Tune in today March 15th to Faction Talk, channel 103, at 4 PM East, 1 PM West.
If you miss the episode, you can hear it on demand on the SiriusXM app. Search: Lefsetz
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Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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Saturday, 15 March 2025
Thursday, 13 March 2025
Dan Tyminski-This Week's Podcast
The man of constant sorrow... Yes, you know Dan Tyminski from "O Brother" and his work with Alison Krauss, but here's the backstory, how a guy from Rutland, Vermont made it to the apotheosis of bluegrass.
https://podcasts.apple.com/us/podcast/dan-tyminski/id1316200737?i=1000699013824
https://open.spotify.com/episode/48wy28g9a8sbbMwgaWn5Cw?si=bGqnfwwsQaaW91LPQYX45w
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/dan-tyminski-270110807/
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/375abbfc-1120-42a3-878c-495b6da5f808/the-bob-lefsetz-podcast-dan-tyminski
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
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To change your email address http://lefsetz.com/lists/?p=preferences&uid=0eecea7b60b461717065cbde887c8e25
https://podcasts.apple.com/us/podcast/dan-tyminski/id1316200737?i=1000699013824
https://open.spotify.com/episode/48wy28g9a8sbbMwgaWn5Cw?si=bGqnfwwsQaaW91LPQYX45w
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/dan-tyminski-270110807/
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/375abbfc-1120-42a3-878c-495b6da5f808/the-bob-lefsetz-podcast-dan-tyminski
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
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Wednesday, 12 March 2025
The Status Quo
Artists question the status quo.
But this is hard for most people, because they've been taught from birth to fit in, not make a ruckus, be a member of the group...which is why I say the captain of the football team or the class president is rarely an artist. Artists tend to be loners, or members of an outside group. They question every precept and react to it.
Now don't confuse this with disrupting the status quo in D.C. Those are business people. Whose actions affect millions. Artists can affect entire nations, but they do it through people's minds. The work of an artist contrasts with society, the conventional mores, and it makes people think. It's about speaking truth to power. And if you're so uncomfortable you can't handle negative feedback, you can't be an artist.
So school was invented to create good workers. Many artists can't even work a conventional job, they can't show up on time. Not all, but I'm just letting you know the skills of an artist are different.
You may be able to do math, take notes, be efficient and organized...but an artist may be unable to do all of those things yet still be very successful.
I started out as an English major in college. One of the reasons I left that pursuit is they didn't want to know my take, my opinion, how I reacted to the material. They wanted me to study the historical take, what the great seers of yesteryear had to say about the work. We had to shut up and bow down to the gods.
But when I switched to art history...
First and foremost the lectures were different, all of them, they were ENTERTAINING! The professor was giving a performance, it wasn't rote, it was alive, just like art itself. As for the artists...
Sure, there were historical breakthroughs, like perspective, but the greatest artists, the ones who are remembered, all created breakthroughs.
Let's start with minimalism. The average spectator says I CAN DO THAT! And in truth, they may be able to, BUT THEY CAN'T COME UP WITH THE IDEA! And the goal of a minimalist artist is to challenge preconceptions... Is this art? What is art?
And then there are the abstract expressionists, like Jackson Pollock. He knew how to draw, but he yearned to express himself in a different way.
And then there is the recently departed Frank Stella, who didn't know how to draw at all!
Actually, to be an art history major, you have to take a year of studio art. I can't paint, I can't draw period. But I tended to get a better response from the professor than those who could, because of my conception, where I was coming from.
And sure, some of my compatriots went on to work in museums, but I took inspiration from the artists themselves, I wanted to challenge the field, do it differently.
Now they've cut arts education from schools. And if you go to college...you'd better come out with a job! None of this foments artists, these people don't have the right mind-set.
Whereas the baby boomers...
There's a reason they created so much great art. Because they questioned their parents' ideas, the government's ideas, they thought there was another way to look at things. And the goal was to stand out and be a winner.
Conversely, millennials haven't yielded a plethora of artists, because the goal of a millennial is to fit in, be a member of the group, they even go on dates in a group, if you can call it that. They don't want to stand out.
I've given a zillion presentations. And when I ask a question, people are loath to raise their hand. They don't want to stand out. They don't want to be the object of ridicule. Now there are shy artists, then again an artist can't break through unless they create and interact.
Then you have the music schools... Berklee can teach you how to play, but that doesn't make you an artist. We want someone who breaks the law, breaks the code, and makes us stand up and recognize them.
I'm not saying every artist is going to be commercially successful. However, I'll also say there are many acts who are known by all, who make a ton of money, who are not artists.
Clive Davis specialized in commerce, not artistry. Even worse, he wanted control. An artist has a vision. That does not mean they cannot be affected by feedback... But if Clive is picking the track or changing the lyrics...where does that leave the artist?
And we know being a great singer is not enough, almost no one from a TV singing show becomes a star. But Clive could pick one of them, match them with the right material and blow them up. Kudos, but that does not make that person an artist.
David Bowie? He challenged preconceptions.
Madonna too.
You know the acts... You may not have even liked them when you first heard them because they were so different.
And it can be the whole package, the looks, the attitude...
Or it can just be the song, the lyrics.
And the funny thing is despite all the success of lowest denominator commercial music, the public YEARNS for artistry. They're looking for it, it can move mountains.
It used to happen on a regular basis. Some new sound would come along that would wipe out the previous one. Whether it be the Beatles and Perry Como or Nirvana and hair bands. The new sound was so fresh, so different.
Now to a certain degree, I believe artists are born, not made. I don't think you can teach someone to be an artist, because to a great degree it's a sensibility.
Then again, you can have influences. My father questioned everything, he took nothing at face value. Furthermore, he ultimately employed this perspective to become very successful as a real estate appraiser, which is normally the job of a schlepper.
I'll save how my dad did it for the moment, but I want you to know if you're just like everybody else, your odds of making it are poor.
There are tons of great guitar players. What can you do differently? Most people had never heard anyone tap the strings like Eddie Van Halen.
So what we've got is a ton of sour grapes. The people who jumped through all the hoops want their reward, they want success. But artists don't jump through hoops!
And no one in business wants their cheese moved, that's their worst nightmare. But it happens all the time. Look at the deletions from the Dow... General Electric is no longer in it, never mind AT&T and even Hewlett-Packard. These companies have been superseded, they're no longer pushing the envelope.
I don't want to get into an argument about these specific examples... I'll just say few of the companies of yesteryear are dominant today. And most acts have a short lifespan on the chart. But those who reinvent themselves tend to have lengthier success.
If everybody else is doing it one way, an artist does it another. And shrugs when people put them down.
If you can't look at the landscape and see a way to do it completely differently, you're not an artist.
Music is going to stream forever. There is always a great desire for music to listen to. That does not mean every era is equivalent. And I've already stated that just because you're a chart success, that does not make you an artist.
After all the artistic breakthroughs of the sixties and early seventies, record labels and wannabe acts divined a formula. They started making music they thought people wanted to hear and buy as opposed to making a statement, i.e. corporate rock. But then the public shrugged its shoulder. The record business crashed. You can look it up. But most won't. However, if you understand history, it gives you context, a view of the landscape that people can react to.
Most people who want to make music for a living drop out. They realize they're not good enough, or they don't want to sacrifice that much. And artists give up too. But just because you continue that does not make you successful.
And I don't care how many hours you've put in, 20,000, that does not make you an artist. 10,000 hours OF HARD PRACTICE makes you a world class player, it does not make you an artist. Artistry is in your DNA. It's perspective. It's attitude.
Furthermore, most ultra-successful artists are not so good with people. Forget the image, if you meet them... They may be incredibly off-putting, they may have little to no friends. They can be an artist, but no more.
Of course there are exceptions. But I'm stressing here that just because you've paid your dues and your song is on Spotify that does not mean the public will clamor for it, no matter how many guitar lessons you've taken.
Artistry is elusive, unquantifiable. And society hates this, but loves what is produced.
Once again, society wants hoop-jumpers and order.
And there are the clichés, like "starving artist." Then again, anyone can starve, that doesn't take a huge commitment. However, "tortured artist"..? Artists tend not to be well-adjusted, they are tortured, most people have learned how to get along and be happy, chances are the artist has not.
Many need that hit from the audience in order to feel good about themselves. They're trying to fill an unfillable hole... Get the love they never got from their parents, or they're reacting to rejection in love.
The above is just the way it is.
But many don't like it. Especially in this era where the barrier to entry is so low and so many are playing.
To throw a curve ball into the action... Great social media influencers can oftentimes be artists. They're questioning the status quo.
Do not be influenced by those invested in the status quo. That is death. And those people fade away... So many who complained about Napster and Spotify and everything in between, who lamented the destruction of the old paradigm...have faded away and not radiated. Young people accept the present as gospel. They're not burdened by the past. (Once again, it's good to know the past, but an artist is free, unconstrained.)
Is this the way you feel? That you've got to do it your way and if no one pays attention and you're poor for the rest of your life you're happy?
I know commercially unsuccessful artists who are happy. They create their art and that's enough.
Is that you?
If not, maybe you're not an artist. And that's a reason why you're not winning in the music game.
People hate when I say that. Everybody wants encouragement. Hell, that's one of the reasons I'm successful, I'll say the unsayable. Submit your track to a professional and they'll never say it sucks. Or they'll give you bogus criticism to get you off their back.
The music business is not based on honesty.
But artistry is.
Man, you know it when you hear it. It's like a light bulb comes on. A car wreck. You're jolted alive.
And we're all looking for that.
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
--
If you would like to subscribe to the LefsetzLetter,
http://www.lefsetz.com/lists/?p=subscribe&id=1
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To change your email address http://lefsetz.com/lists/?p=preferences&uid=0eecea7b60b461717065cbde887c8e25
But this is hard for most people, because they've been taught from birth to fit in, not make a ruckus, be a member of the group...which is why I say the captain of the football team or the class president is rarely an artist. Artists tend to be loners, or members of an outside group. They question every precept and react to it.
Now don't confuse this with disrupting the status quo in D.C. Those are business people. Whose actions affect millions. Artists can affect entire nations, but they do it through people's minds. The work of an artist contrasts with society, the conventional mores, and it makes people think. It's about speaking truth to power. And if you're so uncomfortable you can't handle negative feedback, you can't be an artist.
So school was invented to create good workers. Many artists can't even work a conventional job, they can't show up on time. Not all, but I'm just letting you know the skills of an artist are different.
You may be able to do math, take notes, be efficient and organized...but an artist may be unable to do all of those things yet still be very successful.
I started out as an English major in college. One of the reasons I left that pursuit is they didn't want to know my take, my opinion, how I reacted to the material. They wanted me to study the historical take, what the great seers of yesteryear had to say about the work. We had to shut up and bow down to the gods.
But when I switched to art history...
First and foremost the lectures were different, all of them, they were ENTERTAINING! The professor was giving a performance, it wasn't rote, it was alive, just like art itself. As for the artists...
Sure, there were historical breakthroughs, like perspective, but the greatest artists, the ones who are remembered, all created breakthroughs.
Let's start with minimalism. The average spectator says I CAN DO THAT! And in truth, they may be able to, BUT THEY CAN'T COME UP WITH THE IDEA! And the goal of a minimalist artist is to challenge preconceptions... Is this art? What is art?
And then there are the abstract expressionists, like Jackson Pollock. He knew how to draw, but he yearned to express himself in a different way.
And then there is the recently departed Frank Stella, who didn't know how to draw at all!
Actually, to be an art history major, you have to take a year of studio art. I can't paint, I can't draw period. But I tended to get a better response from the professor than those who could, because of my conception, where I was coming from.
And sure, some of my compatriots went on to work in museums, but I took inspiration from the artists themselves, I wanted to challenge the field, do it differently.
Now they've cut arts education from schools. And if you go to college...you'd better come out with a job! None of this foments artists, these people don't have the right mind-set.
Whereas the baby boomers...
There's a reason they created so much great art. Because they questioned their parents' ideas, the government's ideas, they thought there was another way to look at things. And the goal was to stand out and be a winner.
Conversely, millennials haven't yielded a plethora of artists, because the goal of a millennial is to fit in, be a member of the group, they even go on dates in a group, if you can call it that. They don't want to stand out.
I've given a zillion presentations. And when I ask a question, people are loath to raise their hand. They don't want to stand out. They don't want to be the object of ridicule. Now there are shy artists, then again an artist can't break through unless they create and interact.
Then you have the music schools... Berklee can teach you how to play, but that doesn't make you an artist. We want someone who breaks the law, breaks the code, and makes us stand up and recognize them.
I'm not saying every artist is going to be commercially successful. However, I'll also say there are many acts who are known by all, who make a ton of money, who are not artists.
Clive Davis specialized in commerce, not artistry. Even worse, he wanted control. An artist has a vision. That does not mean they cannot be affected by feedback... But if Clive is picking the track or changing the lyrics...where does that leave the artist?
And we know being a great singer is not enough, almost no one from a TV singing show becomes a star. But Clive could pick one of them, match them with the right material and blow them up. Kudos, but that does not make that person an artist.
David Bowie? He challenged preconceptions.
Madonna too.
You know the acts... You may not have even liked them when you first heard them because they were so different.
And it can be the whole package, the looks, the attitude...
Or it can just be the song, the lyrics.
And the funny thing is despite all the success of lowest denominator commercial music, the public YEARNS for artistry. They're looking for it, it can move mountains.
It used to happen on a regular basis. Some new sound would come along that would wipe out the previous one. Whether it be the Beatles and Perry Como or Nirvana and hair bands. The new sound was so fresh, so different.
Now to a certain degree, I believe artists are born, not made. I don't think you can teach someone to be an artist, because to a great degree it's a sensibility.
Then again, you can have influences. My father questioned everything, he took nothing at face value. Furthermore, he ultimately employed this perspective to become very successful as a real estate appraiser, which is normally the job of a schlepper.
I'll save how my dad did it for the moment, but I want you to know if you're just like everybody else, your odds of making it are poor.
There are tons of great guitar players. What can you do differently? Most people had never heard anyone tap the strings like Eddie Van Halen.
So what we've got is a ton of sour grapes. The people who jumped through all the hoops want their reward, they want success. But artists don't jump through hoops!
And no one in business wants their cheese moved, that's their worst nightmare. But it happens all the time. Look at the deletions from the Dow... General Electric is no longer in it, never mind AT&T and even Hewlett-Packard. These companies have been superseded, they're no longer pushing the envelope.
I don't want to get into an argument about these specific examples... I'll just say few of the companies of yesteryear are dominant today. And most acts have a short lifespan on the chart. But those who reinvent themselves tend to have lengthier success.
If everybody else is doing it one way, an artist does it another. And shrugs when people put them down.
If you can't look at the landscape and see a way to do it completely differently, you're not an artist.
Music is going to stream forever. There is always a great desire for music to listen to. That does not mean every era is equivalent. And I've already stated that just because you're a chart success, that does not make you an artist.
After all the artistic breakthroughs of the sixties and early seventies, record labels and wannabe acts divined a formula. They started making music they thought people wanted to hear and buy as opposed to making a statement, i.e. corporate rock. But then the public shrugged its shoulder. The record business crashed. You can look it up. But most won't. However, if you understand history, it gives you context, a view of the landscape that people can react to.
Most people who want to make music for a living drop out. They realize they're not good enough, or they don't want to sacrifice that much. And artists give up too. But just because you continue that does not make you successful.
And I don't care how many hours you've put in, 20,000, that does not make you an artist. 10,000 hours OF HARD PRACTICE makes you a world class player, it does not make you an artist. Artistry is in your DNA. It's perspective. It's attitude.
Furthermore, most ultra-successful artists are not so good with people. Forget the image, if you meet them... They may be incredibly off-putting, they may have little to no friends. They can be an artist, but no more.
Of course there are exceptions. But I'm stressing here that just because you've paid your dues and your song is on Spotify that does not mean the public will clamor for it, no matter how many guitar lessons you've taken.
Artistry is elusive, unquantifiable. And society hates this, but loves what is produced.
Once again, society wants hoop-jumpers and order.
And there are the clichés, like "starving artist." Then again, anyone can starve, that doesn't take a huge commitment. However, "tortured artist"..? Artists tend not to be well-adjusted, they are tortured, most people have learned how to get along and be happy, chances are the artist has not.
Many need that hit from the audience in order to feel good about themselves. They're trying to fill an unfillable hole... Get the love they never got from their parents, or they're reacting to rejection in love.
The above is just the way it is.
But many don't like it. Especially in this era where the barrier to entry is so low and so many are playing.
To throw a curve ball into the action... Great social media influencers can oftentimes be artists. They're questioning the status quo.
Do not be influenced by those invested in the status quo. That is death. And those people fade away... So many who complained about Napster and Spotify and everything in between, who lamented the destruction of the old paradigm...have faded away and not radiated. Young people accept the present as gospel. They're not burdened by the past. (Once again, it's good to know the past, but an artist is free, unconstrained.)
Is this the way you feel? That you've got to do it your way and if no one pays attention and you're poor for the rest of your life you're happy?
I know commercially unsuccessful artists who are happy. They create their art and that's enough.
Is that you?
If not, maybe you're not an artist. And that's a reason why you're not winning in the music game.
People hate when I say that. Everybody wants encouragement. Hell, that's one of the reasons I'm successful, I'll say the unsayable. Submit your track to a professional and they'll never say it sucks. Or they'll give you bogus criticism to get you off their back.
The music business is not based on honesty.
But artistry is.
Man, you know it when you hear it. It's like a light bulb comes on. A car wreck. You're jolted alive.
And we're all looking for that.
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
--
If you would like to subscribe to the LefsetzLetter,
http://www.lefsetz.com/lists/?p=subscribe&id=1
If you do not want to receive any more LefsetzLetters, http://lefsetz.com/lists/?p=unsubscribe&uid=0eecea7b60b461717065cbde887c8e25
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Flooding The Zone
Record companies are like the Democrats, they refuse to innovate, they refuse to embrace new strategies, they refuse to live in the now, never mind the future.
WHAT?
If you follow the Street, which most musicians do not, you will learn that the stocks of record companies are moribund. Yet Spotify is flourishing. Why? Because of innovation. Analysts and stockholders believe there's upside with Spotify, and they don't see the same with the labels. They believe the labels are tied to the revenue of streamers, and a lot of the innovation at Spotify is not about music, but listening...i.e. audiobooks and more.
I want you to read this story from today's "New York Times."
I know, I know, you hate the "Times," but please overlook that.
"MeidasTouch Pops on Podcast Charts as Progressives Search for Answers - The company is a leader among numerous digital-first outlets that have been reshaping the progressive media landscape since President Trump took office."
Free link: https://www.nytimes.com/2025/03/09/business/media/meidastouch-podcast-democrats.html?unlocked_article_code=1.3U4.khHV.kiVP2JIy3wzV&smid=url-share
Here's the money quote:
"But perhaps no metric underscores the new attention to progressive media more than last month's revelation that "The MeidasTouch Podcast" had usurped Joe Rogan's show atop both Apple's and Spotify's rankings for downloads, a slot the show held for two weeks. (Mr. Rogan reclaimed the top spot this past week.)"
WHAT?
I know about Meidas because of my inbox, people have been telling me they listen to it.
But I had no idea they beat Rogan. This is flabbergasting.
However, the devil is in the details:
"Mr. Meiselas and his brothers, Brett and Jordy, post a dozen or more 10- to 20-minute-long news segments — nearly all featuring the search-engine-optimizing word 'Trump' in their title — on YouTube every day. That torrent is supplemented by other shows produced by MeidasTouch contributors."
THEY'RE FLOODING THE ZONE!
This is exactly what made Jesse Welles successful, along with the content of course. Instead of playing the usual streaming game, coming up with a track that people will hopefully listen to on a service, he went on social media with a plethora of tracks and the end result is even though his paid streaming numbers are anemic, he can sell out venues.
You can beat the system. Of course you need to be good as well as innovative, but...in a world where there's a tsunami of product, how do you get and keep people's attention?
You've got to be in front of their eyeballs each and every day. The influencers know this, how come the musicians do not?
This is why I laugh at authors. We hear for a year that they're writing the damn book, it sits at the publisher for half a year after that and it comes out and sells a few thousand copies. What a wank. A waste of money, time and effort when you can send an e-mail and reach many more people each and every day. Sure, you'll end up with a physical book that you can use to impress your mother, but in terms of impact? De minimis.
"That constant stream of bite-size content gives listeners more episodes to download, helping to lift the outlet's ranking on podcast charts. In February, MeidasTouch had 57.5 million podcast downloads, according to Podscribe, a tracker, ranking it ahead of 'The Joe Rogan Experience' and Candace Owens's podcast, even though they had significantly more listeners per episode."
There's more than one way to skin a cat. Rogan and Owens may still have more overall listeners, but Meidas made it to the top of the chart, which generates its own benefits. Medias is working the system, like labels used to do at radio and the charts.
But as antiquated as the labels are, the artists are worse. They want to make albums and bitch at Spotify, et al, that they're not getting paid. There is no innovation.
And, of course, distribution innovation only works if the product is worth consuming.
But if all the money is in touring, why is your focus solely on streaming?
Sure, everybody's trying to go viral on TikTok with their track, but Meidas illustrates you need many tracks. And that your hard core fans want more and more.
BUT THIS ISN'T THE WAY WE'VE ALWAYS DONE IT!
Enough with the "Spinal Tap" response. You can do it a new way.
The record labels tried to bolster their bottom lines by stealing from artists...with percentages of touring and merch while delivering nothing in return. They sign acts and wait for them to be streamed and to get paid. The execs are as brain dead as the ones who ceded the business to Napster.
Music is competing with YouTube, TikTok, video games...and what do we get in response? Overbaked tracks made by committee that slide off the backs of most people.
You need to check out Jesse Welles, he's new and different. You don't need to listen to the new Lady Gaga album.
I'll give Chappell Roan credit, there's some innovation there. Furthermore, the bounce came from, the tsunami started, on the road, not on streaming services.
But the rest of the acts?
People are drawn to innovation.
And right now that innovation is in spheres other than music. Podcasts, TikTok... But like the Democrats, the artists and labels can't question their beliefs, their structure, can't look to the people and what they want and adjust in return.
People like the new and different.
You dropped an album on Friday, WHO CARES!
You can't write a song every day?
Well, maybe if you learned how to, you'd become a star.
There's a lot going on here, but most people's heads are buried in the sand.
But not Meidas.
And hopefully not you.
--
Visit the archive: http://lefsetz.com/wordpress/
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WHAT?
If you follow the Street, which most musicians do not, you will learn that the stocks of record companies are moribund. Yet Spotify is flourishing. Why? Because of innovation. Analysts and stockholders believe there's upside with Spotify, and they don't see the same with the labels. They believe the labels are tied to the revenue of streamers, and a lot of the innovation at Spotify is not about music, but listening...i.e. audiobooks and more.
I want you to read this story from today's "New York Times."
I know, I know, you hate the "Times," but please overlook that.
"MeidasTouch Pops on Podcast Charts as Progressives Search for Answers - The company is a leader among numerous digital-first outlets that have been reshaping the progressive media landscape since President Trump took office."
Free link: https://www.nytimes.com/2025/03/09/business/media/meidastouch-podcast-democrats.html?unlocked_article_code=1.3U4.khHV.kiVP2JIy3wzV&smid=url-share
Here's the money quote:
"But perhaps no metric underscores the new attention to progressive media more than last month's revelation that "The MeidasTouch Podcast" had usurped Joe Rogan's show atop both Apple's and Spotify's rankings for downloads, a slot the show held for two weeks. (Mr. Rogan reclaimed the top spot this past week.)"
WHAT?
I know about Meidas because of my inbox, people have been telling me they listen to it.
But I had no idea they beat Rogan. This is flabbergasting.
However, the devil is in the details:
"Mr. Meiselas and his brothers, Brett and Jordy, post a dozen or more 10- to 20-minute-long news segments — nearly all featuring the search-engine-optimizing word 'Trump' in their title — on YouTube every day. That torrent is supplemented by other shows produced by MeidasTouch contributors."
THEY'RE FLOODING THE ZONE!
This is exactly what made Jesse Welles successful, along with the content of course. Instead of playing the usual streaming game, coming up with a track that people will hopefully listen to on a service, he went on social media with a plethora of tracks and the end result is even though his paid streaming numbers are anemic, he can sell out venues.
You can beat the system. Of course you need to be good as well as innovative, but...in a world where there's a tsunami of product, how do you get and keep people's attention?
You've got to be in front of their eyeballs each and every day. The influencers know this, how come the musicians do not?
This is why I laugh at authors. We hear for a year that they're writing the damn book, it sits at the publisher for half a year after that and it comes out and sells a few thousand copies. What a wank. A waste of money, time and effort when you can send an e-mail and reach many more people each and every day. Sure, you'll end up with a physical book that you can use to impress your mother, but in terms of impact? De minimis.
"That constant stream of bite-size content gives listeners more episodes to download, helping to lift the outlet's ranking on podcast charts. In February, MeidasTouch had 57.5 million podcast downloads, according to Podscribe, a tracker, ranking it ahead of 'The Joe Rogan Experience' and Candace Owens's podcast, even though they had significantly more listeners per episode."
There's more than one way to skin a cat. Rogan and Owens may still have more overall listeners, but Meidas made it to the top of the chart, which generates its own benefits. Medias is working the system, like labels used to do at radio and the charts.
But as antiquated as the labels are, the artists are worse. They want to make albums and bitch at Spotify, et al, that they're not getting paid. There is no innovation.
And, of course, distribution innovation only works if the product is worth consuming.
But if all the money is in touring, why is your focus solely on streaming?
Sure, everybody's trying to go viral on TikTok with their track, but Meidas illustrates you need many tracks. And that your hard core fans want more and more.
BUT THIS ISN'T THE WAY WE'VE ALWAYS DONE IT!
Enough with the "Spinal Tap" response. You can do it a new way.
The record labels tried to bolster their bottom lines by stealing from artists...with percentages of touring and merch while delivering nothing in return. They sign acts and wait for them to be streamed and to get paid. The execs are as brain dead as the ones who ceded the business to Napster.
Music is competing with YouTube, TikTok, video games...and what do we get in response? Overbaked tracks made by committee that slide off the backs of most people.
You need to check out Jesse Welles, he's new and different. You don't need to listen to the new Lady Gaga album.
I'll give Chappell Roan credit, there's some innovation there. Furthermore, the bounce came from, the tsunami started, on the road, not on streaming services.
But the rest of the acts?
People are drawn to innovation.
And right now that innovation is in spheres other than music. Podcasts, TikTok... But like the Democrats, the artists and labels can't question their beliefs, their structure, can't look to the people and what they want and adjust in return.
People like the new and different.
You dropped an album on Friday, WHO CARES!
You can't write a song every day?
Well, maybe if you learned how to, you'd become a star.
There's a lot going on here, but most people's heads are buried in the sand.
But not Meidas.
And hopefully not you.
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Tuesday, 11 March 2025
Re-Southwest/Bags No Longer Fly Free
They've potentially just lost so much of the touring business. Free bags has been a budget-saving godsend. And Nashville is a hub!
Lisa Arzt
___________________________________
I'm with you here. A long time LUV customer and at one time investor, because I loved the service. But times change and unfortunately so did this business model. They occupied a unique niche in their industry but now it finds itself attractive for a PE flip...a little lipstick on a pig (a pig that they may have made) and sell it for a quick buck.
I know Elliott Management well enough. They buy distressed properties and turn them around for investors. They did a great job for my old company, at least maximizing the sales price. The buyer, employee or customer, not so much. The business will be history soon after they sell it.
PE firms don't hold onto investments longer than 5 years. This is not a Warren Buffet model. PE firms must raise funds every few years and to attract new investors they have to show the returns on the previous funds. You optimize returns by quick flips, not by operating. Just do whatever you can to optimize a sales price, never worrying about the long-term business model. That's why I refuse to partner with PE firms (or buy real estate that is being flipped). Our goals are not aligned.
Delta and UAL have had good runs over the last 18 months...LUV not so much. So Elliott is willing to do whatever it can to improve a few extra decimal places on the sale. Unfortunately their timing is poor. A recession is coming...cost of capital for this capital intensive industry is high today and going higher...and it has been a crappy industry with the exception of LUV pre-pandemic.
See you on another airline.
Ed Kelly
___________________________________
I'm gutted . . . like you, I was a disciple, testified all the time and always my first airline of choice for the past 35+ years.
Very sad day . . .
Vickie Strate
___________________________________
Bob, you're so right. I loved Southwest so much I even bought their stock. What they don't understand is that they were unique among airlines, and now they're just another airline, joining what may be the most hated industry, with their gouging and VIP/1st class wankery. I'm done too, but I'm also heartbroken. I feel like everything interesting and unusual, from books to music to movies to airlines, is going to be bought, get the edges filed off by profiteers, and then resold at a premium, only to lose market share and die.
Bonnie Hayes
___________________________________
Totally agree and am glad to see that I'm not alone in questioning their recent decisions.
I am a Southwest loyalist, but won't be once they change to assigned seats.
I have always liked that Southwest is Truth in Advertising. You pay for a ticket and if you want to pay a little extra you can find an aisle seat. You can check a bag for free (Why is everyone so opposed to checking their roller bags? Just buy a frickin' Apple airtag and throw it in your bag!). They don't have a million different tiers to boarding that slow everyone down.
Now they want to be just like the other crappy airlines.
Jack Pratt
___________________________________
Spot on. Breaks my heart. I flew only Southwest for years, flew my whole band around the country. I have only Southwest credit cards. I actively felt bad for all the poor fools traveling on the fake corporate airlines. Suckers who just didn't get it and settled for second best. And now, thanks to typical modern American private equity bullsh*t, our beloved Southwest is just another corporate fake. It's sickening. A betrayal, just as you described. They upped their pricing, then announced the seat change, now this? I will use up my considerable points on tickets as needed, but in the last year I found myself on Alaska, Frontier, Spirit, and this week on United. Wtf?!
Ralph Covert
___________________________________
I'm with you on this, Bob.
Private equity and "activist" (read 'looters) investors don't care about brands. They don't even understand their value so they create spreadsheets that undervalue "brand equity" so they can squeeze more "value" (read 'money') out of the company.
We're watching a version of collapsing brand equity right now in America - Elon Musk (including Tesla and Space X) has gone from being a big brand to a failing brand, seemingly overnight because once you pop the balloon it's hard to get the air back in. This may happen to Southwest.
John Parikhal
___________________________________
You are so right. Once I use the rest of my miles Southwest is no longer my first choice.
Herb Kelleher is probably spinning in his grave.
Too bad…
Mike Crowley
___________________________________
Absolutely right, Bob. It's such a shame. They were one of the last companies who really didn't try to pry every last penny out of your wallet. So much for that. It was a great run.
Bill Higgins
___________________________________
"Southwest, I'M DONE!"
Right on! Jet blue is picking up the slack - bigger seats, modest pricing if you check a bag, great pricing if you don't. SW can suck it.
Thomas Howell
___________________________________
Old Business Plan: Be different = success
New Business Plan: Be like everyone else = Fail
Who loses…….Consumers
Jim Clemenson
___________________________________
End of an Era.
Even more than being cheap, everyone thinks it's cool to scam.
Sadly.
Holly Gleason
Nashville, TN
___________________________________
That's a shame. PE groups f*ck things up. Southwest did lose its brand equity overnight, and it's disappointing. The Venture Capital companies are doing the same thing to Whataburger in Texas, Whataburger being Texas' In N Out burger joint. The hamburgers are shrinking, and prices are rising. That's the PE playbook. It's unimaginative, but it works. Make it cheaper, make it smaller, and raise prices. Blame it on supply chain issues, tariffs, the price of eggs, or labor costs. Just do it. No need to be honest or truthful, just have a story. But if you blame it on labor costs, make sure not to raise wages. Labor cost is an excuse, not a reality.
If I had the ability, I'd tax PE groups out of existence. Tax gains at 75% and no loss write offs. Get a real career, do something productive rather than just take your cut of other people's money.
Mike McBath
___________________________________
I agree. My use was similar to yours. I chose SW because of the feel and for me they reduced the friction of travel. Why would anyone choose to run a business by competing on price, if you don't have to?
Dave Petersen
___________________________________
This decision is worse than the one to introduce New Coke in 1985. The no-charging for bags was sacred. It was their $1.50 Costco hot dog.
Douglas Trapasso
___________________________________
I am a longtime and passionate Southwest fan and I feel exactly as you do. I built my 10 state territory with Southwest. If they fly there, I'll open an account there. It served me well.
What management has done to eliminate what makes the airline unique is devastating. I am a Southwest credit card holder, shareholder, and Rapid Rewards member from the 90s with A-List Preferred status and a Companion Pass. It's the only brand I care about.
Thanks to Elliott I will start looking for alternatives that may better suit me. No more 1-stop flights because I want to fly Southwest. Perhaps United is a good fit for me with their lounge access and first class upgrades. They have a credit card too...
I would have never strayed from Southwest in the past but it's a new day with Elliott in charge. Herb is likely rolling in his grave.
All the best to you, safe travels.
Regards,
Jason Asher
___________________________________
Welcome to activist investors like Elliot. I worked for a company that tjhey targeted a number years ago and watched them decimate it.
As far as Southwest, they needed to grow up and figure out who they wanted to be. A ULCC (Ultra Low Cost Carrier) like Frontier, Spirit and Alligent or one of the bigs like Delta, AA, UA and JetBlue. They were riding the fence too long and here come Elliot.
The delta between an AA fare and an SW fare out of my home airport, exact date/time usually was the cost of two bags on AA plus... 20-40 bucks a ticket. So there's your Early Bird.
The illusion was exposed, and the ULCCs and the bigs brought Southwest down to earth.
ps - I hated the folksy FA's and the announcement shenanigans... you can only hear the same jokes so many times...
Jim Anderson
___________________________________
Bob, I have said for years of flying for business. If you can't lift your carry-on over your head, check it!
When I first used Southwest in Texas it was like Greyhound. You went to the gate and waited for the next flight.
Gary Einhorn
___________________________________
Agreed. Or, to be perfectly clear to Southwest: Buh-bye.
Mike Mettler
___________________________________
My company has clients that are owned by private equity, and my dad's firm that he built over 35 years had to sell to private equity because no one else would buy it. My experience across the board has led me to one conclusion, echoing your own: f*ck private equity. They are unAmerican and killers of the American Dream.
Gretchen Morgenson's book "These Are the Plunderers" says it a lot better than I can.
Thanks for calling out these troglodytes.
Mitchell Maddox
___________________________________
Agree with you totally, Bob. The reason I flew Southwest was, as you say, the atmosphere and the free bags and they had a pretty good rewards program, which they are also docking.
Why would I keep flying them? I won't. Bad business decision, Southwest. Now you are just every other airline.
Jan Jankingston
___________________________________
I will be joining you in avoiding Southwest Airlines in future.
One of the few pleasures in life was avoiding the hassle of dragging a bag around an airport and then trying to not only find a space for it on the the plane but a seat nearby,
From now on, I will drive to most of the places I would have flown Southwest. And will find another airline to where I can not drive.
The airline will return to being SouthWORST.
Make American Skies Unfriendly Again
Gregory Betley
___________________________________
Ever since airlines started charging for checked bags, travel has gotten much worse. The size and amount of carry on luggage people bring onboard is ridiculous. It doubles the boarding time. There's always an announcement that there's not enough overhead space and bags will be checked at the gate (for free usually, maybe that's their plan). It makes the flying experience slightly more miserable.
The carry on situation needs to be addressed. I'm tired of taking a backpack to the head while i'm sitting in my seat and some asshole blazes past me with 3 giant carry on items.
The difference between the US based flight crews and European flight crews is astonishing. I'm guessing in Europe they're treated much better by the customers and employers.
But here in North America I think there's pretty low morale among flight attendants, and I can understand why. The worst of humanity is unleashed at airports. We all have horror stories.
Jay Ruston
___________________________________
God damnit… I've always stood by SouthWest … THE PEOPLES AIRLINE!
Sad for me to read, and the symbolism is telling. Sucks.
Maybe if enough people stand up they'll go back to what made them the best.
Cheers,
James Davy Eggleston
___________________________________
Bob, I am with your philosophy 100%. I will use them till my miles evaporate. Hopefully, this greedy move will cost in losses what the extra dollars get them. SCREW southwest!!!!!!!!!!!!!!!!!!
N. Dauria
___________________________________
The video going around the past few weeks of some asswipe MAGA singing that stupid Lee Greenwood tune over the intercom on a Southwest flight was the spark, and the email I got from the airline this morning about the bags was the nail in the coffin, to which I replied: I GUARANTEE SOUTHWEST IS NOW MY LAST-RESORT CARRIER. And they didn't even have the balls to say how much the bag charge will be. As you said, F*ck 'em.
Thomas Wilson
___________________________________
I'm a Southwest loyalist. Of course, with Baltimore-Washington International being my home airport — and SWA accounting for 80% of the flights — there's not much of a choice. But it's not just the availability of non-stops to most domestic locations; I've always loved the quirkiness and the perks.
No change or cancellation fees, credits that never expire, no baggage fees, great customer service with a smile — it's all worked well for me.
I was even a fan back in the days when you had to get to the airport early, grab a plastic boarding card, and sit on the floor to claim your spot!
So yeah, I was definitely pissed when I got that email this morning about all the changes and the typical legacy airline nickel-and-diming. But reading more closely, it looks like if you're on the A-list, have a Southwest credit card, etc., you still get free bag checks. So for now, I'm still in.
But beyond just squeezing more revenue, it feels like they're playing the loyalty game — "If you like us, we'll treat you special." I'm willing to play along, but I do wonder if I'd feel the same way if BWI weren't my home base.
So I guess you're right — Southwest used to be like Phish or The Dead, and now they're more like every corporate act we love but hate.
Rich Madow
___________________________________
It's not just the bags, Bob. But there's more!
Also tucked into their press release... "We will also begin to vary our redemption rates across our fare products on some high- and low-demand travel periods." Can you say insane uncapped dynamic pricing?
&
"Flight credits issued for tickets purchased on or after May 28, 2025 will expire one year or earlier from the date of ticketing, depending on the fare type purchased." This is a big change considering just a few years ago they did away with expirations on flight credits.
&
Southwest, without publicly announcing it, cut the amount of points you earn by flying with them by a lot for Wanna Get Away fares. Basically, you'll be earning a lot less than before.
Devaluation after devaluation. What even differentiates Southwest anymore? They're basically JetBlue now, except JetBlue at least has the best business class (Mint) out of all the US carriers. Their pricing has also increased over the last few years on many popular routes. The companion pass is the only thing they have left and I can't imagine earning it will be as easy moving forward either.
Richard Young
___________________________________
Pre boarders have ruined Southwest experience.
Michael Monaghan
___________________________________
I grew up in DC but live in Austin. I used to fly American to see family in the DC area but gave that up when Southwest added non-stop flights to BWI and Dulles. And I loved the vibe on the Southwest flights. Flights on American seemed like a cold shower as compared to the experience in SW. And everytime something bad happened on an American flight they were never at fault. I remember driving to Dulles in a snowstorm to get my bags that had arrived late but for which I had been promised they would be delivered at my door. Contrast that to SW allowing me to change my flight to an earlier one even when it was against the policy to do that on a flight I booked on points. My experiences with SW employees were great, They were there to help. I've probably flown 95 percent on SW since the late 90s. I hate the thought of them becoming just another cold shower. Given what is going on in DC maybe I will start to drive everywhere.
Joe Sherfy
___________________________________
Ya know, I like Southwest in theory more than in practice. The cheap airfare is enticing, sure, but I seldom can find a direct flight through them. If I want to get to Chicago, I have to fly a connect to Indianapolis or Kansas City, and it takes up more than double the time a direct flight would take.
But you're right about Southwest being egalitarian. We're in an era where you have to fly first class just to be treated as a human being. At this trajectory, first class will be like coach, where you have to pay $300 extra just for Biscoff cookies and a headrest LED screen. I'm a millennial, so when I hear boomers tell of the stewardess carving corned beef and the bathroom not being the size of a broom closet in Manhattan, it sounds alien to me (like every airline was Air Emirates).
I know the boomers get a lot of flak for "ruining" everything, but I KNOW y'all would never willingly cede those comforts, so I choose to blame that on Gen X and the people my age.
Garrett Gravley
___________________________________
You are 100% correct. Southwest became my airline of choice when the others started charging for bags. Prior to that I had no loyalty. It's differentiators that set companies apart and the brain trust at Southwest has determined that is no longer a thing. Even when I don't check a bag Southwest is my goto. Another great company taken down by boys proficient in Excel who have to show their bosses they are earning their paycheck. They couldn't care less about long term viability or the customer experience.
Thanks,
Neal Berz
___________________________________
So these jackalopes just pissed away a third of a billion dollars, if the experts' projections are right.
The post-truth world is also post-competence. Even post-intelligent.
Normally you would think that evil thieves are as competent as they are cold blooded. Nope, post-truth, facts don't exist. You want to believe you have an opportunity to gouge down an extra billion and a half? But the facts suggest otherwise? F*ck facts. Just believe what you want.
If you're thinking that these chuckleheads are sitting ducks for the next con man who comes along.... you're not alone. You, me, and the con man.
-Carl Seibert
Anybody whose ridden an airline since the 1980s and has endured the clusterf*ck when every entitled idiot on the plane tries to retrieve their damn bag from the bins understands that the best thing that airlines could do to civilize the experience would be to make checked bags free and charge for use of the bins. Or if gouging your customers is your thing, charge for both, but more for the bins!
___________________________________
Bob: Get the Alaska Airlines Visa card. You get 70,000 free miles when signing up, free baggage check-in for yourself plus SIX others on your same reservation, priority boarding, discounts on in-flight food, an annual companion fare for $99 plus tax and with no restrictions, daily discounts at online retailers, and partnerships with Delta in the USA and Global Alliance airline partners for international flights — miles earned on partner airlines go onto you Alaska mileage account. It flies to Hawaii, Mexico, and nonstop from Seattle to Tokyo and Seoul. It's really a no-brainer to switch to Alaska, especially for those living on the Left Coast.
Dottie Martin
Current St. Louisan, former Seattle-ite, satisfied Alaska Airlines member since 2007
___________________________________
Southwest went downhill when Herb Kelleher left. I used to fly them all the time. Now only if necessary. You're correct on the McKinsey beancounters.
Bill Powell
___________________________________
First off, totally surprised you endorse (endorsed) Southwest. I'm actually pleased, but surprised.
I don't fly with them much, too many shenanigans before the flight and in the air, as documented in their own reality series (even if scripted, I saw these things happen a lot!), but it was always nice to know I didn't have to worry about bags because of or in lieu of my status with their loyalty program. Their prices are more on par with others now, but there was a time they undercut everyone.
Why I never totally fell in love? They took over ATA and wiped out perhaps the best loyalty program that had ever existed in the air at least in my time on Earth so far, you would earn four points and that would get you a free one-way flight, 8 points would get you around trip. Simply double that for their business class or use your free trip and just pay the $49 upgrade for business class at check-in, which 90% of the time I was able to do. I was very disappointed when this business model vanished under Southwest. And I almost fainted when I read your comment about having 127 people in preboard for assistance and every one of them doing somersaults down the aisle while those of us that might have paid for that coveted A1 through A15 boarding position have to stand and wonder where we're going to be in importance.
One of my most memorable flights on Southwest originated in Orlando, it was going to Las Vegas if I'm not mistaken, and I was one of the first five people on, A5 to be exact, and there's already 20 people sitting up front, people NO ONE saw board...and from that day forward I think I've just forgotten to book Southwest unless I absolutely have to because there is some game in there that needs to be fixed, perhaps now that they're going to start charging for everything like everybody else, the playing field will level itself out.
Kevin Andrusia
Orlando Florida
___________________________________
Congrats on being a stand up person who pays for early boarding. I normally would but given the millions of miles I've flown, I figure I deserve a break. At the gate (the agents are usually pretty young), I shuffle up to the counter, sometimes with a faint limp, and ask the agent if I could board early. They always say yes! We look really old to them.
Of course the main reason for doing so is to beat the other passengers to the punch. You do NOT want to go to the trouble of having only a carry on which is then relegated to the hold because there was no more overhead space for reasons you mention.
You've earned a pass. We deserve someone youngster giving up a seat for us or senior discount days. Take what they're giving you. We deserve it, seniority counts.
John Brodey
___________________________________
I fly Southwest all the time. Saw the notice today. My last flight a few days ago LA to Nashville, 26 pre boarders. It's so annoying, I now count how many, now there have been more into the 30's. Some of those people looked pretty good to me. There are those who need it and should have help. I asked a flight attendant about it, she told me that the crews are convinced miraculous healings happen on the on ramp as some leap out of their wheel chairs waving their canes over their heads once at the entrance to the to the plane. As you said love the SW crews. I wasn't sure if you were aware of the apparent spiritual aspect acknowledge by crew members. Now you know. Service animals, that's a whole other conversation. Dogs/cats/birds you name it in strollers and beyond on flights, this is far worse.
Dave May
___________________________________
Southwest hasn't been the same in years. It started when they got rid of the peanuts.
Kyle JF
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Lisa Arzt
___________________________________
I'm with you here. A long time LUV customer and at one time investor, because I loved the service. But times change and unfortunately so did this business model. They occupied a unique niche in their industry but now it finds itself attractive for a PE flip...a little lipstick on a pig (a pig that they may have made) and sell it for a quick buck.
I know Elliott Management well enough. They buy distressed properties and turn them around for investors. They did a great job for my old company, at least maximizing the sales price. The buyer, employee or customer, not so much. The business will be history soon after they sell it.
PE firms don't hold onto investments longer than 5 years. This is not a Warren Buffet model. PE firms must raise funds every few years and to attract new investors they have to show the returns on the previous funds. You optimize returns by quick flips, not by operating. Just do whatever you can to optimize a sales price, never worrying about the long-term business model. That's why I refuse to partner with PE firms (or buy real estate that is being flipped). Our goals are not aligned.
Delta and UAL have had good runs over the last 18 months...LUV not so much. So Elliott is willing to do whatever it can to improve a few extra decimal places on the sale. Unfortunately their timing is poor. A recession is coming...cost of capital for this capital intensive industry is high today and going higher...and it has been a crappy industry with the exception of LUV pre-pandemic.
See you on another airline.
Ed Kelly
___________________________________
I'm gutted . . . like you, I was a disciple, testified all the time and always my first airline of choice for the past 35+ years.
Very sad day . . .
Vickie Strate
___________________________________
Bob, you're so right. I loved Southwest so much I even bought their stock. What they don't understand is that they were unique among airlines, and now they're just another airline, joining what may be the most hated industry, with their gouging and VIP/1st class wankery. I'm done too, but I'm also heartbroken. I feel like everything interesting and unusual, from books to music to movies to airlines, is going to be bought, get the edges filed off by profiteers, and then resold at a premium, only to lose market share and die.
Bonnie Hayes
___________________________________
Totally agree and am glad to see that I'm not alone in questioning their recent decisions.
I am a Southwest loyalist, but won't be once they change to assigned seats.
I have always liked that Southwest is Truth in Advertising. You pay for a ticket and if you want to pay a little extra you can find an aisle seat. You can check a bag for free (Why is everyone so opposed to checking their roller bags? Just buy a frickin' Apple airtag and throw it in your bag!). They don't have a million different tiers to boarding that slow everyone down.
Now they want to be just like the other crappy airlines.
Jack Pratt
___________________________________
Spot on. Breaks my heart. I flew only Southwest for years, flew my whole band around the country. I have only Southwest credit cards. I actively felt bad for all the poor fools traveling on the fake corporate airlines. Suckers who just didn't get it and settled for second best. And now, thanks to typical modern American private equity bullsh*t, our beloved Southwest is just another corporate fake. It's sickening. A betrayal, just as you described. They upped their pricing, then announced the seat change, now this? I will use up my considerable points on tickets as needed, but in the last year I found myself on Alaska, Frontier, Spirit, and this week on United. Wtf?!
Ralph Covert
___________________________________
I'm with you on this, Bob.
Private equity and "activist" (read 'looters) investors don't care about brands. They don't even understand their value so they create spreadsheets that undervalue "brand equity" so they can squeeze more "value" (read 'money') out of the company.
We're watching a version of collapsing brand equity right now in America - Elon Musk (including Tesla and Space X) has gone from being a big brand to a failing brand, seemingly overnight because once you pop the balloon it's hard to get the air back in. This may happen to Southwest.
John Parikhal
___________________________________
You are so right. Once I use the rest of my miles Southwest is no longer my first choice.
Herb Kelleher is probably spinning in his grave.
Too bad…
Mike Crowley
___________________________________
Absolutely right, Bob. It's such a shame. They were one of the last companies who really didn't try to pry every last penny out of your wallet. So much for that. It was a great run.
Bill Higgins
___________________________________
"Southwest, I'M DONE!"
Right on! Jet blue is picking up the slack - bigger seats, modest pricing if you check a bag, great pricing if you don't. SW can suck it.
Thomas Howell
___________________________________
Old Business Plan: Be different = success
New Business Plan: Be like everyone else = Fail
Who loses…….Consumers
Jim Clemenson
___________________________________
End of an Era.
Even more than being cheap, everyone thinks it's cool to scam.
Sadly.
Holly Gleason
Nashville, TN
___________________________________
That's a shame. PE groups f*ck things up. Southwest did lose its brand equity overnight, and it's disappointing. The Venture Capital companies are doing the same thing to Whataburger in Texas, Whataburger being Texas' In N Out burger joint. The hamburgers are shrinking, and prices are rising. That's the PE playbook. It's unimaginative, but it works. Make it cheaper, make it smaller, and raise prices. Blame it on supply chain issues, tariffs, the price of eggs, or labor costs. Just do it. No need to be honest or truthful, just have a story. But if you blame it on labor costs, make sure not to raise wages. Labor cost is an excuse, not a reality.
If I had the ability, I'd tax PE groups out of existence. Tax gains at 75% and no loss write offs. Get a real career, do something productive rather than just take your cut of other people's money.
Mike McBath
___________________________________
I agree. My use was similar to yours. I chose SW because of the feel and for me they reduced the friction of travel. Why would anyone choose to run a business by competing on price, if you don't have to?
Dave Petersen
___________________________________
This decision is worse than the one to introduce New Coke in 1985. The no-charging for bags was sacred. It was their $1.50 Costco hot dog.
Douglas Trapasso
___________________________________
I am a longtime and passionate Southwest fan and I feel exactly as you do. I built my 10 state territory with Southwest. If they fly there, I'll open an account there. It served me well.
What management has done to eliminate what makes the airline unique is devastating. I am a Southwest credit card holder, shareholder, and Rapid Rewards member from the 90s with A-List Preferred status and a Companion Pass. It's the only brand I care about.
Thanks to Elliott I will start looking for alternatives that may better suit me. No more 1-stop flights because I want to fly Southwest. Perhaps United is a good fit for me with their lounge access and first class upgrades. They have a credit card too...
I would have never strayed from Southwest in the past but it's a new day with Elliott in charge. Herb is likely rolling in his grave.
All the best to you, safe travels.
Regards,
Jason Asher
___________________________________
Welcome to activist investors like Elliot. I worked for a company that tjhey targeted a number years ago and watched them decimate it.
As far as Southwest, they needed to grow up and figure out who they wanted to be. A ULCC (Ultra Low Cost Carrier) like Frontier, Spirit and Alligent or one of the bigs like Delta, AA, UA and JetBlue. They were riding the fence too long and here come Elliot.
The delta between an AA fare and an SW fare out of my home airport, exact date/time usually was the cost of two bags on AA plus... 20-40 bucks a ticket. So there's your Early Bird.
The illusion was exposed, and the ULCCs and the bigs brought Southwest down to earth.
ps - I hated the folksy FA's and the announcement shenanigans... you can only hear the same jokes so many times...
Jim Anderson
___________________________________
Bob, I have said for years of flying for business. If you can't lift your carry-on over your head, check it!
When I first used Southwest in Texas it was like Greyhound. You went to the gate and waited for the next flight.
Gary Einhorn
___________________________________
Agreed. Or, to be perfectly clear to Southwest: Buh-bye.
Mike Mettler
___________________________________
My company has clients that are owned by private equity, and my dad's firm that he built over 35 years had to sell to private equity because no one else would buy it. My experience across the board has led me to one conclusion, echoing your own: f*ck private equity. They are unAmerican and killers of the American Dream.
Gretchen Morgenson's book "These Are the Plunderers" says it a lot better than I can.
Thanks for calling out these troglodytes.
Mitchell Maddox
___________________________________
Agree with you totally, Bob. The reason I flew Southwest was, as you say, the atmosphere and the free bags and they had a pretty good rewards program, which they are also docking.
Why would I keep flying them? I won't. Bad business decision, Southwest. Now you are just every other airline.
Jan Jankingston
___________________________________
I will be joining you in avoiding Southwest Airlines in future.
One of the few pleasures in life was avoiding the hassle of dragging a bag around an airport and then trying to not only find a space for it on the the plane but a seat nearby,
From now on, I will drive to most of the places I would have flown Southwest. And will find another airline to where I can not drive.
The airline will return to being SouthWORST.
Make American Skies Unfriendly Again
Gregory Betley
___________________________________
Ever since airlines started charging for checked bags, travel has gotten much worse. The size and amount of carry on luggage people bring onboard is ridiculous. It doubles the boarding time. There's always an announcement that there's not enough overhead space and bags will be checked at the gate (for free usually, maybe that's their plan). It makes the flying experience slightly more miserable.
The carry on situation needs to be addressed. I'm tired of taking a backpack to the head while i'm sitting in my seat and some asshole blazes past me with 3 giant carry on items.
The difference between the US based flight crews and European flight crews is astonishing. I'm guessing in Europe they're treated much better by the customers and employers.
But here in North America I think there's pretty low morale among flight attendants, and I can understand why. The worst of humanity is unleashed at airports. We all have horror stories.
Jay Ruston
___________________________________
God damnit… I've always stood by SouthWest … THE PEOPLES AIRLINE!
Sad for me to read, and the symbolism is telling. Sucks.
Maybe if enough people stand up they'll go back to what made them the best.
Cheers,
James Davy Eggleston
___________________________________
Bob, I am with your philosophy 100%. I will use them till my miles evaporate. Hopefully, this greedy move will cost in losses what the extra dollars get them. SCREW southwest!!!!!!!!!!!!!!!!!!
N. Dauria
___________________________________
The video going around the past few weeks of some asswipe MAGA singing that stupid Lee Greenwood tune over the intercom on a Southwest flight was the spark, and the email I got from the airline this morning about the bags was the nail in the coffin, to which I replied: I GUARANTEE SOUTHWEST IS NOW MY LAST-RESORT CARRIER. And they didn't even have the balls to say how much the bag charge will be. As you said, F*ck 'em.
Thomas Wilson
___________________________________
I'm a Southwest loyalist. Of course, with Baltimore-Washington International being my home airport — and SWA accounting for 80% of the flights — there's not much of a choice. But it's not just the availability of non-stops to most domestic locations; I've always loved the quirkiness and the perks.
No change or cancellation fees, credits that never expire, no baggage fees, great customer service with a smile — it's all worked well for me.
I was even a fan back in the days when you had to get to the airport early, grab a plastic boarding card, and sit on the floor to claim your spot!
So yeah, I was definitely pissed when I got that email this morning about all the changes and the typical legacy airline nickel-and-diming. But reading more closely, it looks like if you're on the A-list, have a Southwest credit card, etc., you still get free bag checks. So for now, I'm still in.
But beyond just squeezing more revenue, it feels like they're playing the loyalty game — "If you like us, we'll treat you special." I'm willing to play along, but I do wonder if I'd feel the same way if BWI weren't my home base.
So I guess you're right — Southwest used to be like Phish or The Dead, and now they're more like every corporate act we love but hate.
Rich Madow
___________________________________
It's not just the bags, Bob. But there's more!
Also tucked into their press release... "We will also begin to vary our redemption rates across our fare products on some high- and low-demand travel periods." Can you say insane uncapped dynamic pricing?
&
"Flight credits issued for tickets purchased on or after May 28, 2025 will expire one year or earlier from the date of ticketing, depending on the fare type purchased." This is a big change considering just a few years ago they did away with expirations on flight credits.
&
Southwest, without publicly announcing it, cut the amount of points you earn by flying with them by a lot for Wanna Get Away fares. Basically, you'll be earning a lot less than before.
Devaluation after devaluation. What even differentiates Southwest anymore? They're basically JetBlue now, except JetBlue at least has the best business class (Mint) out of all the US carriers. Their pricing has also increased over the last few years on many popular routes. The companion pass is the only thing they have left and I can't imagine earning it will be as easy moving forward either.
Richard Young
___________________________________
Pre boarders have ruined Southwest experience.
Michael Monaghan
___________________________________
I grew up in DC but live in Austin. I used to fly American to see family in the DC area but gave that up when Southwest added non-stop flights to BWI and Dulles. And I loved the vibe on the Southwest flights. Flights on American seemed like a cold shower as compared to the experience in SW. And everytime something bad happened on an American flight they were never at fault. I remember driving to Dulles in a snowstorm to get my bags that had arrived late but for which I had been promised they would be delivered at my door. Contrast that to SW allowing me to change my flight to an earlier one even when it was against the policy to do that on a flight I booked on points. My experiences with SW employees were great, They were there to help. I've probably flown 95 percent on SW since the late 90s. I hate the thought of them becoming just another cold shower. Given what is going on in DC maybe I will start to drive everywhere.
Joe Sherfy
___________________________________
Ya know, I like Southwest in theory more than in practice. The cheap airfare is enticing, sure, but I seldom can find a direct flight through them. If I want to get to Chicago, I have to fly a connect to Indianapolis or Kansas City, and it takes up more than double the time a direct flight would take.
But you're right about Southwest being egalitarian. We're in an era where you have to fly first class just to be treated as a human being. At this trajectory, first class will be like coach, where you have to pay $300 extra just for Biscoff cookies and a headrest LED screen. I'm a millennial, so when I hear boomers tell of the stewardess carving corned beef and the bathroom not being the size of a broom closet in Manhattan, it sounds alien to me (like every airline was Air Emirates).
I know the boomers get a lot of flak for "ruining" everything, but I KNOW y'all would never willingly cede those comforts, so I choose to blame that on Gen X and the people my age.
Garrett Gravley
___________________________________
You are 100% correct. Southwest became my airline of choice when the others started charging for bags. Prior to that I had no loyalty. It's differentiators that set companies apart and the brain trust at Southwest has determined that is no longer a thing. Even when I don't check a bag Southwest is my goto. Another great company taken down by boys proficient in Excel who have to show their bosses they are earning their paycheck. They couldn't care less about long term viability or the customer experience.
Thanks,
Neal Berz
___________________________________
So these jackalopes just pissed away a third of a billion dollars, if the experts' projections are right.
The post-truth world is also post-competence. Even post-intelligent.
Normally you would think that evil thieves are as competent as they are cold blooded. Nope, post-truth, facts don't exist. You want to believe you have an opportunity to gouge down an extra billion and a half? But the facts suggest otherwise? F*ck facts. Just believe what you want.
If you're thinking that these chuckleheads are sitting ducks for the next con man who comes along.... you're not alone. You, me, and the con man.
-Carl Seibert
Anybody whose ridden an airline since the 1980s and has endured the clusterf*ck when every entitled idiot on the plane tries to retrieve their damn bag from the bins understands that the best thing that airlines could do to civilize the experience would be to make checked bags free and charge for use of the bins. Or if gouging your customers is your thing, charge for both, but more for the bins!
___________________________________
Bob: Get the Alaska Airlines Visa card. You get 70,000 free miles when signing up, free baggage check-in for yourself plus SIX others on your same reservation, priority boarding, discounts on in-flight food, an annual companion fare for $99 plus tax and with no restrictions, daily discounts at online retailers, and partnerships with Delta in the USA and Global Alliance airline partners for international flights — miles earned on partner airlines go onto you Alaska mileage account. It flies to Hawaii, Mexico, and nonstop from Seattle to Tokyo and Seoul. It's really a no-brainer to switch to Alaska, especially for those living on the Left Coast.
Dottie Martin
Current St. Louisan, former Seattle-ite, satisfied Alaska Airlines member since 2007
___________________________________
Southwest went downhill when Herb Kelleher left. I used to fly them all the time. Now only if necessary. You're correct on the McKinsey beancounters.
Bill Powell
___________________________________
First off, totally surprised you endorse (endorsed) Southwest. I'm actually pleased, but surprised.
I don't fly with them much, too many shenanigans before the flight and in the air, as documented in their own reality series (even if scripted, I saw these things happen a lot!), but it was always nice to know I didn't have to worry about bags because of or in lieu of my status with their loyalty program. Their prices are more on par with others now, but there was a time they undercut everyone.
Why I never totally fell in love? They took over ATA and wiped out perhaps the best loyalty program that had ever existed in the air at least in my time on Earth so far, you would earn four points and that would get you a free one-way flight, 8 points would get you around trip. Simply double that for their business class or use your free trip and just pay the $49 upgrade for business class at check-in, which 90% of the time I was able to do. I was very disappointed when this business model vanished under Southwest. And I almost fainted when I read your comment about having 127 people in preboard for assistance and every one of them doing somersaults down the aisle while those of us that might have paid for that coveted A1 through A15 boarding position have to stand and wonder where we're going to be in importance.
One of my most memorable flights on Southwest originated in Orlando, it was going to Las Vegas if I'm not mistaken, and I was one of the first five people on, A5 to be exact, and there's already 20 people sitting up front, people NO ONE saw board...and from that day forward I think I've just forgotten to book Southwest unless I absolutely have to because there is some game in there that needs to be fixed, perhaps now that they're going to start charging for everything like everybody else, the playing field will level itself out.
Kevin Andrusia
Orlando Florida
___________________________________
Congrats on being a stand up person who pays for early boarding. I normally would but given the millions of miles I've flown, I figure I deserve a break. At the gate (the agents are usually pretty young), I shuffle up to the counter, sometimes with a faint limp, and ask the agent if I could board early. They always say yes! We look really old to them.
Of course the main reason for doing so is to beat the other passengers to the punch. You do NOT want to go to the trouble of having only a carry on which is then relegated to the hold because there was no more overhead space for reasons you mention.
You've earned a pass. We deserve someone youngster giving up a seat for us or senior discount days. Take what they're giving you. We deserve it, seniority counts.
John Brodey
___________________________________
I fly Southwest all the time. Saw the notice today. My last flight a few days ago LA to Nashville, 26 pre boarders. It's so annoying, I now count how many, now there have been more into the 30's. Some of those people looked pretty good to me. There are those who need it and should have help. I asked a flight attendant about it, she told me that the crews are convinced miraculous healings happen on the on ramp as some leap out of their wheel chairs waving their canes over their heads once at the entrance to the to the plane. As you said love the SW crews. I wasn't sure if you were aware of the apparent spiritual aspect acknowledge by crew members. Now you know. Service animals, that's a whole other conversation. Dogs/cats/birds you name it in strollers and beyond on flights, this is far worse.
Dave May
___________________________________
Southwest hasn't been the same in years. It started when they got rid of the peanuts.
Kyle JF
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Bags No Longer Fly Free
"Southwest Will Begin Charging for Checked Bags, Ending a Popular Policy"
https://www.nytimes.com/2025/03/11/business/southwest-checked-bags-fee.html
I believe in Southwest Airlines.
I think it's the irreverence that hooked me. The flight attendants who pick up the intercom with attitude, who make jokes, like regular people. You see more of that in advertising these days, what works is the vernacular, with a sense of humor. But on most airlines... Everything is deadly serious, and the flight attendants are working reluctantly. You go into the back and ask for something, anything, and they roll their eyes and...
Not on Southwest.
And I like that it's egalitarian. That we're all in it together. That there's no first class. You line up and you get on. And if you're willing to pay a small fee you can get closer to the front of the line so you can get a seat that will satisfy you. I've always gotten a seat on the aisle, which is what I am looking for.
But in the past couple of years...
People have started to break the rules. There's an endless parade of pre-borders. Handicapped, with children...but they're walking no problem and the kids are old. That sucks, I'm paying for early access, why can't they?
And then there's the saving of seats. Which is a no-no. One person pays the additional fee for being closer to the front of the line and then saves seats for people who are at the back of the line.
What is it? What changed in America? When did everybody become so cheap, when did everybody become so myopic, not caring about others?
That's one thing I used to like about Southwest, the feeling of congeniality.
As for the other airlines... They upsell you on everything. And you've got to worry about bin space, because everybody is trying to save money by not checking their bags. And I know, I know, if you carry on you can get off and walk away without waiting at the conveyor belt, but you should see what people bring on!
Which is why I love Southwest, because bags fly free, and more people check theirs. Even the baggage attendants are nice at Southwest, they're on the curb, taking your bags, you don't have to schlep them inside.
But then they changed the policy. Assigned seats. I don't like it, but since people were abusing the system I understood it.
But today Southwest said they would start charging for bags.
Now the people who actually run the airline are against this, they researched the issue:
"Executives cited an analysis by a consulting firm that determined bag charges would bring in at most $1.5 billion in revenue a year, but cost the airline $1.8 billion in lost market share. Free bags ranked just behind price and schedule among the top reasons travelers pick Southwest, executives said then."
https://www.wsj.com/business/airlines/southwest-airlines-bag-policy-charge-basic-economy-9549218e?mod=Searchresults_pos1&page=1
But activist investors Elliott Investment Management wanted to make more money, they got seats on the board and forced the executives to change the no-bags policy.
Ain't that America. Shortsightedness by people only considering the bottom line.
But in this case it's worse, because they destroyed brand equity overnight!
If Southwest flew there, I took it. Not anymore. F*ck them. I'll do my best to take another airline. Southwest eviscerated what was special about it and I'm PISSED!
Let's be clear, this is not Ticketmaster, the public has options. Rarely is Southwest the only airline available.
Now they could reverse this no-bags policy before it starts in May, but I doubt it.
This is like Jimmy Page joining the Carpenters. Who could respect him after that?
Then again, music is just like Wall Street today. If it grosses big, it's good. Where in the hell did they write that? If I read one more word about Ariana Grande... She's got a new album...a good voice for nincompoops. This is not artistry, this is commerce!
But what we hear from the industry is this is what everybody else is doing. Whereas those who are doing it differently are the ones with the hard core fans. They may not be in the Spotify Top 50, but they never have to worry about their career tanking, as long as they continue to be true to themselves. Case in point, Phish. I get more e-mail about that band than any other extant, and believe me they aren't the biggest in the world, but they've got passionate fans! Who can't stop spreading the word.
I used to be a passionate fan of Southwest Airlines. I always talked it up.
But it turns out Southwest Airlines doesn't care about me, didn't even think of me, my experience.
You're nothing without your customers. This is what bugs me about corporate titans, they think they're responsible for all the success. But without people buying the product or service, there is no business.
You take what makes you unique, an outlier, that bonds people to you, and then you slice it off overnight?
Some twenty year old with a spreadsheet probably told you to do this. You hired McKinsey, which employs recent college graduates to tell you what to do, how insane is that? Just like the twentysomethings running DOGE. Experience has no value to these people, numbers rule everything. They've got no feel for the business.
Which is why they destroy it. Private equity blows up companies on a regular basis, can you say Toys "R" Us?
But they bleed them dry before they do it, getting their investment back.
And all the people manning the aisles?
They're SOL. They've put in years of work and now they've got nothing.
Southwest is laying off people after they said they wouldn't. This is like a spouse saying they'll never file for divorce and then doing same. Talk about undercutting trust... (And that happened to me!)
We live in a bottom line nation. That's what DOGE is all about. Screw the people, just make the numbers work, so a certain set of people can pay less taxes. As for the rest of us, F*CK YOU!
But homey don't play that no more. There comes a point where people have had enough and react.
Southwest, I'M DONE!
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https://www.nytimes.com/2025/03/11/business/southwest-checked-bags-fee.html
I believe in Southwest Airlines.
I think it's the irreverence that hooked me. The flight attendants who pick up the intercom with attitude, who make jokes, like regular people. You see more of that in advertising these days, what works is the vernacular, with a sense of humor. But on most airlines... Everything is deadly serious, and the flight attendants are working reluctantly. You go into the back and ask for something, anything, and they roll their eyes and...
Not on Southwest.
And I like that it's egalitarian. That we're all in it together. That there's no first class. You line up and you get on. And if you're willing to pay a small fee you can get closer to the front of the line so you can get a seat that will satisfy you. I've always gotten a seat on the aisle, which is what I am looking for.
But in the past couple of years...
People have started to break the rules. There's an endless parade of pre-borders. Handicapped, with children...but they're walking no problem and the kids are old. That sucks, I'm paying for early access, why can't they?
And then there's the saving of seats. Which is a no-no. One person pays the additional fee for being closer to the front of the line and then saves seats for people who are at the back of the line.
What is it? What changed in America? When did everybody become so cheap, when did everybody become so myopic, not caring about others?
That's one thing I used to like about Southwest, the feeling of congeniality.
As for the other airlines... They upsell you on everything. And you've got to worry about bin space, because everybody is trying to save money by not checking their bags. And I know, I know, if you carry on you can get off and walk away without waiting at the conveyor belt, but you should see what people bring on!
Which is why I love Southwest, because bags fly free, and more people check theirs. Even the baggage attendants are nice at Southwest, they're on the curb, taking your bags, you don't have to schlep them inside.
But then they changed the policy. Assigned seats. I don't like it, but since people were abusing the system I understood it.
But today Southwest said they would start charging for bags.
Now the people who actually run the airline are against this, they researched the issue:
"Executives cited an analysis by a consulting firm that determined bag charges would bring in at most $1.5 billion in revenue a year, but cost the airline $1.8 billion in lost market share. Free bags ranked just behind price and schedule among the top reasons travelers pick Southwest, executives said then."
https://www.wsj.com/business/airlines/southwest-airlines-bag-policy-charge-basic-economy-9549218e?mod=Searchresults_pos1&page=1
But activist investors Elliott Investment Management wanted to make more money, they got seats on the board and forced the executives to change the no-bags policy.
Ain't that America. Shortsightedness by people only considering the bottom line.
But in this case it's worse, because they destroyed brand equity overnight!
If Southwest flew there, I took it. Not anymore. F*ck them. I'll do my best to take another airline. Southwest eviscerated what was special about it and I'm PISSED!
Let's be clear, this is not Ticketmaster, the public has options. Rarely is Southwest the only airline available.
Now they could reverse this no-bags policy before it starts in May, but I doubt it.
This is like Jimmy Page joining the Carpenters. Who could respect him after that?
Then again, music is just like Wall Street today. If it grosses big, it's good. Where in the hell did they write that? If I read one more word about Ariana Grande... She's got a new album...a good voice for nincompoops. This is not artistry, this is commerce!
But what we hear from the industry is this is what everybody else is doing. Whereas those who are doing it differently are the ones with the hard core fans. They may not be in the Spotify Top 50, but they never have to worry about their career tanking, as long as they continue to be true to themselves. Case in point, Phish. I get more e-mail about that band than any other extant, and believe me they aren't the biggest in the world, but they've got passionate fans! Who can't stop spreading the word.
I used to be a passionate fan of Southwest Airlines. I always talked it up.
But it turns out Southwest Airlines doesn't care about me, didn't even think of me, my experience.
You're nothing without your customers. This is what bugs me about corporate titans, they think they're responsible for all the success. But without people buying the product or service, there is no business.
You take what makes you unique, an outlier, that bonds people to you, and then you slice it off overnight?
Some twenty year old with a spreadsheet probably told you to do this. You hired McKinsey, which employs recent college graduates to tell you what to do, how insane is that? Just like the twentysomethings running DOGE. Experience has no value to these people, numbers rule everything. They've got no feel for the business.
Which is why they destroy it. Private equity blows up companies on a regular basis, can you say Toys "R" Us?
But they bleed them dry before they do it, getting their investment back.
And all the people manning the aisles?
They're SOL. They've put in years of work and now they've got nothing.
Southwest is laying off people after they said they wouldn't. This is like a spouse saying they'll never file for divorce and then doing same. Talk about undercutting trust... (And that happened to me!)
We live in a bottom line nation. That's what DOGE is all about. Screw the people, just make the numbers work, so a certain set of people can pay less taxes. As for the rest of us, F*CK YOU!
But homey don't play that no more. There comes a point where people have had enough and react.
Southwest, I'M DONE!
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Monday, 10 March 2025
More Molly Hatchet
Great thread on Molly Hatchet. This was the first success I had as a marketing executive at Epic in 1978. Working with Werman and Charne helped me learn how to develop plans to introduce new bands to the consumer. The Frazetta cover was introduced to me by Paula Scher in the CBS Records art department. As Charne said, one look at that artwork screamed "buy me!". This was southern music at its best; gritty, badass and said "grab a bottle of Jack and drink it from the bottle" which Danny Joe did every night. Unfortunately he was a diabetic and eventually succumbed to his diseases. The first two albums were as good a Southern rock album as you could find in the late 70's and early 80's. Unfortunately DJB and the boys didn't get along when they tasted fame and they were never able to regain that moment. Werman was a genius and brought out the best in them.
Larry Stessel
_______________________________________
I was transferred to KC from buffalo after just 6months ,when Atlantic had cutbacks. I had just arrived and my first show to cover was Blackfoot (on Atco), opening for Molly Hatchet. Just before Blackfoot was to go on Danny Joe was taken away by officers for what we were told was Tax violations. Rather than cancel show the rest of the band joined Blackfoot to open the show as Black Hatchet or Molly Foot. Blackfoot then became headliner. Was a awesome show. Thats when a smartphone would have been nice. Amazing memory from my time in KC and thanks to Sean Coakley for
helping the new guy stay calm and collected
Be Well Bob
Jeff Appleton
_______________________________________
I remember being a freshman at Rockhurst Highschool in '78. We had a talent show. I went to watch. It was the first time I had ever seen people playing music on a stage. I was 14 and hadn't been to my first concert, but I loved music. Loved all kinds. Matter of fact, a year later when I moved to Seattle, I got beat up because I liked Earth Wind &. Fire. Anyhow, this band played Dreams. And I mean they played all 7 minutes of it! Fast forward to sophomore year in Seattle and my neighbor and I were waiting on the bus stop by a grocery store that carried records. I remember that album cover and knew I had to have it. Little did I know, he grabbed it and stuffed it in his bag with a half dozen others. Sadly, I sold my collection when I was homeless in LA and needed cash to survive. Oh well…. Rock and roll.
David George
_______________________________________
Ditto and kudos for the Molly Hatchet write-up. I used to surprise people as a heavy metal magazine editor when I'd tell people my favorite style of music was Southern Rock when asked.
I loved me some Blackfoot, Lynyrd Skynyrd, Molly Hatchet, and .38 Special (if I had to rank them in order).
Those album covers by Frank Frazetta were SO metal. I also got a huge chuckle, charge, and gasp of respect when seeing the Molly Hatchet and Blackfoot t-shirts on sale in the
Gulf Coast Coliseum in Biloxi, MS, in the summer of '82. On the back of each band's shirt (I think) was emblazoned, 1982-1987 TOUR.
Talk about road dogs.
And I wish I could say thanks to that music buyer/salesman in that mall record store in Montgomery, AL, who introduced me to the Tygers of Pan Tang and other NWOBHM bands back in '81. People who knew their stuff and stayed appraised of multiple rock scenes were invaluable to our lives.
—Doug Van Pelt
_______________________________________
Hi Bob. Great article on Molly Hatchet and what a pleasant surprise! Speaking of pleasant surprises, in 1978 I went to see REO with UFO as the opening act in my hometown of Erie PA. Days before the show, they added Molly Hatchet as the opening act. Of course we all groaned since it would lengthen the show. They blew the crowd away! I have seen close to a 1000 concerts in my life and few really leaving a lasting memory but that one did!
Gary Sender
_______________________________________
I did national radio promotion for all the Epic Molly releases. One of many highlights was a live national radio broadcast from Louisville. Somewhere in the past I was driving back from Philadelphia to NYC and got detoured thru some back roads and saw a sign on a club that said Molly Hatchet Tonight. I stopped went into the club and found the dressing room-there were a bunch of guys and i asked where Molly Hatchet's dressing room was-they said -you're in it we are Molly Hatchet. Not one original member! Thanks for the thrills and ride Pat Armstrong,Larry Stessel and Tom Werman!
Harvey Leeds
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Larry Stessel
_______________________________________
I was transferred to KC from buffalo after just 6months ,when Atlantic had cutbacks. I had just arrived and my first show to cover was Blackfoot (on Atco), opening for Molly Hatchet. Just before Blackfoot was to go on Danny Joe was taken away by officers for what we were told was Tax violations. Rather than cancel show the rest of the band joined Blackfoot to open the show as Black Hatchet or Molly Foot. Blackfoot then became headliner. Was a awesome show. Thats when a smartphone would have been nice. Amazing memory from my time in KC and thanks to Sean Coakley for
helping the new guy stay calm and collected
Be Well Bob
Jeff Appleton
_______________________________________
I remember being a freshman at Rockhurst Highschool in '78. We had a talent show. I went to watch. It was the first time I had ever seen people playing music on a stage. I was 14 and hadn't been to my first concert, but I loved music. Loved all kinds. Matter of fact, a year later when I moved to Seattle, I got beat up because I liked Earth Wind &. Fire. Anyhow, this band played Dreams. And I mean they played all 7 minutes of it! Fast forward to sophomore year in Seattle and my neighbor and I were waiting on the bus stop by a grocery store that carried records. I remember that album cover and knew I had to have it. Little did I know, he grabbed it and stuffed it in his bag with a half dozen others. Sadly, I sold my collection when I was homeless in LA and needed cash to survive. Oh well…. Rock and roll.
David George
_______________________________________
Ditto and kudos for the Molly Hatchet write-up. I used to surprise people as a heavy metal magazine editor when I'd tell people my favorite style of music was Southern Rock when asked.
I loved me some Blackfoot, Lynyrd Skynyrd, Molly Hatchet, and .38 Special (if I had to rank them in order).
Those album covers by Frank Frazetta were SO metal. I also got a huge chuckle, charge, and gasp of respect when seeing the Molly Hatchet and Blackfoot t-shirts on sale in the
Gulf Coast Coliseum in Biloxi, MS, in the summer of '82. On the back of each band's shirt (I think) was emblazoned, 1982-1987 TOUR.
Talk about road dogs.
And I wish I could say thanks to that music buyer/salesman in that mall record store in Montgomery, AL, who introduced me to the Tygers of Pan Tang and other NWOBHM bands back in '81. People who knew their stuff and stayed appraised of multiple rock scenes were invaluable to our lives.
—Doug Van Pelt
_______________________________________
Hi Bob. Great article on Molly Hatchet and what a pleasant surprise! Speaking of pleasant surprises, in 1978 I went to see REO with UFO as the opening act in my hometown of Erie PA. Days before the show, they added Molly Hatchet as the opening act. Of course we all groaned since it would lengthen the show. They blew the crowd away! I have seen close to a 1000 concerts in my life and few really leaving a lasting memory but that one did!
Gary Sender
_______________________________________
I did national radio promotion for all the Epic Molly releases. One of many highlights was a live national radio broadcast from Louisville. Somewhere in the past I was driving back from Philadelphia to NYC and got detoured thru some back roads and saw a sign on a club that said Molly Hatchet Tonight. I stopped went into the club and found the dressing room-there were a bunch of guys and i asked where Molly Hatchet's dressing room was-they said -you're in it we are Molly Hatchet. Not one original member! Thanks for the thrills and ride Pat Armstrong,Larry Stessel and Tom Werman!
Harvey Leeds
--
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--
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The Musk Meltdown
How much money did you lose today?
Now if you're a young 'un, who believes they'll be healthy until the day they die, working all the while, there's no need to prepare for the future. But if you're a boomer, living on a fixed income.
You had to own stocks just to keep up with inflation.
So...
That's the story of the day, how the market crashed. In the wake of Trump hinting at a recession. And in today's print edition, the "Wall Street Journal" had an article whose headline says it all:
"Are Stocks a Sure Thing Over the Long Term? Not Necessarily - While it doesn't occur frequently, U.S. stocks, as well as international markets, have produced losses over 10- and 20-year periods, research shows"
https://www.wsj.com/finance/stocks/stocks-long-term-investment-risks-873723c1
Are you anxious yet?
They're coming for you next. Whether they're going to fire you, cut your Medicaid, remove support for your research...
But today they reached Elon Musk. And he is FREAKING OUT!
Why?
BECAUSE OF THE MONEY!
The best article I saw on this was in "Rolling Stone":
"Musk Melts Down as Tesla Stock Price Plunges - The electric vehicle company has become a toxic brand as its CEO wreaks havoc in Washington"
https://apple.news/AVUSDPFCDRYadaxWUhQAsvg
That's behind a paywall, but if you subscribe to Apple News+ you can read it. You may think the internet is still free, but if you want to know what is going on you have to pay. And information is the key to knowledge and success. The more sources you've got, the better you can divine the truth.
So...
Tesla stock went down 15% today.
So it must be Reid Hoffman's fault. Who Elon is accusing of hanging on Epstein's island in response.
Or else it's George Soros, the right wing bogeyman, he's behind all this anti-Tesla activity. It was all funded via ActBlue, which in truth doesn't fund anything at all!
And to combat the negative press, Musk is retweeting the comments of Laura Loomer. Talk about credibility!
It shouldn't be a big surprise, if you know anything about people and business.
Brands have equity. And Musk has completely undercut Tesla's. He made a cool brand toxic overnight. And this ain't Bud Light, cars are expensive, good luck getting his bros on X to buy one.
History is littered with brands that were kings until a faux pas. Hell, it even killed the career of Billy Squier. You maintain and nurture your brand equity, it is everything.
BUT NOT TO ELON!
Oh, you're a believer in Elon?
You should read this piece in the "Times":
"Musk's Tweet-Fueled Bubble May Be About to Burst"
https://www.nytimes.com/2025/03/09/opinion/musk-tesla-sales-stock-price.html
Here's the money shot:
"The high-wire act goes something like this: Dream up a business so ambitious that any setback is trivial and every accomplishment heroic. Identify yourself as the manic genius behind this ambitious business in order to personally capitalize on outsize returns from excited investors. Enlist social media to cement your iconic status, keeping your believers so enthusiastic that their fervor beats back any skeptics who dare to bet against your ventures, even as you pitch more and more fantastical ideas. At this point you hit the flywheel: Other investors, searching for outsize returns, flock to the shares of your other companies, pushing their valuations ever higher, thus fortifying your wealth and burnishing your reputation as a business mastermind."
Everyone bought the myth. But is it built on a foundation of sand?
Musk's bona fides are bedrock amongst the bros. He's an icon, they tell me this every day in a slew of e-mails.
But Richard Nixon still had supporters when he was impeached.
And today, Elon resembles no one so much as Nixon, in that he's PARANOID!
Elon believes they're out to get him and none of it is his fault. Which is hilarious if you think about it.
Now let's be clear, we can't credit Musk's freak-out to the Democrats. No article pissed me off today as much as this one:
"Democrats Voice Regret on Scattered Responses to Trump's Speech - Progressive and moderate Democrats criticized a protest by Representative Al Green as a distraction, and the party leadership tried to refocus attention on economic issues."
https://www.nytimes.com/2025/03/09/us/politics/trump-speech-congress-democrats.html
The Republicans don't do this. Marjorie Taylor Geene and Lauren Boebert are literally looney-tunes, but are they censured by their right wing compatriots? OF COURSE NOT!
Don't these Democratic bozos know we like that Al Green had a backbone and stood up against the inanities spewed by Trump? It was all a circus, Green was acting appropriately.
But in the circular firing squad known as the Democrats, he undercut their message. Which is exactly what?
I saw a great clip by Chelsea Fagan on TikTok today.
WHO?
I had no idea, but she was served up by the algorithm and she nailed it:
https://www.tiktok.com/@faganchelsea/video/7479941499099155734?lang=en
The elected Democrats are paying us lip service, but they really don't care about us, the working people, the hoi polloi. Everybody knows this, but nobody in the party will say it.
So what happens now?
If you search on Tesla in the Google News you'll be confronted with a plethora of negative stories. Ditto in Apple News+.
Once again, if we're depending on the media for change, we're going to wait forever. The people make change. The media just reports.
And the people are PISSED!
The rich and famous believe they're inviolate. But when they're exposed, when they're confronted with the words of their detractors, they can't believe it, they're flummoxed, their intentions were good, how dare you decry me!
It's hilarious to watch these heroes take a fall. Because they're so blind.
The public has Elon Musk on the run. Not the Democrats, but the people. Who have taken matters into their own hands.
They hit Elon where it hurt, in his pocketbook.
Who are they going to hit next? Trump? Marco Rubio?
It reminds me of the 1992 riots in Los Angeles in the wake of the Rodney King verdict. Unlike in '65, with the Watts riots, this time they came north, into Hollywood. And next time they're going into Beverly Hills, and Bel-Air too!
People aren't stupid. They go where the money is, where it will hurt the oligarchs the most.
You may be in a bubble, you may be unaware of all this.
But that does not mean it's not happening.
There's a war in America, and it's just getting started. And it's being fought by people who have nothing to lose. And when you've got nothing to lose, you put it all on the line. Which is why America couldn't defeat the North Vietnamese.
Can Elon and Donald defeat the American people?
They may have defeated the Democrats, but the public?
Beware.
--
Visit the archive: http://lefsetz.com/wordpress/
--
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-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
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Now if you're a young 'un, who believes they'll be healthy until the day they die, working all the while, there's no need to prepare for the future. But if you're a boomer, living on a fixed income.
You had to own stocks just to keep up with inflation.
So...
That's the story of the day, how the market crashed. In the wake of Trump hinting at a recession. And in today's print edition, the "Wall Street Journal" had an article whose headline says it all:
"Are Stocks a Sure Thing Over the Long Term? Not Necessarily - While it doesn't occur frequently, U.S. stocks, as well as international markets, have produced losses over 10- and 20-year periods, research shows"
https://www.wsj.com/finance/stocks/stocks-long-term-investment-risks-873723c1
Are you anxious yet?
They're coming for you next. Whether they're going to fire you, cut your Medicaid, remove support for your research...
But today they reached Elon Musk. And he is FREAKING OUT!
Why?
BECAUSE OF THE MONEY!
The best article I saw on this was in "Rolling Stone":
"Musk Melts Down as Tesla Stock Price Plunges - The electric vehicle company has become a toxic brand as its CEO wreaks havoc in Washington"
https://apple.news/AVUSDPFCDRYadaxWUhQAsvg
That's behind a paywall, but if you subscribe to Apple News+ you can read it. You may think the internet is still free, but if you want to know what is going on you have to pay. And information is the key to knowledge and success. The more sources you've got, the better you can divine the truth.
So...
Tesla stock went down 15% today.
So it must be Reid Hoffman's fault. Who Elon is accusing of hanging on Epstein's island in response.
Or else it's George Soros, the right wing bogeyman, he's behind all this anti-Tesla activity. It was all funded via ActBlue, which in truth doesn't fund anything at all!
And to combat the negative press, Musk is retweeting the comments of Laura Loomer. Talk about credibility!
It shouldn't be a big surprise, if you know anything about people and business.
Brands have equity. And Musk has completely undercut Tesla's. He made a cool brand toxic overnight. And this ain't Bud Light, cars are expensive, good luck getting his bros on X to buy one.
History is littered with brands that were kings until a faux pas. Hell, it even killed the career of Billy Squier. You maintain and nurture your brand equity, it is everything.
BUT NOT TO ELON!
Oh, you're a believer in Elon?
You should read this piece in the "Times":
"Musk's Tweet-Fueled Bubble May Be About to Burst"
https://www.nytimes.com/2025/03/09/opinion/musk-tesla-sales-stock-price.html
Here's the money shot:
"The high-wire act goes something like this: Dream up a business so ambitious that any setback is trivial and every accomplishment heroic. Identify yourself as the manic genius behind this ambitious business in order to personally capitalize on outsize returns from excited investors. Enlist social media to cement your iconic status, keeping your believers so enthusiastic that their fervor beats back any skeptics who dare to bet against your ventures, even as you pitch more and more fantastical ideas. At this point you hit the flywheel: Other investors, searching for outsize returns, flock to the shares of your other companies, pushing their valuations ever higher, thus fortifying your wealth and burnishing your reputation as a business mastermind."
Everyone bought the myth. But is it built on a foundation of sand?
Musk's bona fides are bedrock amongst the bros. He's an icon, they tell me this every day in a slew of e-mails.
But Richard Nixon still had supporters when he was impeached.
And today, Elon resembles no one so much as Nixon, in that he's PARANOID!
Elon believes they're out to get him and none of it is his fault. Which is hilarious if you think about it.
Now let's be clear, we can't credit Musk's freak-out to the Democrats. No article pissed me off today as much as this one:
"Democrats Voice Regret on Scattered Responses to Trump's Speech - Progressive and moderate Democrats criticized a protest by Representative Al Green as a distraction, and the party leadership tried to refocus attention on economic issues."
https://www.nytimes.com/2025/03/09/us/politics/trump-speech-congress-democrats.html
The Republicans don't do this. Marjorie Taylor Geene and Lauren Boebert are literally looney-tunes, but are they censured by their right wing compatriots? OF COURSE NOT!
Don't these Democratic bozos know we like that Al Green had a backbone and stood up against the inanities spewed by Trump? It was all a circus, Green was acting appropriately.
But in the circular firing squad known as the Democrats, he undercut their message. Which is exactly what?
I saw a great clip by Chelsea Fagan on TikTok today.
WHO?
I had no idea, but she was served up by the algorithm and she nailed it:
https://www.tiktok.com/@faganchelsea/video/7479941499099155734?lang=en
The elected Democrats are paying us lip service, but they really don't care about us, the working people, the hoi polloi. Everybody knows this, but nobody in the party will say it.
So what happens now?
If you search on Tesla in the Google News you'll be confronted with a plethora of negative stories. Ditto in Apple News+.
Once again, if we're depending on the media for change, we're going to wait forever. The people make change. The media just reports.
And the people are PISSED!
The rich and famous believe they're inviolate. But when they're exposed, when they're confronted with the words of their detractors, they can't believe it, they're flummoxed, their intentions were good, how dare you decry me!
It's hilarious to watch these heroes take a fall. Because they're so blind.
The public has Elon Musk on the run. Not the Democrats, but the people. Who have taken matters into their own hands.
They hit Elon where it hurt, in his pocketbook.
Who are they going to hit next? Trump? Marco Rubio?
It reminds me of the 1992 riots in Los Angeles in the wake of the Rodney King verdict. Unlike in '65, with the Watts riots, this time they came north, into Hollywood. And next time they're going into Beverly Hills, and Bel-Air too!
People aren't stupid. They go where the money is, where it will hurt the oligarchs the most.
You may be in a bubble, you may be unaware of all this.
But that does not mean it's not happening.
There's a war in America, and it's just getting started. And it's being fought by people who have nothing to lose. And when you've got nothing to lose, you put it all on the line. Which is why America couldn't defeat the North Vietnamese.
Can Elon and Donald defeat the American people?
They may have defeated the Democrats, but the public?
Beware.
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
--
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Jesse Welles Update
It's not about the album. It's not even about Spotify, et al.
It's about social media. And somehow the algorithm didn't serve it up to me and every story about him didn't mention this.
I've got to give the guy credit. He broke through doing it the newfangled way. Going direct to the customer with a constant slew of new songs. It's closer to being a comedian than a traditional recording artist. He doesn't even need an album, never mind conventional streaming traction. He's the labels' worst nightmare.
Assuming any other acts take notice and repeat the formula.
I'm not on Facebook. I hear from enough people already and I have no desire to interact with everybody I ever knew. But Facebook doesn't work like TikTok and Instagram Reels, in that the users post the info and it ends up being seen by their friends, whereas with the latter it's all about the algorithm.
I don't want to get into a big debate about Facebook. But I will say things can grow there, you can work it in a way you can't on TikTok, but you're mainly reaching an older demo. But Jesse Welles is the kind of act that appeals to old school music fans, those who still believe music counts, that it's more than mindless drivel, the kind who protested back in the day and had friends over the house to turn them on to their favorite records.
And then there's YouTube. I didn't know some people use it like TikTok, just seeing what it serves up, until an alta kacher told me this yesterday. So I tried it out and it works...but if this is your goal, you're much better off on TikTok.
However, I asked a twentysomething if she was a fan of social media yesterday and she hesitated, then reluctantly said TikTok. The younger generation knows the older generation despises TikTok. Only in modern America does someone have a deep opinion on that which they've never used. And what flummoxes me is it's so easy to use!
Just a note here on the YouTube press release. Do not conflate the subscription numbers with those of Spotify, et al. I guarantee you many people are paying the fee just to get rid of ads. Then again, duplicity is Lyor Cohen's strong point.
So...
This is the ultimate creation of niches. If the algorithm doesn't serve it up, you're out of the loop. Everybody gets their own feed. It's one to one. To the point where you may have no idea what your buddy is seeing and never will. Something has to rise above for there to be discussion. And very little does. Jesse Welles a bit, then again did everybody get e-mail about him like me? I doubt it.
So it's impossible to be seen. But if you want to play the game you don't complain, but start. And everything starts slowly. Sure, there are exceptions, but I can't tell you how many e-mails I get where people said they had a big viral moment, that was not worked, was not contemplated, and then crickets. No, you've got to build it in the wilderness, steadily.
I have no idea how Jesse Welles decided to make social commentary music. This was not his focus for years before... But usually an idea like this comes in a bolt of inspiration. But then you must decide whether to do it or not, execution is everything.
So Jesse Welles is channeling the frustration of viewers, oftentimes with a sense of humor. And to my knowledge, he's a party of one. And he has some talent and he's cute and...
Once again, it's got nothing to do with the album, which has no protest music. Which is another reason it doesn't stream.
But streaming music is faceless, whereas TikTok, et al, are the opposite. Video is all about the face, the expression. And when you connect...
Also, unlike the vaunted influencers, Welles is authentic, in a sea of bogosity. And that resonates. I'll tell you, TikTok serves me up these influencers... Usually young women who'd rather try and sell clothing and cosmetics than get a real job. My favorite, facetiously, is the woman who says her videos are only meant for women, who bitches about guys' comments, and then posts a demo video to be in the "Sports Illustrated" Swimsuit Issue. Jesse Welles is the antidote.
So you don't go to the show to hear the album, you go to the show to see the videos live. To see what else Welles has come up with. It's an experience, not just a recitation of what was... The show is alive and breathes.
So, can you do this?
Well, not if you think singing is everything, if you're dreaming of being on "Idol" or "The Voice" to make it. As a matter of fact, your voice is secondary to your intellect.
And you're getting no help. Sure, you can buy boosts on Facebook, but... Really, you're waiting for people to get you to the point the algorithm serves up your videos more.
And you're not in control. TikTok controls the algorithm.
But if you've got something...
I get why people are going to see Jesse Welles.
I understand why conventional media missed the paradigm, it misses everything new, never mind those who write about music being lame, if they have a job at all, the media having downsized most of these people out of a gig.
And when pitched by a PR person...
To be an expert today, to get it, you have to experience it. Here's where you need to do your own research, to quote those looking for stories to back up their already hardened beliefs.
But music is not about hardened beliefs, it's about the new and different. People are hungry for the new and different.
And Jesse Welles presented it, but never forget, distribution is king. Rather than putting his music on streaming services and complaining no one is listening, he bypassed them completely and went straight to the potential fans. He sold them, he didn't wait for them to come to him. This is what players no longer understand. They must do the marketing, and they must be new and different. And this is anathema to most... I learned my instrument, I wrote songs, why isn't anybody listening!
Because you're not doing anything special.
Jesse Welles had no one to complain to. When you're outside the system... Well, what's that Dylan quote..."to live outside the law you must be honest"?
Music today is a sea of dishonesty. Become my fan so I can sell you stuff. Hell, the industry itself is trying to rip off superfans. It's buyer beware.
But not with Jesse Welles, not at this moment.
And if all the money is in touring anyway...he cut out the middleman.
And top-down marketing no longer works. That press he got will just send people to Spotify, et al, where they won't get it.
It happens first on social media. The oldsters won't admit their cheese has moved or will try to game it, which is nearly impossible to do.
But one lone journeyman musician came up with an idea, the idea is the most important thing, and put in the effort and succeeded.
What a world.
--
Visit the archive: http://lefsetz.com/wordpress/
--
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It's about social media. And somehow the algorithm didn't serve it up to me and every story about him didn't mention this.
I've got to give the guy credit. He broke through doing it the newfangled way. Going direct to the customer with a constant slew of new songs. It's closer to being a comedian than a traditional recording artist. He doesn't even need an album, never mind conventional streaming traction. He's the labels' worst nightmare.
Assuming any other acts take notice and repeat the formula.
I'm not on Facebook. I hear from enough people already and I have no desire to interact with everybody I ever knew. But Facebook doesn't work like TikTok and Instagram Reels, in that the users post the info and it ends up being seen by their friends, whereas with the latter it's all about the algorithm.
I don't want to get into a big debate about Facebook. But I will say things can grow there, you can work it in a way you can't on TikTok, but you're mainly reaching an older demo. But Jesse Welles is the kind of act that appeals to old school music fans, those who still believe music counts, that it's more than mindless drivel, the kind who protested back in the day and had friends over the house to turn them on to their favorite records.
And then there's YouTube. I didn't know some people use it like TikTok, just seeing what it serves up, until an alta kacher told me this yesterday. So I tried it out and it works...but if this is your goal, you're much better off on TikTok.
However, I asked a twentysomething if she was a fan of social media yesterday and she hesitated, then reluctantly said TikTok. The younger generation knows the older generation despises TikTok. Only in modern America does someone have a deep opinion on that which they've never used. And what flummoxes me is it's so easy to use!
Just a note here on the YouTube press release. Do not conflate the subscription numbers with those of Spotify, et al. I guarantee you many people are paying the fee just to get rid of ads. Then again, duplicity is Lyor Cohen's strong point.
So...
This is the ultimate creation of niches. If the algorithm doesn't serve it up, you're out of the loop. Everybody gets their own feed. It's one to one. To the point where you may have no idea what your buddy is seeing and never will. Something has to rise above for there to be discussion. And very little does. Jesse Welles a bit, then again did everybody get e-mail about him like me? I doubt it.
So it's impossible to be seen. But if you want to play the game you don't complain, but start. And everything starts slowly. Sure, there are exceptions, but I can't tell you how many e-mails I get where people said they had a big viral moment, that was not worked, was not contemplated, and then crickets. No, you've got to build it in the wilderness, steadily.
I have no idea how Jesse Welles decided to make social commentary music. This was not his focus for years before... But usually an idea like this comes in a bolt of inspiration. But then you must decide whether to do it or not, execution is everything.
So Jesse Welles is channeling the frustration of viewers, oftentimes with a sense of humor. And to my knowledge, he's a party of one. And he has some talent and he's cute and...
Once again, it's got nothing to do with the album, which has no protest music. Which is another reason it doesn't stream.
But streaming music is faceless, whereas TikTok, et al, are the opposite. Video is all about the face, the expression. And when you connect...
Also, unlike the vaunted influencers, Welles is authentic, in a sea of bogosity. And that resonates. I'll tell you, TikTok serves me up these influencers... Usually young women who'd rather try and sell clothing and cosmetics than get a real job. My favorite, facetiously, is the woman who says her videos are only meant for women, who bitches about guys' comments, and then posts a demo video to be in the "Sports Illustrated" Swimsuit Issue. Jesse Welles is the antidote.
So you don't go to the show to hear the album, you go to the show to see the videos live. To see what else Welles has come up with. It's an experience, not just a recitation of what was... The show is alive and breathes.
So, can you do this?
Well, not if you think singing is everything, if you're dreaming of being on "Idol" or "The Voice" to make it. As a matter of fact, your voice is secondary to your intellect.
And you're getting no help. Sure, you can buy boosts on Facebook, but... Really, you're waiting for people to get you to the point the algorithm serves up your videos more.
And you're not in control. TikTok controls the algorithm.
But if you've got something...
I get why people are going to see Jesse Welles.
I understand why conventional media missed the paradigm, it misses everything new, never mind those who write about music being lame, if they have a job at all, the media having downsized most of these people out of a gig.
And when pitched by a PR person...
To be an expert today, to get it, you have to experience it. Here's where you need to do your own research, to quote those looking for stories to back up their already hardened beliefs.
But music is not about hardened beliefs, it's about the new and different. People are hungry for the new and different.
And Jesse Welles presented it, but never forget, distribution is king. Rather than putting his music on streaming services and complaining no one is listening, he bypassed them completely and went straight to the potential fans. He sold them, he didn't wait for them to come to him. This is what players no longer understand. They must do the marketing, and they must be new and different. And this is anathema to most... I learned my instrument, I wrote songs, why isn't anybody listening!
Because you're not doing anything special.
Jesse Welles had no one to complain to. When you're outside the system... Well, what's that Dylan quote..."to live outside the law you must be honest"?
Music today is a sea of dishonesty. Become my fan so I can sell you stuff. Hell, the industry itself is trying to rip off superfans. It's buyer beware.
But not with Jesse Welles, not at this moment.
And if all the money is in touring anyway...he cut out the middleman.
And top-down marketing no longer works. That press he got will just send people to Spotify, et al, where they won't get it.
It happens first on social media. The oldsters won't admit their cheese has moved or will try to game it, which is nearly impossible to do.
But one lone journeyman musician came up with an idea, the idea is the most important thing, and put in the effort and succeeded.
What a world.
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Sunday, 9 March 2025
Deep Cuts
https://rb.gy/1mvqok
"'You're so smart!' she said accusingly, 'I never understood it! Why would someone so smart be fixated on pop music?'"
That's what Percy's mother tells her.
My mother went to see my shrink to complain all I wanted to do was buy records and go to concerts, couldn't I get on the right track? In one of our fatal arguments, an old girlfriend told me that when she moved in with me she didn't think she was moving in with my RECORDS!
Now the record business has changed a bit since the seventies. From the music itself to the penumbra...the branding, the money. Then again, that's today's America, entrepreneurship, and if you run over a few people in the process, so be it.
But the boomers who got into the business...they'd all seen the Beatles on Ed Sullivan, most tried their hand at playing, and after failing the only way their lives could have meaning was to work with musicians, to get closer to the music.
Music used to be run by nerds. And back when the world was cohesive, many were hipsters. And Holly Brickley nails hipsters:
"She made quick work of two fundamental truths about hipsters: that they had all been miserable kids, the boys too sensitive and the girls too willful for the social systems of the late twentieth century; and that nobody wanted to admit they were one of them."
BINGO!
I can see these guys in my mind's eye instantly. With their long hair like it's still the seventies and their leather motorcycle jackets like they've ever been on a bike... They'll criticize your taste...if you like something popular, you're doomed.
And they haven't gotten the message that we no longer live in that world, that the joke is on them, that no one cares about their taste, we're all deep in our own niches foraging for satisfaction.
Me?
I'm an alienated f*ck.
And so is Percy.
This is the first rock novel I remember being from a woman's perspective. I'm sure there are more, don't bother e-mailing me about them, because rock novels are historically lame. Or a reboot of truth, like "Daisy Jones & the Six." But something brand new, that encompasses the reality and truth of being a music fan?
I'm not sure any book exists that nails it as well as "Deep Cuts."
Percy has no friends. But she can quote lyrics at you ad infinitum. And when she finds her tribe...
She doesn't forfeit her personality, but doubles-down on it. Which is gratifying in a world where everybody is shaving off their rough edges to be a member of the group. Artists are never members of the group.
Which brings me to another quote from "Deep Cuts":
"Writers are not natural collaborators."
BINGO AGAIN!
If you like to collaborate, go into the movie business.
Then again, collaboration now rules the top line music business to its detriment. Hell, a decade before he died John Lennon delineated which songs were his and which were Paul's, and rarely did the twain meet.
I'm not saying you should be immune to blowback and criticism. But you know when it's helpful and real and when it is not. Sure, bounce ideas off me, but don't expect me to take heed.
Because being a writer is about vision, about doing it your way. And if that's not your outlook, you're a hack. Plain and simple.
Write for a publication and editors will cut and twist your words to evidence that they're superior. And sure, there are people who don't know how to spell, never mind write, but they are not legends.
I've shied away from collaboration since elementary school. It's only with decades of distance that I learned that they were teaching us how to get along, to work at Procter & Gamble... I couldn't get hired at P&G or another corporation, because I don't specialize in getting along, but speaking my truth, and people don't like that.
But really they do. That's what they look to artists for.
So...
Percy is from Indiana, she's going to Berkeley and develops a crush on Joe, but he's got a longtime girlfriend Zoe.
I remember I was at Wong's West and got into this conversation with a woman... You know when it's real, when they want to hear everything you have to say, when they can't tear themselves away.
And my friend who introduced us went wild. SHE'S GOING TO GET MARRIED TO DOMINIC, BACK OFF!
Well, they broke up in a matter of weeks, but I had no way to contact her.
Anyway... Joe is a musician, and definitely not a student. And unlike most he's got talent. But not quite enough. And this is where Percy comes in.
So... Should you read this book?
Chances are you don't read any books, and I wouldn't make this the first.
And yes, there's a thread of romance throughout, I don't mean a romance novel, I mean a relationship, the push and pull. And I know this doesn't float the boat of so many men.
But if you lived for the music... Man, you'll get this book.
Every chapter is a song. And although the book is set mostly at the turn of the century, from the perspective of a millennial...Percy is also into older stuff, like "Surf's Up"...she tells how her mother turned her on to that.
And, of course, Joni and "A Case of You," which is analyzed...
Percy is into analyzing the music.
"I used the music to write about real life, pulling from half a century of songs instead of fawning over every latest indie release."
But there are indie releases, like Neutral Milk Hotel. It was eye-opening to see how Percy is as into the music from her era as I was from mine.
And you can check out the playlist here:
https://shorturl.at/BE5wZ
Have I intrigued you yet?
"Deep Cuts" is not a classic. But there's a good chance Percy is you, or me. And Joe makes headway, but it's not of the Spotify Top 50 variety.
It's hard to write about music.
But Holly Brickley captures the essence of being a fan.
You'd think people in the industry would be talking about "Deep Cuts." But either they're selling out to the Fortune 500 or complaining that their indie careers are not delivering enough bread.
At the bottom, at the base, is the music. And I bet if you're reading this at one point, if not still, it meant as much to you as it does to Percy.
Not that "Deep Cuts" is a 10 throughout.
But how many albums reach that threshold today?
"Deep Cuts" is better and more honest than most of the records out there. I don't want to overhype it, it's not that good, but there's an essence you'll resonate with.
Truly.
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"'You're so smart!' she said accusingly, 'I never understood it! Why would someone so smart be fixated on pop music?'"
That's what Percy's mother tells her.
My mother went to see my shrink to complain all I wanted to do was buy records and go to concerts, couldn't I get on the right track? In one of our fatal arguments, an old girlfriend told me that when she moved in with me she didn't think she was moving in with my RECORDS!
Now the record business has changed a bit since the seventies. From the music itself to the penumbra...the branding, the money. Then again, that's today's America, entrepreneurship, and if you run over a few people in the process, so be it.
But the boomers who got into the business...they'd all seen the Beatles on Ed Sullivan, most tried their hand at playing, and after failing the only way their lives could have meaning was to work with musicians, to get closer to the music.
Music used to be run by nerds. And back when the world was cohesive, many were hipsters. And Holly Brickley nails hipsters:
"She made quick work of two fundamental truths about hipsters: that they had all been miserable kids, the boys too sensitive and the girls too willful for the social systems of the late twentieth century; and that nobody wanted to admit they were one of them."
BINGO!
I can see these guys in my mind's eye instantly. With their long hair like it's still the seventies and their leather motorcycle jackets like they've ever been on a bike... They'll criticize your taste...if you like something popular, you're doomed.
And they haven't gotten the message that we no longer live in that world, that the joke is on them, that no one cares about their taste, we're all deep in our own niches foraging for satisfaction.
Me?
I'm an alienated f*ck.
And so is Percy.
This is the first rock novel I remember being from a woman's perspective. I'm sure there are more, don't bother e-mailing me about them, because rock novels are historically lame. Or a reboot of truth, like "Daisy Jones & the Six." But something brand new, that encompasses the reality and truth of being a music fan?
I'm not sure any book exists that nails it as well as "Deep Cuts."
Percy has no friends. But she can quote lyrics at you ad infinitum. And when she finds her tribe...
She doesn't forfeit her personality, but doubles-down on it. Which is gratifying in a world where everybody is shaving off their rough edges to be a member of the group. Artists are never members of the group.
Which brings me to another quote from "Deep Cuts":
"Writers are not natural collaborators."
BINGO AGAIN!
If you like to collaborate, go into the movie business.
Then again, collaboration now rules the top line music business to its detriment. Hell, a decade before he died John Lennon delineated which songs were his and which were Paul's, and rarely did the twain meet.
I'm not saying you should be immune to blowback and criticism. But you know when it's helpful and real and when it is not. Sure, bounce ideas off me, but don't expect me to take heed.
Because being a writer is about vision, about doing it your way. And if that's not your outlook, you're a hack. Plain and simple.
Write for a publication and editors will cut and twist your words to evidence that they're superior. And sure, there are people who don't know how to spell, never mind write, but they are not legends.
I've shied away from collaboration since elementary school. It's only with decades of distance that I learned that they were teaching us how to get along, to work at Procter & Gamble... I couldn't get hired at P&G or another corporation, because I don't specialize in getting along, but speaking my truth, and people don't like that.
But really they do. That's what they look to artists for.
So...
Percy is from Indiana, she's going to Berkeley and develops a crush on Joe, but he's got a longtime girlfriend Zoe.
I remember I was at Wong's West and got into this conversation with a woman... You know when it's real, when they want to hear everything you have to say, when they can't tear themselves away.
And my friend who introduced us went wild. SHE'S GOING TO GET MARRIED TO DOMINIC, BACK OFF!
Well, they broke up in a matter of weeks, but I had no way to contact her.
Anyway... Joe is a musician, and definitely not a student. And unlike most he's got talent. But not quite enough. And this is where Percy comes in.
So... Should you read this book?
Chances are you don't read any books, and I wouldn't make this the first.
And yes, there's a thread of romance throughout, I don't mean a romance novel, I mean a relationship, the push and pull. And I know this doesn't float the boat of so many men.
But if you lived for the music... Man, you'll get this book.
Every chapter is a song. And although the book is set mostly at the turn of the century, from the perspective of a millennial...Percy is also into older stuff, like "Surf's Up"...she tells how her mother turned her on to that.
And, of course, Joni and "A Case of You," which is analyzed...
Percy is into analyzing the music.
"I used the music to write about real life, pulling from half a century of songs instead of fawning over every latest indie release."
But there are indie releases, like Neutral Milk Hotel. It was eye-opening to see how Percy is as into the music from her era as I was from mine.
And you can check out the playlist here:
https://shorturl.at/BE5wZ
Have I intrigued you yet?
"Deep Cuts" is not a classic. But there's a good chance Percy is you, or me. And Joe makes headway, but it's not of the Spotify Top 50 variety.
It's hard to write about music.
But Holly Brickley captures the essence of being a fan.
You'd think people in the industry would be talking about "Deep Cuts." But either they're selling out to the Fortune 500 or complaining that their indie careers are not delivering enough bread.
At the bottom, at the base, is the music. And I bet if you're reading this at one point, if not still, it meant as much to you as it does to Percy.
Not that "Deep Cuts" is a 10 throughout.
But how many albums reach that threshold today?
"Deep Cuts" is better and more honest than most of the records out there. I don't want to overhype it, it's not that good, but there's an essence you'll resonate with.
Truly.
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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Re-Molly Hatchet
What a pleasant surprise to read your words on Molly Hatchet...
When manager Pat Armstrong brought the boys up from Jacksonville to Atlanta to audition for me,I jumped at the chance to work with the 3-guitar attack I had first observed when I tried to sign Skynyrd a few years earlier. Epic turned me down on Skynyrd before Al signed them.
At the time, this guitar trio thing was something distinctive to the South, and surprisingly polished.
I loved these guys, and over 5 albums I countinued to wonder how a
sheltered Boston preppy found himself in a studio with this group of humorous,
considerate, self-proclaimed rednecks. "Dreams" was one of the few covers we did, at their suggestion, and Duane Roland was the most underrated guitarist I've ever seen or heard.
Duane doubled all his guitar parts and solos with his eyes closed. On their cover
of "It's All Over Now" (the " Flirtin' " album) he smoothly and precisely executes the lead break which Keith had composed years earlier. Duane's dexterity and natural feel clearly stand out as the guitarists take turns.
Sadly, this is the only band I produced whose members, much younger than I, are all gone.
Working with them on 5 LP's was a great pleasure.
Tom Werman
____________________________________
Hi Bob — You are 100% correct about Molly Hatchet — "a band considered so unattractive they weren't even on their own album covers."
That's why Epic marketing came up with those Frank Frazetta paintings for the covers of their albums. Visually striking, created a consistent graphic image, made the group's albums instantly recognizable, screamed "pick me up" when spotted on the record racks. Problem solved.
I do not recall whose idea it was in the beginning. It may have come from the packaging art department; may have originated with Larry Stessel, who did a fine job as Molly Hatchet's Epic product manager; maybe even came from the group or its management.
But I do remember we had a hard rocking band considered too ugly for a big cover shot. They were relegated to a small image on the back.
It worked.
Jim Charne
____________________________________
RE: Molly Hatchet
I remember them well. Phil Walden, myself, and others had formed a merchandise company for The Allmans. Hatchet was red hot and their manager, Pat Armstrong, wanted a $90,000 advance for merch and when we went to the bank to borrow it they wanted personal warranties from all of us for repayment of the loan. I was nervous as hell about that, but to my relief they sold enough merch in the first month for us to recoup the advance and pay off our bank loan. Many times the merch gross was higher than the box office gross for the concert. Those were truly great days for "Southern Rock" and everyone was making a small fortune on seemingly every endeavor. Poor Molly Hatchet didn't last too long at the top, but few do.
Willie Perkins
____________________________________
Always so much stuff in these missives!
To me the Allmans transcended southern rock. Most of the other bands patterned themselves after Skynyrd. The Allmans were a richer band musically.
Check out the version of "Dreams" that Buddy Miles did. Molly Hatchet lifted the guitar arrangement from it, but Buddy's version had a terrific horn chart and it wails.
I saw Marshall Crenshaw open for George Thorogood (!) in 1991 and he did a cover of "Flrtin With Disaster." It was terrific. It really is a great song.
How many bands toured for years on the strength of one or two hits? Better than none at all, I guess.
Joseph Taylor
____________________________________
"Molly Hatchet has a collective IQ of 10, and 8 of it belongs to their road manager!" -a deceased Southern Rock legend.
We were new wave kids, and Hatchet was the butt of many jokes. But all these years later, I'm with you on their cover of "Dreams," which is actually a cover of Buddy Miles' version of the song. MH might have seemed silly, but they were real and they were everywhere. Drive-By Truckers' "Southern Rock Opera" is a remarkable album that encapsulates what it was like to be a kid in that era, also exploring "The Duality of That Southern Thing" with songs about the region's tangled history and Lynyrd Skynyrd's as well. "Let There Be Rock" is an anthem. The album is Essential.
Bob Anthony
____________________________________
Bob, as much as I love the this version of Dreams it is a copy of the Buddy Miles cover that he did on the Them Changes record. A bit more funkier without the grit of the Danny Jo Brown vocals.
Adam Gerstein
____________________________________
https://www.youtube.com/watch?v=-cCJ2m_nz5I
Buddy Miles covered Dreams in 1970.
Big R&B arrangement with horns.
Possible inspiration for the Hatchet version?
A couple of young Connecticut natives not even out of high school in the band at the time, Charlie Karp and David Hull.
JD Dworkow
Westport, CT
____________________________________
Hi Bob, I had the pleasure of being the lighting director for Molly Hatchet in the early 80s. One of my favorite parts of the show was doing lighting for Dreams. The dynamic changes were so alive. There was a lighting cue on Dreams that was not used anywhere else in the show. On the breakdown I used 8 aircraft landing lights mounted in the front of the drum riser to project a rainbow over the guys in their guitar line up at the downstage edge. The dynamic changes made the cue awesome. Steve Holland MH guitarist was credited with the arrangement that Molly performed.
Tony L, LD
____________________________________
Hi Bob, I was lucky to see them several times in the early 80's they were great. Having grown up in South Florida they were a mainstay on the local rock scene. I can remember my first time seeing them at Summers on the Beach and being blown away, especially when they did Dreams (I have always preferred the Hatchet version). When the three guitarists and Danny Joe joined up and did what I was told was the Hatchet two-step the crowd wants nuts, it was rock-n-roll magic.
Through a good friend, I got to know Danny Joe Brown a bit. He was great. Had an amazing voice. Sorry to say they are all gone now but their music lives on. Thanks for bringing back to active listening memory.
Jonathan
____________________________________
Saw Molly Hatchet in Chicago twice around the time Flirting With Disaster. One show was opened by some generic southern rock band called Point Blank. The other show was opened by The Babys, an odd pairing. The crowd wasn't having the Baby's and they were more or less booed off the stage. As they were walking off, of the guys in band doubled back to a mic and said "f—-off Chicago". Was funny to hear. Flash forward forty some years I was listening to your podcast with John Waite and he mentioned a show in Chicago opening up for Molly Hatchet and his bandmate yelling that.
Jack Powers
____________________________________
I saw Molly Hatchet live in 1980 at WIU in Macomb. Amazing concert: intense, fun, and full of swagger. I served on the Host and Hospitality Committee of the student programming board, which meant I was an usher at all concerts. Thus, we all knew the contractual start and stop times for all the shows. Molly Hachet was one of the bands that did a true encore and went beyond the contracted stop time.
Kevin Lampe
____________________________________
As a youngster, I thought Flirtin' With Disaster was a great album. At the time, I didn't realize how closely they were imitating Lynyrd Skynyrd. Danny Joe had so many Ronnie Van Sant-isms in his delivery that it was akin to Greta Van Fleet's singer aping Robert Plant. But in the end, f*ck it - it still sounded great because they actually had talent and could pull it off. Thanks for sending me down memory lane.
-Dave Lackey
____________________________________
Didn't expect a piece on Molly Hatchet from you, it's a nice surprise. My high school friends and I, from a rural S. MN town, went to all the rock concerts in the late 70s, driving to the twin cities in our parent's beasts. My fondest memory was passing a joint down the row then reaching up to find a MH drum stick in hand. Pure tingling joy. Communal indeed. I wish I had kept all of those concert tee shirts, they were our mark of achievement in the high school cafeteria.
Thanks for the memories.
Marit Sathrum
____________________________________
Saw them live in Montgomery AL, right around this time, headlining an all-day festival with several other lesser know Southern Rock bands (remember Mother's Finest?). They kicked major ass.....
Donald Bartenstein
____________________________________
Flirting with Disaster was a great album, the whistles calling in the solos. Saw them open for the Outlaws at the CU Boulder Events Center in 1980. They blew the Outlaws off the stage.
Barry Levinson
____________________________________
I'm a HUGE Allman's fan. College wasn't working out for me. Living at home. I had broken up with my first long term girlfriend. My older brother lived in Denver and I decided to go hang out with him to see if I could get a job and achieve some level of independence.
My brother's apartment had a pool. I was in it one day and someone had a radio playing. Molly Hatchet's version of Gregg Allman's Dreams came on. I was mesmerized! They had taken an amazing jazz inflected song and turned it into a driving rock anthem. Totally reinvented the tune. Pure genius!
I thought back to the long broken up Allman's such that someone had remembered them….me.
Tim Pringle
____________________________________
The thing I appreciated with Molly Hatchet was, you could hear the same verve in a live concert that they played on record. It was absolutely electric, there's nothing (I'm aware of) that is close to it today
SpikeProspector
____________________________________
A very nostalgic read for me. Molly Hatchet at the Oakland Auditorium was my very first concert at age 16. Parents didn't take their kids to shows back then, at least mine didn't. You had to drive yourself, so I had to wait a couple years to see one of my favorite bands. They were touring on Take No Prisoners, which was two full albums and a new lead singer removed from Flirtin' With Disaster. Not sure who had the genius idea at Bill Graham Presents to book a show on Super Bowl Sunday, but this one took place in the Bay Area on the same night that the San Francisco 49ers won their first Lombardi Trophy. Needless to say, not exactly a packed or buzzing arena. Though clear to me now but not then, this was a band in steep decline. But I was oblivious to that and they were gods to me. The six guys on stage were a fierce and totally locked in unit. I didn't realize it in the moment, but that night sealed the deal that I had played my last inning of baseball, or any competitive sport for that matter. I got my first real taste of live rock and roll, and there was no turning back. I was hooked. I went to every show I could after that. The financial barrier was so incredibly low. For the cost of going to the arcade, a movie, or bowling, you could be front and center and in the same room with Judas Priest, ZZ Top, Rush, Tom Petty, Iron Maiden, Y&T, you name it. And if you think of it like that, you understand that very few of these acts were getting rich, even though we thought they were all living in mansions and drove Ferrari's. Not the worst way to make a living, but how devastating it must have been for those without longevity when things dried up. The next time I saw Hatchet was a year or so later, this time with the return of Danny Joe Brown. However, instead of performing at a sparsely filled 8,000-seater, they were at Wolfgang's, a 500-cap room in downtown SF. It still rocked pretty hard, but they were never able to rise above this tier of venue, at least not on the coasts. As with so many brand-name acts with zero, one, or two original members, it's become little more than a form of employment, and they'll stay out on the road until people stop coming.
Niels Schroeter
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In 1982 I was going to college in upstate NY. Me and some pals had tickets to see Blue Oyster Cult. and stopped at a bar near the venue for a pre-show beer. The bartender couldn't stop talking about how the members of Molly Hatchet had been drinking there the night before, and that each member had ordered a bottle of Jack Daniels - and not a drop left before leaving. He was... impressed?!
I was in college then = not working in the music business. This story could have been made up, but it sure felt real. And seeing how young most of the band members were when they passed, it makes me wonder if the bartender was giving it to me straight all those years ago.
Jeff Pachman
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So ironic that I had just finished my guitar warmups playing this song (the guitar solos are just so good and melodic), and when I finished playing I got your email.
I'm an Iranian that grew up in Maryland playing guitar, so probably one of the less likely fans of 'southern rock', which I think today is the only surviving form of rock for the most part?
When we were inundated with all the fantastic music in '78, '79, ranging from Bill Bruford to Boston to Rush, this band was a great complement to everything else. The album cover art, the whistles, the tip of the hat to Marshall Tucker musically in this song at the end, and the lyrics to Gator Country (Old Richard Betts will tell ya Lord he was born a 'Ramblin' Man; Well, he can ramble back to Georgia, but I won't give a damn). So good, so much FUN.
What makes this song stick out is the lyrics and guitar solos- the best line IMO…
Just one more morning
I had to wake up with the blues
Pulled myself out of bed, yeah
Put on my walking shoes
Climb up on a hilltop, baby
See what I could see, yeah
Whole world was fallin' down, baby
Right down in front of me
Feels like every day with the news these days…
Thanks for the call out to these great guys. We are of a certain age, for sure, and finding balance between nostalgia and finding the great new music that is there (but harder to find in all the noise) is so much fun. We ARE the A&R people of our age- we have to listen to all the demo tapes to find the good stuff. It could be worse!
Thanks again Bob,
Merdad Parsey
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thanks for that. I LOVED this band. as a teenager in Long Island in mid to late 70s, southern rock was huge. saw them all, multiple times. charlie daniels, marshall tucker, outlaws, blackfoot, 38 special, henry paul band, didnt see LS but the follw up, rossington collins in 1980. I had a jean jacket and in high school I paid some guy to paint the back with the firt MH LP cover, the guy on the horse, and when I got to Uni people thought it was so cool. But in my first year at univeristy, somebody stole it in the bar. saw them warm up for the Stones at the Carrier Dome in 1981 and a few other times recall goign to binghamton to see them and blackfoot. Those were the days
Brian Barry Esq.
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Molly Hatchet - my first ever rock concert. They were the real deal. I remember the jeans, the boots and the bright lights.
Danny Joe Brown - in the tradition of Gregg Allman, Bonnie Bramlett, Ronnie Van Zant, Jimmie Hall, Don Barnes, etc. - was the last of that 70's generation of great Southern Rock frontmen. Although I think they considered themselves more of a hard rock band that happened to come from the south rather than be pigeonholed with the "Southern Rock" tag.
He and Dave Hlubek were a killer classic rock 'n' roll pairing and had they been able to keep it together longer (they never regained their commercial/artistic momentum after Danny Joe left for a couple of years in the early 80's) could have been as lethal as a Petty and Campbell, Bowie and Ronson or Benatar and Giraldo.
It was Hatchet's debut album that introduced me to "Dreams" - I didn't catch up with The Allman Brothers until I was a little older. I still like what they did with the song - Hatchet's version sounded great blasting out of the windows of a 1978 Camaro.
As an aside, check out Tom Petty & The Heartbreakers "First Flash Of Freedom" from their 2010 album Mojo - it's a brilliant deconstruction of the Allman Brothers' "Dreams" and The Zombies "I Want You Back Again".
I'd put those first two Molly Hatchet albums up against any one-two punch by any blues-based hard rock band you can name - Bad Company, The Black Crowes, Mountain - even Skynyrd themselves - and as the legend goes it was Ronnie Van Zant who was working with Hatchet in '77 and planned on producing that first album.
Great point about the music being inescapable - I saw the Talking Heads the same year.
Vince Welsh
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Thanks for this one after the week we've had. Nice to step back for a moment. Molly Hatchet first hit when we were juniors in high school. The album cover was foreboding scary—perfect high school boy fodder. The feeling you captured in your story was dead on—there was no pretense in their music and they helped fill up the rock n' roll side of my power pop brain. Elvis Costello was my new hero, but Molly Hatchet was welcome to play the courtyard.
A few years ago, Billy Joel was playing Target Field. Midway through the show, he picked up a guitar and introduced Axel Rose to the stage. What song did they sing? Highway to Hell by AC/DC! I watched as an entire stadium of Piano Man fans sang every word at the top of their lungs. In that era, you owned albums by Joel, Hatchet, Costello and AC/DC and loved them all. Thanks again.
Gary Judson
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Big fan of Molly Hatchet , Holland, Europe. May I suggest 2 MH tunes that are over the top great?? Fall of the peacemaker and I can't be watching you. Makes skynyrd look like a saturdaynight coverband.
Grtz. Joop
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You've captured the essence of the lifestyle perfectly in this Molly Hatchet piece, Bob. I remember driving down the Pennsylvania Turnpike in 1979 in my beat to sh*t Country Squire station wagon loaded with my drums on the road to our next band gig with 'Flirtin With Disaster' blaring from the speakers, chuggin' a Genesee Cream Ale at 8am, having not slept and driving straight from our last gig that had ended at 3am. This was rock and roll. Thank God someone out there is still keeping the memory and essence of this time alive. Love your writing and interviews, Bob. You aren't afraid to speak truth, blowback be damned... whether it's politics or music. I appreciate your courageous voice, it's a beacon of truth in the darkness of delusion. Keep doing what you do. F*ck em all.
Mark W. Curran - West Coast Performing Arts Concerts - Los Angeles
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Total f*cking banger, Bob.
Capitol Passaic or Port Chester?
Best Regards,
Eric Seifert
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It went like this for me:
1. Flirtin' With Disaster (one hit s**t)
2. Found the Frank Frazetta cover in the record store (instant buy - Heavy Metal magazine!)
3. The Allman Brothers
4. Took a while to 'get' Dreams. I was still like 10 at this point. But eventually did.
5. The Capitol Theater!
Best place ever IMO to see a show. But I was too young to ever go to the FIllmore. Little known fact: One of the reasons the Capitol had such a great vibe is when the Fillmore East closed, some of the staff came across the river to work at the Capitol in Passaic (The Armpit of NJ as my Uncle put it in the car on our way to my first show there). Great, great folks. It also had the multiple act bills of its predecessor (this video was Molly Hatchet / Outlaws 11/10/78)
Then there was its origin as a golden age movie theater, with sound-proofed walls making for exceptional acoustics. If I remember correctly, for a while it remained a movie theater too. Pornos by day, Rock n Roll at night.
I would love it if you did a piece on the Capitol someday. I still have (latter day) t-shirts of the venue. I love to wear them to shows in the Northern NJ/NYC area. Why? Because people literally come up to me, eager to tell stories of the great, great times they had there. It's wonderful. There is such good vibes attached to the place that the shirt even got me backstage once!
By the way, the theater also had an early video system. With screens! That's why you can see almost everything online. Apparently whoever owns them never monetized them. Maybe more proof why the Capitol was such a special place, filled with special people. Wear a Capitol shirt to a show. You'll likely meet some of them.
Phil Nazzaro
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when Danny Joe Brown came back to Molly Hatchet,
it was a hush-hush medium launch at the Hallandale Agora.
you have to understand, South Florida in the '80s was disco, but it was hard redneck, too --
the reason the Miami Herald tapped a college kid to cover country music, they needed it done, no staff writer was willing.
Eric Schabacher, who owned BeeJay Recording in Altamonte Springs, Florida where the band recorded, listened to me doing mornings my freshman year at Rollins. we became friends, even though I was a pretty preppy kid, because I loved music so much.
when I heard Molly Hatchet was coming -- in tact -- I called Eric to get the exclusive.
nobody wanted it. the University of Miami Hurricane took it, though my editor at the Herald took a review of the show
if you didn't drive a Camaro or Trans Am, have feathered hair, a Stars'n'Bars t-shirt, Jordache jeans or a big belt buckle,
you wouldn't understand. I was raised by Southern golf pros. Hatchet was religious.
"Flirting With Disaster," but also "Gator Country," "Whiskey Man," and yes, "Dreams I'll Never See."
macho in extremis, big stones, big swagger, big, big thrust when it came to the guitars and Brown's vocals.
got jerked around by the tour manager... Eric got Danny Joe down to the bar.
nobody wants to disappoint a kid; i probably looked 12, sitting in the lounge of the 2nd tier sheraton (or was it a hilton)
here's what people don't realize and you scratch at... the man who showed up was that sweaty, snorting, paw the ground hunk of blue collar frustration who would hit you over the head w a pool cue, but was also raised by a strong Southern mama, so he spoke like a gentleman, really thought about his answers and occasionally, admitted he had no idea.
back when, working class white kids enlisted or landed in dead end factory jobs, but they worked... there was no choice
the wild haired, the screw ups, the rebels needed another plan
so when DJB hit that stage, he wasn't flirting with disaster, he was shrieking for his life.
and to show you the "oh, yeah" of this era, this genre...
once DJB was in the bar, answering my intently focused questions about cultural dynamics, working class rock expressions and sexism, Eric Schabacher called David Hlubeck to inform him the new return was in the bar... with the girl... and, btw, your road manager's an a&&h*#e
right around the time, DJB was telling me he should stop and save his voice, the girthy Hlubeck shows up in a duster at 3 pm, hair wet and falling down his back, shades on, clearly miffed, but not being left out of the story. the look on his face when he scanned me was priceless... and other than his garble about the Book of Revelations, he was shocked at how hard I leaned into the valiant piece of Southern rock, the culture and the notion they're bikers whether they wear leathers or not.
like them? I liked Patti Smith. But I knew a good story, and that young, this was a scoop -- even if no one wanted it
ironically, when I turned my review in at the Herald, my editor was nowhere to be found. I left it on his chair.
when I got back to my dorm, there was a message to call him.
"Holly," he said when he heard my voice. "Is this a joke?"
"Joke, Doug?"
"I mean. it's powerful writing, but is it a joke?"
"Why would it be a joke?" I asked, a little annoyed.
"You actually liked them?"
"Liked might be too strong a word, but I respect them. They came, they raged, they slammed and went hard. It's not my thing, but damn, they left blood all over the stage..."
"Wow," said my sanguine editor.
"I know. Last thing I saw coming... Promise"
"Okay, then we're good."
That's the thing about the ones with dirt under their nails, sweaty arm pits, angry about how Yankees see them, they seethe. Not because they care what others think, but because they're gonna burn off all that judgement to stand equal. Crazy, but that's what Capitol Theater 1978 or Hallandale Agora 1985 was all about.
Holly Gleason
Nashville, TN
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Bob, those guys could play them guitars!
-Bob Carey
When manager Pat Armstrong brought the boys up from Jacksonville to Atlanta to audition for me,I jumped at the chance to work with the 3-guitar attack I had first observed when I tried to sign Skynyrd a few years earlier. Epic turned me down on Skynyrd before Al signed them.
At the time, this guitar trio thing was something distinctive to the South, and surprisingly polished.
I loved these guys, and over 5 albums I countinued to wonder how a
sheltered Boston preppy found himself in a studio with this group of humorous,
considerate, self-proclaimed rednecks. "Dreams" was one of the few covers we did, at their suggestion, and Duane Roland was the most underrated guitarist I've ever seen or heard.
Duane doubled all his guitar parts and solos with his eyes closed. On their cover
of "It's All Over Now" (the " Flirtin' " album) he smoothly and precisely executes the lead break which Keith had composed years earlier. Duane's dexterity and natural feel clearly stand out as the guitarists take turns.
Sadly, this is the only band I produced whose members, much younger than I, are all gone.
Working with them on 5 LP's was a great pleasure.
Tom Werman
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Hi Bob — You are 100% correct about Molly Hatchet — "a band considered so unattractive they weren't even on their own album covers."
That's why Epic marketing came up with those Frank Frazetta paintings for the covers of their albums. Visually striking, created a consistent graphic image, made the group's albums instantly recognizable, screamed "pick me up" when spotted on the record racks. Problem solved.
I do not recall whose idea it was in the beginning. It may have come from the packaging art department; may have originated with Larry Stessel, who did a fine job as Molly Hatchet's Epic product manager; maybe even came from the group or its management.
But I do remember we had a hard rocking band considered too ugly for a big cover shot. They were relegated to a small image on the back.
It worked.
Jim Charne
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RE: Molly Hatchet
I remember them well. Phil Walden, myself, and others had formed a merchandise company for The Allmans. Hatchet was red hot and their manager, Pat Armstrong, wanted a $90,000 advance for merch and when we went to the bank to borrow it they wanted personal warranties from all of us for repayment of the loan. I was nervous as hell about that, but to my relief they sold enough merch in the first month for us to recoup the advance and pay off our bank loan. Many times the merch gross was higher than the box office gross for the concert. Those were truly great days for "Southern Rock" and everyone was making a small fortune on seemingly every endeavor. Poor Molly Hatchet didn't last too long at the top, but few do.
Willie Perkins
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Always so much stuff in these missives!
To me the Allmans transcended southern rock. Most of the other bands patterned themselves after Skynyrd. The Allmans were a richer band musically.
Check out the version of "Dreams" that Buddy Miles did. Molly Hatchet lifted the guitar arrangement from it, but Buddy's version had a terrific horn chart and it wails.
I saw Marshall Crenshaw open for George Thorogood (!) in 1991 and he did a cover of "Flrtin With Disaster." It was terrific. It really is a great song.
How many bands toured for years on the strength of one or two hits? Better than none at all, I guess.
Joseph Taylor
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"Molly Hatchet has a collective IQ of 10, and 8 of it belongs to their road manager!" -a deceased Southern Rock legend.
We were new wave kids, and Hatchet was the butt of many jokes. But all these years later, I'm with you on their cover of "Dreams," which is actually a cover of Buddy Miles' version of the song. MH might have seemed silly, but they were real and they were everywhere. Drive-By Truckers' "Southern Rock Opera" is a remarkable album that encapsulates what it was like to be a kid in that era, also exploring "The Duality of That Southern Thing" with songs about the region's tangled history and Lynyrd Skynyrd's as well. "Let There Be Rock" is an anthem. The album is Essential.
Bob Anthony
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Bob, as much as I love the this version of Dreams it is a copy of the Buddy Miles cover that he did on the Them Changes record. A bit more funkier without the grit of the Danny Jo Brown vocals.
Adam Gerstein
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https://www.youtube.com/watch?v=-cCJ2m_nz5I
Buddy Miles covered Dreams in 1970.
Big R&B arrangement with horns.
Possible inspiration for the Hatchet version?
A couple of young Connecticut natives not even out of high school in the band at the time, Charlie Karp and David Hull.
JD Dworkow
Westport, CT
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Hi Bob, I had the pleasure of being the lighting director for Molly Hatchet in the early 80s. One of my favorite parts of the show was doing lighting for Dreams. The dynamic changes were so alive. There was a lighting cue on Dreams that was not used anywhere else in the show. On the breakdown I used 8 aircraft landing lights mounted in the front of the drum riser to project a rainbow over the guys in their guitar line up at the downstage edge. The dynamic changes made the cue awesome. Steve Holland MH guitarist was credited with the arrangement that Molly performed.
Tony L, LD
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Hi Bob, I was lucky to see them several times in the early 80's they were great. Having grown up in South Florida they were a mainstay on the local rock scene. I can remember my first time seeing them at Summers on the Beach and being blown away, especially when they did Dreams (I have always preferred the Hatchet version). When the three guitarists and Danny Joe joined up and did what I was told was the Hatchet two-step the crowd wants nuts, it was rock-n-roll magic.
Through a good friend, I got to know Danny Joe Brown a bit. He was great. Had an amazing voice. Sorry to say they are all gone now but their music lives on. Thanks for bringing back to active listening memory.
Jonathan
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Saw Molly Hatchet in Chicago twice around the time Flirting With Disaster. One show was opened by some generic southern rock band called Point Blank. The other show was opened by The Babys, an odd pairing. The crowd wasn't having the Baby's and they were more or less booed off the stage. As they were walking off, of the guys in band doubled back to a mic and said "f—-off Chicago". Was funny to hear. Flash forward forty some years I was listening to your podcast with John Waite and he mentioned a show in Chicago opening up for Molly Hatchet and his bandmate yelling that.
Jack Powers
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I saw Molly Hatchet live in 1980 at WIU in Macomb. Amazing concert: intense, fun, and full of swagger. I served on the Host and Hospitality Committee of the student programming board, which meant I was an usher at all concerts. Thus, we all knew the contractual start and stop times for all the shows. Molly Hachet was one of the bands that did a true encore and went beyond the contracted stop time.
Kevin Lampe
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As a youngster, I thought Flirtin' With Disaster was a great album. At the time, I didn't realize how closely they were imitating Lynyrd Skynyrd. Danny Joe had so many Ronnie Van Sant-isms in his delivery that it was akin to Greta Van Fleet's singer aping Robert Plant. But in the end, f*ck it - it still sounded great because they actually had talent and could pull it off. Thanks for sending me down memory lane.
-Dave Lackey
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Didn't expect a piece on Molly Hatchet from you, it's a nice surprise. My high school friends and I, from a rural S. MN town, went to all the rock concerts in the late 70s, driving to the twin cities in our parent's beasts. My fondest memory was passing a joint down the row then reaching up to find a MH drum stick in hand. Pure tingling joy. Communal indeed. I wish I had kept all of those concert tee shirts, they were our mark of achievement in the high school cafeteria.
Thanks for the memories.
Marit Sathrum
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Saw them live in Montgomery AL, right around this time, headlining an all-day festival with several other lesser know Southern Rock bands (remember Mother's Finest?). They kicked major ass.....
Donald Bartenstein
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Flirting with Disaster was a great album, the whistles calling in the solos. Saw them open for the Outlaws at the CU Boulder Events Center in 1980. They blew the Outlaws off the stage.
Barry Levinson
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I'm a HUGE Allman's fan. College wasn't working out for me. Living at home. I had broken up with my first long term girlfriend. My older brother lived in Denver and I decided to go hang out with him to see if I could get a job and achieve some level of independence.
My brother's apartment had a pool. I was in it one day and someone had a radio playing. Molly Hatchet's version of Gregg Allman's Dreams came on. I was mesmerized! They had taken an amazing jazz inflected song and turned it into a driving rock anthem. Totally reinvented the tune. Pure genius!
I thought back to the long broken up Allman's such that someone had remembered them….me.
Tim Pringle
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The thing I appreciated with Molly Hatchet was, you could hear the same verve in a live concert that they played on record. It was absolutely electric, there's nothing (I'm aware of) that is close to it today
SpikeProspector
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A very nostalgic read for me. Molly Hatchet at the Oakland Auditorium was my very first concert at age 16. Parents didn't take their kids to shows back then, at least mine didn't. You had to drive yourself, so I had to wait a couple years to see one of my favorite bands. They were touring on Take No Prisoners, which was two full albums and a new lead singer removed from Flirtin' With Disaster. Not sure who had the genius idea at Bill Graham Presents to book a show on Super Bowl Sunday, but this one took place in the Bay Area on the same night that the San Francisco 49ers won their first Lombardi Trophy. Needless to say, not exactly a packed or buzzing arena. Though clear to me now but not then, this was a band in steep decline. But I was oblivious to that and they were gods to me. The six guys on stage were a fierce and totally locked in unit. I didn't realize it in the moment, but that night sealed the deal that I had played my last inning of baseball, or any competitive sport for that matter. I got my first real taste of live rock and roll, and there was no turning back. I was hooked. I went to every show I could after that. The financial barrier was so incredibly low. For the cost of going to the arcade, a movie, or bowling, you could be front and center and in the same room with Judas Priest, ZZ Top, Rush, Tom Petty, Iron Maiden, Y&T, you name it. And if you think of it like that, you understand that very few of these acts were getting rich, even though we thought they were all living in mansions and drove Ferrari's. Not the worst way to make a living, but how devastating it must have been for those without longevity when things dried up. The next time I saw Hatchet was a year or so later, this time with the return of Danny Joe Brown. However, instead of performing at a sparsely filled 8,000-seater, they were at Wolfgang's, a 500-cap room in downtown SF. It still rocked pretty hard, but they were never able to rise above this tier of venue, at least not on the coasts. As with so many brand-name acts with zero, one, or two original members, it's become little more than a form of employment, and they'll stay out on the road until people stop coming.
Niels Schroeter
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In 1982 I was going to college in upstate NY. Me and some pals had tickets to see Blue Oyster Cult. and stopped at a bar near the venue for a pre-show beer. The bartender couldn't stop talking about how the members of Molly Hatchet had been drinking there the night before, and that each member had ordered a bottle of Jack Daniels - and not a drop left before leaving. He was... impressed?!
I was in college then = not working in the music business. This story could have been made up, but it sure felt real. And seeing how young most of the band members were when they passed, it makes me wonder if the bartender was giving it to me straight all those years ago.
Jeff Pachman
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So ironic that I had just finished my guitar warmups playing this song (the guitar solos are just so good and melodic), and when I finished playing I got your email.
I'm an Iranian that grew up in Maryland playing guitar, so probably one of the less likely fans of 'southern rock', which I think today is the only surviving form of rock for the most part?
When we were inundated with all the fantastic music in '78, '79, ranging from Bill Bruford to Boston to Rush, this band was a great complement to everything else. The album cover art, the whistles, the tip of the hat to Marshall Tucker musically in this song at the end, and the lyrics to Gator Country (Old Richard Betts will tell ya Lord he was born a 'Ramblin' Man; Well, he can ramble back to Georgia, but I won't give a damn). So good, so much FUN.
What makes this song stick out is the lyrics and guitar solos- the best line IMO…
Just one more morning
I had to wake up with the blues
Pulled myself out of bed, yeah
Put on my walking shoes
Climb up on a hilltop, baby
See what I could see, yeah
Whole world was fallin' down, baby
Right down in front of me
Feels like every day with the news these days…
Thanks for the call out to these great guys. We are of a certain age, for sure, and finding balance between nostalgia and finding the great new music that is there (but harder to find in all the noise) is so much fun. We ARE the A&R people of our age- we have to listen to all the demo tapes to find the good stuff. It could be worse!
Thanks again Bob,
Merdad Parsey
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thanks for that. I LOVED this band. as a teenager in Long Island in mid to late 70s, southern rock was huge. saw them all, multiple times. charlie daniels, marshall tucker, outlaws, blackfoot, 38 special, henry paul band, didnt see LS but the follw up, rossington collins in 1980. I had a jean jacket and in high school I paid some guy to paint the back with the firt MH LP cover, the guy on the horse, and when I got to Uni people thought it was so cool. But in my first year at univeristy, somebody stole it in the bar. saw them warm up for the Stones at the Carrier Dome in 1981 and a few other times recall goign to binghamton to see them and blackfoot. Those were the days
Brian Barry Esq.
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Molly Hatchet - my first ever rock concert. They were the real deal. I remember the jeans, the boots and the bright lights.
Danny Joe Brown - in the tradition of Gregg Allman, Bonnie Bramlett, Ronnie Van Zant, Jimmie Hall, Don Barnes, etc. - was the last of that 70's generation of great Southern Rock frontmen. Although I think they considered themselves more of a hard rock band that happened to come from the south rather than be pigeonholed with the "Southern Rock" tag.
He and Dave Hlubek were a killer classic rock 'n' roll pairing and had they been able to keep it together longer (they never regained their commercial/artistic momentum after Danny Joe left for a couple of years in the early 80's) could have been as lethal as a Petty and Campbell, Bowie and Ronson or Benatar and Giraldo.
It was Hatchet's debut album that introduced me to "Dreams" - I didn't catch up with The Allman Brothers until I was a little older. I still like what they did with the song - Hatchet's version sounded great blasting out of the windows of a 1978 Camaro.
As an aside, check out Tom Petty & The Heartbreakers "First Flash Of Freedom" from their 2010 album Mojo - it's a brilliant deconstruction of the Allman Brothers' "Dreams" and The Zombies "I Want You Back Again".
I'd put those first two Molly Hatchet albums up against any one-two punch by any blues-based hard rock band you can name - Bad Company, The Black Crowes, Mountain - even Skynyrd themselves - and as the legend goes it was Ronnie Van Zant who was working with Hatchet in '77 and planned on producing that first album.
Great point about the music being inescapable - I saw the Talking Heads the same year.
Vince Welsh
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Thanks for this one after the week we've had. Nice to step back for a moment. Molly Hatchet first hit when we were juniors in high school. The album cover was foreboding scary—perfect high school boy fodder. The feeling you captured in your story was dead on—there was no pretense in their music and they helped fill up the rock n' roll side of my power pop brain. Elvis Costello was my new hero, but Molly Hatchet was welcome to play the courtyard.
A few years ago, Billy Joel was playing Target Field. Midway through the show, he picked up a guitar and introduced Axel Rose to the stage. What song did they sing? Highway to Hell by AC/DC! I watched as an entire stadium of Piano Man fans sang every word at the top of their lungs. In that era, you owned albums by Joel, Hatchet, Costello and AC/DC and loved them all. Thanks again.
Gary Judson
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Big fan of Molly Hatchet , Holland, Europe. May I suggest 2 MH tunes that are over the top great?? Fall of the peacemaker and I can't be watching you. Makes skynyrd look like a saturdaynight coverband.
Grtz. Joop
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You've captured the essence of the lifestyle perfectly in this Molly Hatchet piece, Bob. I remember driving down the Pennsylvania Turnpike in 1979 in my beat to sh*t Country Squire station wagon loaded with my drums on the road to our next band gig with 'Flirtin With Disaster' blaring from the speakers, chuggin' a Genesee Cream Ale at 8am, having not slept and driving straight from our last gig that had ended at 3am. This was rock and roll. Thank God someone out there is still keeping the memory and essence of this time alive. Love your writing and interviews, Bob. You aren't afraid to speak truth, blowback be damned... whether it's politics or music. I appreciate your courageous voice, it's a beacon of truth in the darkness of delusion. Keep doing what you do. F*ck em all.
Mark W. Curran - West Coast Performing Arts Concerts - Los Angeles
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Total f*cking banger, Bob.
Capitol Passaic or Port Chester?
Best Regards,
Eric Seifert
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It went like this for me:
1. Flirtin' With Disaster (one hit s**t)
2. Found the Frank Frazetta cover in the record store (instant buy - Heavy Metal magazine!)
3. The Allman Brothers
4. Took a while to 'get' Dreams. I was still like 10 at this point. But eventually did.
5. The Capitol Theater!
Best place ever IMO to see a show. But I was too young to ever go to the FIllmore. Little known fact: One of the reasons the Capitol had such a great vibe is when the Fillmore East closed, some of the staff came across the river to work at the Capitol in Passaic (The Armpit of NJ as my Uncle put it in the car on our way to my first show there). Great, great folks. It also had the multiple act bills of its predecessor (this video was Molly Hatchet / Outlaws 11/10/78)
Then there was its origin as a golden age movie theater, with sound-proofed walls making for exceptional acoustics. If I remember correctly, for a while it remained a movie theater too. Pornos by day, Rock n Roll at night.
I would love it if you did a piece on the Capitol someday. I still have (latter day) t-shirts of the venue. I love to wear them to shows in the Northern NJ/NYC area. Why? Because people literally come up to me, eager to tell stories of the great, great times they had there. It's wonderful. There is such good vibes attached to the place that the shirt even got me backstage once!
By the way, the theater also had an early video system. With screens! That's why you can see almost everything online. Apparently whoever owns them never monetized them. Maybe more proof why the Capitol was such a special place, filled with special people. Wear a Capitol shirt to a show. You'll likely meet some of them.
Phil Nazzaro
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when Danny Joe Brown came back to Molly Hatchet,
it was a hush-hush medium launch at the Hallandale Agora.
you have to understand, South Florida in the '80s was disco, but it was hard redneck, too --
the reason the Miami Herald tapped a college kid to cover country music, they needed it done, no staff writer was willing.
Eric Schabacher, who owned BeeJay Recording in Altamonte Springs, Florida where the band recorded, listened to me doing mornings my freshman year at Rollins. we became friends, even though I was a pretty preppy kid, because I loved music so much.
when I heard Molly Hatchet was coming -- in tact -- I called Eric to get the exclusive.
nobody wanted it. the University of Miami Hurricane took it, though my editor at the Herald took a review of the show
if you didn't drive a Camaro or Trans Am, have feathered hair, a Stars'n'Bars t-shirt, Jordache jeans or a big belt buckle,
you wouldn't understand. I was raised by Southern golf pros. Hatchet was religious.
"Flirting With Disaster," but also "Gator Country," "Whiskey Man," and yes, "Dreams I'll Never See."
macho in extremis, big stones, big swagger, big, big thrust when it came to the guitars and Brown's vocals.
got jerked around by the tour manager... Eric got Danny Joe down to the bar.
nobody wants to disappoint a kid; i probably looked 12, sitting in the lounge of the 2nd tier sheraton (or was it a hilton)
here's what people don't realize and you scratch at... the man who showed up was that sweaty, snorting, paw the ground hunk of blue collar frustration who would hit you over the head w a pool cue, but was also raised by a strong Southern mama, so he spoke like a gentleman, really thought about his answers and occasionally, admitted he had no idea.
back when, working class white kids enlisted or landed in dead end factory jobs, but they worked... there was no choice
the wild haired, the screw ups, the rebels needed another plan
so when DJB hit that stage, he wasn't flirting with disaster, he was shrieking for his life.
and to show you the "oh, yeah" of this era, this genre...
once DJB was in the bar, answering my intently focused questions about cultural dynamics, working class rock expressions and sexism, Eric Schabacher called David Hlubeck to inform him the new return was in the bar... with the girl... and, btw, your road manager's an a&&h*#e
right around the time, DJB was telling me he should stop and save his voice, the girthy Hlubeck shows up in a duster at 3 pm, hair wet and falling down his back, shades on, clearly miffed, but not being left out of the story. the look on his face when he scanned me was priceless... and other than his garble about the Book of Revelations, he was shocked at how hard I leaned into the valiant piece of Southern rock, the culture and the notion they're bikers whether they wear leathers or not.
like them? I liked Patti Smith. But I knew a good story, and that young, this was a scoop -- even if no one wanted it
ironically, when I turned my review in at the Herald, my editor was nowhere to be found. I left it on his chair.
when I got back to my dorm, there was a message to call him.
"Holly," he said when he heard my voice. "Is this a joke?"
"Joke, Doug?"
"I mean. it's powerful writing, but is it a joke?"
"Why would it be a joke?" I asked, a little annoyed.
"You actually liked them?"
"Liked might be too strong a word, but I respect them. They came, they raged, they slammed and went hard. It's not my thing, but damn, they left blood all over the stage..."
"Wow," said my sanguine editor.
"I know. Last thing I saw coming... Promise"
"Okay, then we're good."
That's the thing about the ones with dirt under their nails, sweaty arm pits, angry about how Yankees see them, they seethe. Not because they care what others think, but because they're gonna burn off all that judgement to stand equal. Crazy, but that's what Capitol Theater 1978 or Hallandale Agora 1985 was all about.
Holly Gleason
Nashville, TN
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Bob, those guys could play them guitars!
-Bob Carey
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