sinatra and
his special guest, Dean Martin. (Dean
Martin's appearance was such a
surprise, the staff members of the
Telethon thought it was a joke, and the
only person who could have — and
did — successfully pull off this caper
was Mr. Sinatra.

Frank Sinatra is a tremendously
generous human being, and his
generosity cannot be measured because
he does not send out press releases on
his acts of kindness. (According to Sig
Rogich, UNLV Booster Club Member,
Las Vegans particularly know and

It was a real show-stopper when Frank Sinatra, a scheduled guest, brought "his own guest" Dean Martin to the Telethon. It was the first time the former partners had shared a stage together in over 18 years.

appreciate what Frank has done to help
their University of Nevada, where he
was responsible for generating more
than $700,000 to the annual fund-
raiser for the Athletic Department.)
And, the same applies to his
involvement with MDA and the
Telethon. After his appearane last year
on the Telethon, Frank was so enthused
that he wanted to become more
involved in the fight for Jerry's "kids",
that Jerry was able to gently twist
Frank's arm to become a Vice President

of MDA. With Jerry Lewis at the helm
and all these luminaries on board, the
cure for muscular dystrophy should be
in the near future.

BARBARA JOLLY

Ms. Jolly was a staff member of Jerry
Lewis' for over 2 years and worked on
three national Telethon shows on the
producer-director's staff.

Teamwork is
our Business
in creating
total design
for your business.

We design everything
From business cards to interior
and exterior shop graphics

We are equipped to design
your business with a varied
spectrum of communicative
arts from photograph to unique
and unusual silk screened
illustrations.

We are the people who
work together to give
you total design.
Call us at (213) 939-7588.

BUY HI-FI COMPONENTS
THE MODERN WAY

MCK SALES

PHONE & MAIL

Call us FREE for low prices
on most name brands

CALIFORNIA 800/472-1783

NATIONWIDE 800/854-7769

ACCEPTED BY PHONE

FAST: Most orders ship in 3 or 4 days

RELIABLE: McKay Companies have been
in business consistently for 44 years

MCK SALES

250 N THOMAS AVE, PO BOX 2100
POMONA CA 91766

32

Last July, I found myself in an unusual situation of being an extra in the MGM movie, *New York — New York*, starring Liza Minnelli and Robert De Niro. I was doing research for this magazine when an independent casting agent asked me if I would be interested in playing a waiter in this movie. Since this film is a musical, I decided to accept the offer.

It seemed like the good old days of film-making as 300—500 extras were called in, and there were hundreds of people scurrying around with technical chores. I was the most impressed with Ms. Minnelli; she was warm, considerate, and displayed none of the Superstar temperament too common to too many performers. And, what talent!

Having been hired as the headwaiter in a night club sequence, and in the

opening scene of a re-creation of VJ day, I was taking notes as I watched the filming. When Liza belted out the title song, *New York — New York*, I became so excited that I forgot I was an extra, and stood there applauding her instead of waiting on tables which is what my part called for!!

I salute the cast and crew, and especially Robert Chartoff and Irwin Winkler—they have a winner!

*I'll make a brand new start of it in old New York,*
*If I can make it there,*
*I'll make it anywhere.*

These are the lines of the haunting lyrics of the title song, written by John Kander and Fred Ebb, the Tony Award winning composer and lyricist of *Cabaret*. The story is a romantic musical of the post-World War II years concerning the struggling careers of a young band vocalist played by Liza Minnelli and a saxophone player (Robert De Niro) who falls in love with

her. At a time when Big Band music is in a period of popular resurgence, this film has an unforgettable musical score with its bright swinging beat and joyous vitality, spanning thirty years of changing musical tastes. From the first music one hears in the film, the mellow Dorsey sounds underlining the mood of the country in 1945. Then, in the finale, the time is the fifties and the lyrics reflect a different attitude in America. Times changed. Euphoria gave way to such realizations that the so-called "War to End All Wars" is now the Cold War. The mood of the country is now to struggle forward.

The classic songs of the 40's and 50's made famous by such greats as the Andrews Sisters, Glenn Miller, Tommy

I'll make a brand new start of it in old New York/If I can make it there/I'll make it anywhere./ These are the haunting lyrics of the title song, written by John Kander and Fred Ebb, the Tony award-winning composer- lyricist of "Cabaret."

Although the film has the big band era as its background, it is first and foremost about people, and the pressures on their lives and careers.

Dorsey, Benny Goodman will be heard throughout the movie. With the sounds of the era, the visual locations will "star" with Liza Minnelli and Robert De Niro in this film. Such famous locales as the Waldorf—Astoria Hotel, Rockefeller Center's Radio City Music Hall and the rooftop of the Rainbow Room will be photographed in *New York — New York*.

Liza's *Happy Endings* musical production number will represent 11 minutes of film time. The sequence will no doubt take its place alongside the *Born in a Trunk* number from *A Star is Born*. *Happy Endings* is a movie-

34

Robert De Niro insisted on learning to play the tenor saxophone for his role in "New York - New York". Saxophone great George Auld coached De Niro for the many jam sessions featured in the film.

The story is a romantic musical of the post-World War II years concerning the struggling careers of a young band vocalist (Liza Minnelli) and a saxophone player (Robert De Niro) who falls in love with her.

Photos By: Bruce McBroom

within-a-movie, watched by the now-
successful record mogul (Robert De
Niro) on screen at the Radio City
Music Hall. Liza portrays an usherette
who makes it big on Broadway. The
lavish number moves from a rooftop
dance restaurant vibrating with
dancers to conclude on a theatre
staircase where Liza is flanked by forty
swirling usherettes. Jack Haley, Sr.
appears with his real-life daughter-in-
law, Liza Minnelli, in a brief cameo
role in this sequence.

Robert De Niro insisted on learning to play the tenor saxophone for his role in New York — New York. Saxophone great Georgie Auld lends his special talent as the off-camera coach for De Niro for the many jam sessions featured in the film. Auld's popularity came during the Big Band Era when he appeared in the aggregations of Artie Shaw and the famed Benny Goodman sextet. Georgie also makes his screen debut as a bandleader in the film. (Academy Award winner Ralph Burns conducts the music for New York — New York.)

For producer Chartoff and Winkler,
Martin Scorese was their first choice as

director of this movie. "Although our
film has the Big Band Era as its
background," says Winkler, "it is first
and foremost about people and the
pressures on their lives and careers.
Marty Scorese has certainly proven
himself to be a people director with his
films *Mean Streets*, *Alice Doesn't Live
Here Anymore*, and *Taxi Driver*."

Making her debut in a nightclub sequence is Diahnne Abbott who sings *Honeysuckle Rose*. Ms. Abbott is married to Robert De Niro. Others comprising the talented supporting cast are Lionel Standler, Barry Primus, Mary Kaye Place (the country-western singing neighbor of TV's *Mary Hartman*, *Mary Hartman*), and Kathi McGinnis.

The casting of Liza Minnelli and
Robert De Niro, both sharing the
previous distinction of being Academy
Award winners, is dynamite and this
film should add more Oscars to
everyone's shelf.

DON JOLLY

35

[LC]

MUSIC
TOUCHES
EVERYBODY

SUBSCRIBE
TODAY

"Who's Where In Music is a right-on, exciting, badly needed magazine, and I look forward to reading every issue."

Charlie Rich

You know how music touches everybody. And how important it is to everyone.

And haven't you always wondered what's really going on with all the people who create this necessity for each one of us?

WHO'S WHERE IN MUSIC presents an exciting, honest look at these people, and where they're really at. They represent about 25% of us. They're big people, they're little people, they're on-toppers, they're starter-outers, and they're everywhere inbetween.

WHO'S WHERE IN MUSIC can bring you the whole story on all of them, the big picture, the little picture, and some of the most striking pictures you'll ever see and some of the most striking stories you'll ever read.

For your subscription to WHO'S WHERE IN MUSIC call 1-(800) 621-8318 or in Illinois, call 1-(800) 972-8308, for a glimpse into that world.

Our operators are on duty 24 hours a day. To subscribe, simply give the operator your Mastercharge or BankAmericard number, and she'll do the rest. Then all you'll have to do is sit back and enjoy each new issue of W-W-I-M (WHO'S WHERE IN MUSIC) delivered to your door (or send $4.50 for 1 year or $8.00 for 2 years, to WWIM, 5410 Wilshire Blvd., Suite 905, Los Angeles 90036). And discover . . .

37

WHO

TEACHES
WHOM

[w]

John Robb

WILL GRAHAM'S GOT A BETTER WAY TO DO IT

Will is one of those few who is not satisfied with the old "tried and true" method of learning. "There are," says Will, "much easier ways."

The teachers. Where would we be without the teachers? From the beginning of civilization we've had them, and they've largely been responsible for passing the fruits of knowledge from generation to generation.

Remember when you were a kid in school? Remember there were two kinds of teachers? The first kind were dull, tried to fill your head with facts, and more often than not, put you to sleep. The second kind were the kind you

liked best. They made learning fun—in fact, the better they were, the more it seemed you were, in a way, teaching yourself, the highest goal for the ultimate teacher.

Meet a teacher with that goal: Los Angeles' Will Graham. Will has been playing music since he was nine years old, and acting since he was five. He is the successful owner of Graham Music Enterprises. He's performed in "Soon," and acted as its musical director, the music being published by Metromedia and Colgems Music.

But Rusty, his name derived from his obviously rusty-colored hair, is beyond all his many other talents, the ultimate music teacher/writer. "I've never understood," remarks Graham, unconsciously curling his already curly hair with his fingers, "why teachers have always made learning so difficult, when if you give someone the simple logic of what they're dealing with, they can almost teach themselves."

Will, a soft-spoken family man, lights up his pipe, and continues. "Let's face it; the reason there are so few Gabor Szabos, Wes Montgomery's, or Chet Atkins's is because we've made learning so damn complicated. And it shouldn't be. I mean, I can take anyone with half a musical tendency, and if he wants to learn *how*, I'll teach him. . . ."

Graham has given a lot of thought to the art of writing on music. "Most of these book writers, man, they scare the average student to death. But that's not what my system is all about. I'm working on a series of books that will revolutionize learning various instruments and musical skills. It's all in by-passing the clutter and unnecessary steps which get in the way of learning, and getting straight to what each student needs to accomplish his goal."

Getting back to the ultimate teacher, Will is one, and one that undoubtedly will leave his mark in the form of the fruits of his knowledge, not just filling some "holes" today and in the near future, but perhaps in the sense of adding to the overall musical awareness of some student or teacher of the next generation. And Graham's books? They'll be ready sometime in 1977.□

41

Ashkenazy Apartments with Rooftop Recreation

## How to be on top of LA... and love it

You only live once, so live first class in any of 6 new Ashkenazy Apartment Communities between Beverly Hills and West Hollywood. From your spectacular rooftop sundeck you'll look down on tree-lined hills, Pacific sunsets, and L.A.'s most cosmopolitan milieux... while you splash in the pool, luxuriate in the whirlpool spa, or play a friendly game of tennis on our uncrowded regulation courts.

You'll love your large luxurious apartment, too: enjoy a fireplace, wet bar, Digikey (R) keyless lock, and smart decorator furnishings. Rents from $235/month; no lease required. Join the smart professional people, business executives and entertainers who've found room at the top in an Ashkenazy apartment.

**$25.00**<sup>off</sup> first month's rent with this advertisement.

Phone (213) 653-0470 Monday through Friday 9 to 6 for the location most convenient for you. Evenings and weekends call 659-7359 or 657-3306.

## Students! Make Money in College.

You can earn a sizeable income as a WWIM College Bureau Campus Rep. Maybe enough to pay your tuition and college expenses. All you have to do is distribute our order cards offering WWIM WHO'S WHERE IN MUSIC. You set your own working hours and get generous commissions on all orders received. For details, write: College Bureau, WWIM 5410 Wilshire Blvd., Suite 905, Los Angeles, Ca. 90036. (Please include phone number and college address.)

PUBLISHER WILL AWARD Musical instruments and music scholarships to the top 10 producers of the most subscriptions to WWIM sold in a 1 year period!

> If You Like Our First Issue Of Who's Where In Music, Share It With A friend...

WHO'S WHERE IN MUSIC

WWIM

42