Classic American West Coast Boxing

[kikibalt]

Connie and my brother-in-law, George doing some wine tasting in one of the winery in Napa Valley,Ca.

[kikibalt]

To rich for me....

[kikibalt]

This castle is the winery where Connie and George did some wine tasting in the photo above.

[Chuck1052]

Rick, that was an interesting anecdote about Speedy Dado. But I doubt if he made a million dollars during his interesting career. For one thing, I read that he was making $25,000. a year at his peak, which I think is a very high estimate. In my opinion, Dado would have been lucky to make $15,000. during one of his best years. Remember....this was at a time when $5,000. a year was a terrific salary.

- Chuck Johnston

[dagosd2000]

Happy "St. Patrick's Day" to you Irish dudes

Now, when are we having a "Happy Vato's" day?....

Frank
Mexicans have a Happy Vatos Day everyday. They can always think of something to celebrate and have a party for.

[dagosd2000]

Hey Fellas'
Hot off the wire. My grand daughter just gave birth to a 5th great grand kid. Imagine that. A Mexican baby boy born on St. Paddy's Day. They're gonna' named the kid "Erik". Shit,I know that ain't Mexican. It ain't Irish either. I think it's a Viking name. To bad the kid wasn't a girl ,they could have name her "Erin". Would have made the San Patricios proud

Right now I gotta' take Amanda to Flamenco. Later I'll post a good Irish one about Bob Murphy. Handed down to me at the 'ol Arizona Cafe. Rog

Congrats on the new edition to the family . . . But waddaya got against a great SWEDISH name like Erik??

Tom
I love the kid with any kind of name as long as thay don't name him "Sue"

[dagosd2000]

My sister Rachel and Connie, at Rachel's and her husband Bob's vineyard.
Rachel lost all her hair going through chemo and wears a wig

Beauty grows with age.

[dagosd2000]

I want to thank all the fellas' who complimented me on the birth of my great grand son Erik. Geez,that means I won't be the center of attention for a while.

[kikibalt]

Hey Fellas'
Hot off the wire. My grand daughter just gave birth to a 5th great grand kid. Imagine that. A Mexican baby boy born on St. Paddy's Day. They're gonna' named the kid "Erik". Shit,I know that ain't Mexican. It ain't Irish either. I think it's a Viking name. To bad the kid wasn't a girl ,they could have name her "Erin". Would have made the San Patricios proud

Right now I gotta' take Amanda to Flamenco. Later I'll post a good Irish one about Bob Murphy. Handed down to me at the 'ol Arizona Cafe. Rog

Congrats on the new edition to the family . . . But waddaya got against a great SWEDISH name like Erik??

Tom
I love the kid with any kind of name as long as thay don't name him "Sue"

Hey, what do you have against a boy named "Sue"?....

[kikibalt]

I want to thank all the fellas' who complimented me on the birth of my great grand son Erik. Geez,that means I won't be the center of attention for a while.

You're going to have to go to the Boom Boom Club to get some attention...

[kikibalt]

My sister Rachel and Connie, at Rachel's and her husband Bob's vineyard.
Rachel lost all her hair going through chemo and wears a wig

Beauty grows with age.

Thanks, Rog.

[Rick Farris]

Rick, that was an interesting anecdote about Speedy Dado. But I doubt if he made a million dollars during his interesting career. For one thing, I read that he was making $25,000. a year during his peak years, which I think is a very high estimate. In my opinion, Dado would have been lucky to make $15,000. during one of his best years.

- Chuck Johnston

A Million Bucks . . .

Chuck, this is what went thru my mind as Mando shared the story. A million bucks was a miliion bucks back then. We use the number loosely today, but few came close to making that much in those days. Still, it's what Dado might have told Mando, so that's the way I must tell it, just how it was told to me.

However, it's good to keep the true numbers in focus, and that's why you are a true historian. Good to hear from you!


-Rick Farris

[kikibalt]

Happy "St. Patrick's Day" to you Irish dudes

Now, when are we having a "Happy Vato's" day?....

Frank
Mexicans have a Happy Vatos Day everyday. They can always think of something to celebrate and have a party for.

Is that why Mexicans are a happy people?....

[Rick Farris]

My sister Rachel and Connie, at Rachel's and her husband Bob's vineyard.
Rachel lost all her hair going through chemo and wears a wig

Beauty grows with age.

And both Rachel and Connie are beautiful.
Hey Frank, did Connie bring you some vino?

-Rick

[raylawpc]

Hey Fellas'
Hot off the wire. My grand daughter just gave birth to a 5th great grand kid. Imagine that. A Mexican baby boy born on St. Paddy's Day. They're gonna' named the kid "Erik". Shit,I know that ain't Mexican. It ain't Irish either. I think it's a Viking name. To bad the kid wasn't a girl ,they could have name her "Erin". Would have made the San Patricios proud

Right now I gotta' take Amanda to Flamenco. Later I'll post a good Irish one about Bob Murphy. Handed down to me at the 'ol Arizona Cafe. Rog

Congrats on the new edition to the family . . . But waddaya got against a great SWEDISH name like Erik??

Tom
I love the kid with any kind of name as long as thay don't name him "Sue"

Johnny Cash's "A Boy Named Sue"

Well my daddy left home when I was three
And he didn't leave much to ma and me
Just this old guitar and an empty bottle of booze.
Now, I don't blame him cause he run and hid
But the meanest thing that he ever did
Was before he left, he went and named me "Sue."

Well, he must o' thought that is quite a joke
And it got a lot of laughs from a' lots of folk,
It seems I had to fight my whole life through.
Some gal would giggle and I'd get red
And some guy'd laugh and I'd bust his head,
I tell ya, life ain't easy for a boy named "Sue."

Well, I grew up quick and I grew up mean,
My fist got hard and my wits got keen,
I'd roam from town to town to hide my shame.
But I made a vow to the moon and stars
That I'd search the honky-tonks and bars
And kill that man who gave me that awful name.

Well, it was Gatlinburg in mid-July
And I just hit town and my throat was dry,
I thought I'd stop and have myself a brew.
At an old saloon on a street of mud,
There at a table, dealing stud,
Sat the dirty, mangy dog that named me "Sue."

Well, I knew that snake was my own sweet dad
From a worn-out picture that my mother'd had,
And I knew that scar on his cheek and his evil eye.
He was big and bent and gray and old,
And I looked at him and my blood ran cold
And I said: "My name is 'Sue!' How do you do!
Now your gonna die!!"

Well, I hit him hard right between the eyes
And he went down, but to my surprise,
He come up with a knife and cut off a piece of my ear.
But I busted a chair right across his teeth
And we crashed through the wall and into the street
Kicking and a' gouging in the mud and the blood and the beer.

I tell ya, I've fought tougher men
But I really can't remember when,
He kicked like a mule and he bit like a crocodile.
I heard him laugh and then I heard him cuss,
He went for his gun and I pulled mine first,
He stood there lookin' at me and I saw him smile.

And he said: "Son, this world is rough
And if a man's gonna make it, he's gotta be tough
And I knew I wouldn't be there to help ya along.
So I give ya that name and I said goodbye
I knew you'd have to get tough or die
And it's the name that helped to make you strong."

He said: "Now you just fought one hell of a fight
And I know you hate me, and you got the right
To kill me now, and I wouldn't blame you if you do.
But ya ought to thank me, before I die,
For the gravel in ya guts and the spit in ya eye
Cause I'm the son-of-a-bitch that named you "Sue.'"

I got all choked up and I threw down my gun
And I called him my pa, and he called me his son,
And I came away with a different point of view.
And I think about him, now and then,
Every time I try and every time I win,
And if I ever have a son, I think I'm gonna name him
. . .
Bill or George! Anything but Sue! I still hate that name!

-- I don't know Rog. A boy named Sue sounds like he could handle himself down in TJ, and look out for Great-Grandpa in your old age when you head south for that haircut!!

[kikibalt]

My sister Rachel and Connie, at Rachel's and her husband Bob's vineyard.
Rachel lost all her hair going through chemo and wears a wig

Beauty grows with age.

And both Rachel and Connie are beautiful.
Hey Frank, did Connie bring you some vino?

-Rick

Yes, two bottles at 40 bucks a bottle, it better be good....
I'm used to the cheap stuff, no more then 7-8 buck a bottle....

[kikibalt]

Nite, Nite...

[dagosd2000]

UNUSED TICKETS

At the end there wasn't much left of the Arizona Cafe. Radovich had died. All the caricatures that were hung behind the bar of the local patrons were covered with dust. As I sat at the end of the bar,I stared at those funny hand painted faces. The only guy still alive was Tony Panza. Christ, he had to be nearing 90. Prided himself for opening the Arizona every morning at 6 sharp. Christmas included.

I was sittin' like I told you at the end of the bar. Near the door. Where the old regulars sat. I guess I fell into that category now. All the regulars had passed on. Just those funny faces behind the bar was all that was left of them in the Arizona.

The Arizona was just me and Tony that afternoon. It was Super Bowl Sunday. No one was going to take in the game at the Arizona. Oh,they had a TV. A small one. It was hung up facing the bar. Only the bartender had a good look at it. If you were sitting there as a customer you couldn't see anything unless you saw the screen in the reflection of the mirror behind the bar.

There was Bob Murhy's mug hanging up there with the rest of the deceased. There was a crack in the center of the caricature. Murphy's fist went through there. I guess that was the Irishman's opinion of art.Tony and me sat there with a bottle of beer in front of us. No glass.
"No one here", I said. "Watchin' the game somewheres else."
"Don't blame them,"came back Tony. "The Arizona was never the place to watch TV."

I wasn't in the mood for bringin' anything up. I was gonna' finish my beer and maybe go down the street to watch the Super Bowl.Then Tony offered.
"Did I ever tell you the time Murphy was in here before the Rams were gonna' play the Browns for the championship game in 51?"
"No,"I said. No way I was going down the street until I got this story.
"Well",said Tony as he leaned on the bar,"Murphy was pretty good friends with the Rams."
Yeh,I heard of some the escapades of Murphy and Hatfirld his manager kickin' their heels with some of the players.

The Rams had a strong club during that period. They were in the All American Conference,but it was a strong league. As strong as the NFL.
They had Van Brocklin and Waterfield flingin' the ball downfield and Crazy Legs and Fears catching them. They were averagin' over 40 a game. It must have been as big as the Aragon fights in that town.

Yeh,Murphy and that gang would come down to the Arizona to get liquored up with Radovich. Shit,Geaorge had played pro ball with the Redskins against those fellas' and had trained Murphy in the amateurs.They'd all huddle together with Irish Bob and go sport fishin',bar hopping,and then wind up in every cat house in Tijuana. They loved every minute of it.

Well the Rams were in the championship game against the Browns in LA. and his buddies had arranged to get him seats on the 50. Well as Tony told it Murphy is sittin' at the bar that morning getting fortified for his trip to Los Angeles. He's got the tickets stickin' out of the brim of his hat. As Tony told it,there was no way they were gonna' let Murphy leave the Arizona.

Everybody in the house was settin' him up. When Murphy began to make a move to the door,there were two more beers and a shot of whiskey in front of him. After 20 beers and 20 shots of Irish Rye. Include choruses of "Danny Boy","When Irish Eyes Are Smilin'",and Roamin' In The Gloamin'",his buddies at the bar had accomplished their mission.

As Tony told it ,by kick off Murphy was face down on the bar snorin' .The tickets still in the brim of his hat.

I guess Murphy was gonna' do that anyway. You know,get drunk with his buddies at the bar. Besides football was never his sport.

[Rick Farris]

Johnny Cash's "A Boy Named Sue"

Well my daddy left home when I was three
And he didn't leave much to ma and me
Just this old guitar and an empty bottle of booze.
Now, I don't blame him cause he run and hid
But the meanest thing that he ever did
Was before he left, he went and named me "Sue."

Well, he must o' thought that is quite a joke
And it got a lot of laughs from a' lots of folk,
It seems I had to fight my whole life through.
Some gal would giggle and I'd get red
And some guy'd laugh and I'd bust his head,
I tell ya, life ain't easy for a boy named "Sue."

Well, I grew up quick and I grew up mean,
My fist got hard and my wits got keen,
I'd roam from town to town to hide my shame.
But I made a vow to the moon and stars
That I'd search the honky-tonks and bars
And kill that man who gave me that awful name.

Well, it was Gatlinburg in mid-July
And I just hit town and my throat was dry,
I thought I'd stop and have myself a brew.
At an old saloon on a street of mud,
There at a table, dealing stud,
Sat the dirty, mangy dog that named me "Sue."

Well, I knew that snake was my own sweet dad
From a worn-out picture that my mother'd had,
And I knew that scar on his cheek and his evil eye.
He was big and bent and gray and old,
And I looked at him and my blood ran cold
And I said: "My name is 'Sue!' How do you do!
Now your gonna die!!"

Well, I hit him hard right between the eyes
And he went down, but to my surprise,
He come up with a knife and cut off a piece of my ear.
But I busted a chair right across his teeth
And we crashed through the wall and into the street
Kicking and a' gouging in the mud and the blood and the beer.

I tell ya, I've fought tougher men
But I really can't remember when,
He kicked like a mule and he bit like a crocodile.
I heard him laugh and then I heard him cuss,
He went for his gun and I pulled mine first,
He stood there lookin' at me and I saw him smile.

And he said: "Son, this world is rough
And if a man's gonna make it, he's gotta be tough
And I knew I wouldn't be there to help ya along.
So I give ya that name and I said goodbye
I knew you'd have to get tough or die
And it's the name that helped to make you strong."

He said: "Now you just fought one hell of a fight
And I know you hate me, and you got the right
To kill me now, and I wouldn't blame you if you do.
But ya ought to thank me, before I die,
For the gravel in ya guts and the spit in ya eye
Cause I'm the son-of-a-bitch that named you "Sue.'"

I got all choked up and I threw down my gun
And I called him my pa, and he called me his son,
And I came away with a different point of view.
And I think about him, now and then,
Every time I try and every time I win,
And if I ever have a son, I think I'm gonna name him
. . .
Bill or George! Anything but Sue! I still hate that name!
______________________________________________________________________________________________________

My stablemate and friend, Kit Boursse' used to play that song in his '32 Model-A on a 4-track tape player. He'd pick me up and we'd head to the Main St. Gym. I recall as we were driving thru the tunnels of the Pasadena Fwy. below Dodger Stadium, this song blasting from the Model-A, and Kit turned off the engine, quickly restarted it causing the old Ford to backfire. He'd do it to punctuate a note from the song, the explosive backfire would echo thru the tunnel and everybody would be giving us the finger, threatening to report us. Kit would acknowledge each threat with another backfire before slipping off the freeway and thru Chinatown to the gym.

That song brings back a lot of fun memories, 1968, I believe. It was a very good time of life, personally speaking.


-Rick Farris

[Rick Farris]

When We Film Musicians & Singers . . .

Pink Floyd- "Pulse Tour" 1994. The Rose Bowl, Pasadena, California.

In the early 80's, a new medium emerged, one that developed into it's own Music Television Network, thus the birth of MTV.
This was also the birth of the "Music Video".

In the beginning, they were ragged, to say the least. What is known today as "Gorilla Film Making", defines the type of low-budget-down & dirty film making that put togther the earliest versions of what would emerge into major music marketing device. They weren't visually superior, especially in light of the mega budget feature film productions I had grown accustomed to working on. However, they made their point and they quickly won over a huge audience that didn't give a damn about "beauty" cinematography.

As the medium grew, so did the budgets and many of us who would never have considered "dropping down" to shoot music vids, were eager to mix their talent with our art. The money was there and soon we followed.

I've done a number of music productions over the years. I worked on both Michael Jackson flicks, "Thriller" and his disappointing, "Moonwalker". I was in the Shrine Auditorium working with my cousin on a Diet Pepsi commercial when Michael Jackson was seriously burned doing his music routine for the commercial. I also worked with Michael Jackson and other rock legends on the legendary music feature, "We Are The World", which was filmed at the "Charlie Chaplin Stage" of A&M Records on La Brea.

It's always fun for me to work with musicians, especially those who are to perform in the production. I've done my share of major movies that featured musicians, such "A Star Is Born", "The Rose, "Grease", "The Jazz Singer", "The Blues Brothers" and more. I've also done the MTV type shoots featuring a variety of top musicians and singers. However, of all the music jobs I would ever do, or for that matter, any film job I have ever done, being a part of a backstage documentary "mini-crew" to shoot behind scenes, back stage activity for the legendary English band, Pink Floyd, was the most interesting, fascinating and fun jobs I would ever do. It was hands down the best, and I have had a lot of great times with some great people during my career.

In this case, my job would be very simple. It was just two cameramen with shoulder mounted video cams, a sound man and myself with a battery pack strapped to my back and a small, hand held flood light that I could bounce off a wall or ceiling to provide some overall ambient light for exposure only. This wasn't art, it was down & dirty (Our docu style filming, that is. The concert represented the most expensive Rock & Roll tour ever, and one that would become legendary.)

We would shoot the band backstage before they make their stage appearance. Shoot the three girls (back-up singers who will exit twice for wardrobe changes.) Take stage with band as they do final curtain call. Our job was to focus on the three female back-up singers, two black and one white blonde (an Oreo type threesome on stage with blondie in the middle).

The three female back-ups were incredible singers, with amazing, powerful voices that literally mesmerized the audience at different times. I fell in love with all three, especially the blonde, English singer Sam Brown, a popular recording artist in her own right. The other two were Claudia Fontaine and Durga McBroom.

Sam Brown had a hit single in the U.K.- "STOP", and several other album CD's out. She and I would have time to visit on this night, as well as with Claudia and Durga. Three amamzing women. If I knew how to transfer over YouTube footage, I'd post the three women doing back-to-back solos from the Pink Floyd Pulse Tour song "Great Gig in the Sky".

That night I would meet several original members of the band in David Gilmour, Rick Wright, Nick Mason and Guy Pratt. They gave an incredible concert that featured the most incredible state of the art concert stage lighting I've ever seen. Even today, fifteen years later, I was amazed at the concert lighting roadies, the designers, the electronics, and the incredible laser effects.

All I had to do was carry around a small light, bounce some ambience off a wall occasionally, talk to the girls, sit and watch an incredible event from right off stage, talk to the girls, go to the after party, talk to the girls and get to know a little bit about Sam Brown. I have to admit, this woman, Sam Brown had me hooked. I wish I could play she and the other two angels singing, "Great Gig In the Sky" from that Pink Floyd's Pulse tour. If you guys saw Sam sing her solo, you'd know why I fell in love with her that night. She's brilliant!

Anybody from the U.K. heard of Sam Brown???? After that night in 1994, Pink Floyd holds a special place in past.


-Rick Farris

[Expug]

Hey Fellas'
Hot off the wire. My grand daughter just gave birth to a 5th great grand kid. Imagine that. A Mexican baby boy born on St. Paddy's Day. They're gonna' named the kid "Erik". Shit,I know that ain't Mexican. It ain't Irish either. I think it's a Viking name. To bad the kid wasn't a girl ,they could have name her "Erin". Would have made the San Patricios proud

Right now I gotta' take Amanda to Flamenco. Later I'll post a good Irish one about Bob Murphy. Handed down to me at the 'ol Arizona Cafe. Rog

Congrats Rog.

Well, Eric was born in the spirit of the San Patricios.

[Expug]

When We Film Musicians & Singers . . .

Pink Floyd- "Pulse Tour" 1994. The Rose Bowl, Pasadena, California.

In the early 80's, a new medium emerged, one that developed into it's own Music Television Network, thus the birth of MTV.
This was also the birth of the "Music Video".

In the beginning, they were ragged, to say the least. What is known today as "Gorilla Film Making", defines the type of low-budget-down & dirty film making that put togther the earliest versions of what would emerge into major music marketing device. They weren't visually superior, especially in light of the mega budget feature film productions I had grown accustomed to working on. However, they made their point and they quickly won over a huge audience that didn't give a damn about "beauty" cinematography.

As the medium grew, so did the budgets and many of us who would never have considered "dropping down" to shoot music vids, were eager to mix their talent with our art. The money was there and soon we followed.

I've done a number of music productions over the years. I worked on both Michael Jackson flicks, "Thriller" and his disappointing, "Moonwalker". I was in the Shrine Auditorium working with my cousin on a Diet Pepsi commercial when Michael Jackson was seriously burned doing his music routine for the commercial. I also worked with Michael Jackson and other rock legends on the legendary music feature, "We Are The World", which was filmed at the "Charlie Chaplin Stage" of A&M Records on La Brea.

It's always fun for me to work with musicians, especially those who are to perform in the production. I've done my share of major movies that featured musicians, such "A Star Is Born", "The Rose, "Grease", "The Jazz Singer", "The Blues Brothers" and more. I've also done the MTV type shoots featuring a variety of top musicians and singers. However, of all the music jobs I would ever do, or for that matter, any film job I have ever done, being a part of a backstage documentary "mini-crew" to shoot behind scenes, back stage activity for the legendary English band, Pink Floyd, was the most interesting, fascinating and fun jobs I would ever do. It was hands down the best, and I have had a lot of great times with some great people during my career.

In this case, my job would be very simple. It was just two cameramen with shoulder mounted video cams, a sound man and myself with a battery pack strapped to my back and a small, hand held flood light that I could bounce off a wall or ceiling to provide some overall ambient light for exposure only. This wasn't art, it was down & dirty (Our docu style filming, that is. The concert represented the most expensive Rock & Roll tour ever, and one that would become legendary.)

We would shoot the band backstage before they make their stage appearance. Shoot the three girls (back-up singers who will exit twice for wardrobe changes.) Take stage with band as they do final curtain call. Our job was to focus on the three female back-up singers, two black and one white blonde (an Oreo type threesome on stage with blondie in the middle).

The three female back-ups were incredible singers, with amazing, powerful voices that literally mesmerized the audience at different times. I fell in love with all three, especially the blonde, English singer Sam Brown, a popular recording artist in her own right. The other two were Claudia Fontaine and Durga McBroom.

Sam Brown had a hit single in the U.K.- "STOP", and several other album CD's out. She and I would have time to visit on this night, as well as with Claudia and Durga. Three amamzing women. If I knew how to transfer over YouTube footage, I'd post the three women doing back-to-back solos from the Pink Floyd Pulse Tour song "Great Gig in the Sky".

That night I would meet several original members of the band in David Gilmour, Rick Wright, Nick Mason and Guy Pratt. They gave an incredible concert that featured the most incredible state of the art concert stage lighting I've ever seen. Even today, fifteen years later, I was amazed at the concert lighting roadies, the designers, the electronics, and the incredible laser effects.

All I had to do was carry around a small light, bounce some ambience off a wall occasionally, talk to the girls, sit and watch an incredible event from right off stage, talk to the girls, go to the after party, talk to the girls and get to know a little bit about Sam Brown. I have to admit, this woman, Sam Brown had me hooked. I wish I could play she and the other two angels singing, "Great Gig In the Sky" from that Pink Floyd's Pulse tour. If you guys saw Sam sing her solo, you'd know why I fell in love with her that night. She's brilliant!

Anybody from the U.K. heard of Sam Brown???? After that night in 1994, Pink Floyd holds a special place in past.


-Rick Farris

Rick, about a year and a half ago, I worked backstage security for a Roger Waters show here in Chicago.
I didnt hit it off real well with his people,no big deal, it happens.
Anyway, he was using back up singers and I wonder if it was the same three girls. They were tremendous.
He is one of the best musicians Ive ever seen perform.

[Rick Farris]

A Book . . .

It will be about the boxers who made their name in Los Angeles. My era only.
Not a previous era, not one that I didn't experience up close and personal.

I will use my knowledge of previous eras simply as a foundation for that in which I grew up. It should provide an invaluable reference source, perhaps.

This isn't about the great Mexican imports, who built their rep below the border, then came here to win a title, or defend it here . . . Saldivar, Olivares, Napoles, Zarate, etc. Of course, all of these major names will play a part as they relate to the boxers of focus. As well the promoters, managers, trainers, etc. The gyms. When you name Jerry Quarry, you suddenly include names such as Frazier, Patterson, Ali, etc. These are the co-stars to the L.A. boys, in my book. As is Roberto Duran to Gato Gonzalez. As is Jose Napoles to Ernie Lopez and Armando Muniz. During this era, Los Angeles was the world's busiest fight town. Los Angeles showcased world champions and contenders from around the world. Europe, The Orient, Mexico, South America, Australia, Africa, to name a few.

We saw them all, in the gym and in the ring. On TV, off-TV, week-after-week. My era wasn't Los Angeles' "Golden Era", but we were a busy fight town. The vet's from the Golden Era were what made ours what it was. Names like Eaton, Parnassus, Fraser, Davies, Chargin, McCoy, etc.

The following are twenty-five names. There were more, but these two dozen cover a lot of ground, and I know all of them very, very well. I know where the living can be found, and where the dead are buried. Stories focusing on the careers of these men include acknowledgement of others. So one way or another, everybody will get their mention, even if not featured in their own seperate chapter.

From these names, perhaps a book shall come. It will be my individual account of the era, something that nobody could write quite the same, so it doesn't matter how many books on this subject might evolve. The more, the better! This will be mine, and it's for all of us who post here.

How is this for a list of L.A. stars who fought in L.A. from 1964-84? Each will get their own chapter.

Jerry Quarry
Mando Ramos
Ernie "Indian Red" Lopez
Rodolfo "El Gato" Gonzalez
Raul Rojas
Dwight "The Hawk" Hawkins
"Irish" Frankie Crawford
Ruben Navarro
Danny "Little Red" Lopez
Bobby Chacon
Hedgeman Lewis
Armando Muniz
Carlos Palomino
Ken Norton
George "Scrap Iron" Johnson
Danny Valdez
Albert Davila
Frankie Duarte
Frankie Baltazar Jr.
Tony Baltazar
Randy Shields
Richie Sandoval
Alberto "Super Fly" Sandoval
Bobby Valdez
Art Hafey . . .

This should keep me busy for awhile.

-Rick Farris

[Rick Farris]

When We Film Musicians & Singers . . .

Pink Floyd- "Pulse Tour" 1994. The Rose Bowl, Pasadena, California.

In the early 80's, a new medium emerged, one that developed into it's own Music Television Network, thus the birth of MTV.
This was also the birth of the "Music Video".

In the beginning, they were ragged, to say the least. What is known today as "Gorilla Film Making", defines the type of low-budget-down & dirty film making that put togther the earliest versions of what would emerge into major music marketing device. They weren't visually superior, especially in light of the mega budget feature film productions I had grown accustomed to working on. However, they made their point and they quickly won over a huge audience that didn't give a damn about "beauty" cinematography.

As the medium grew, so did the budgets and many of us who would never have considered "dropping down" to shoot music vids, were eager to mix their talent with our art. The money was there and soon we followed.

I've done a number of music productions over the years. I worked on both Michael Jackson flicks, "Thriller" and his disappointing, "Moonwalker". I was in the Shrine Auditorium working with my cousin on a Diet Pepsi commercial when Michael Jackson was seriously burned doing his music routine for the commercial. I also worked with Michael Jackson and other rock legends on the legendary music feature, "We Are The World", which was filmed at the "Charlie Chaplin Stage" of A&M Records on La Brea.

It's always fun for me to work with musicians, especially those who are to perform in the production. I've done my share of major movies that featured musicians, such "A Star Is Born", "The Rose, "Grease", "The Jazz Singer", "The Blues Brothers" and more. I've also done the MTV type shoots featuring a variety of top musicians and singers. However, of all the music jobs I would ever do, or for that matter, any film job I have ever done, being a part of a backstage documentary "mini-crew" to shoot behind scenes, back stage activity for the legendary English band, Pink Floyd, was the most interesting, fascinating and fun jobs I would ever do. It was hands down the best, and I have had a lot of great times with some great people during my career.

In this case, my job would be very simple. It was just two cameramen with shoulder mounted video cams, a sound man and myself with a battery pack strapped to my back and a small, hand held flood light that I could bounce off a wall or ceiling to provide some overall ambient light for exposure only. This wasn't art, it was down & dirty (Our docu style filming, that is. The concert represented the most expensive Rock & Roll tour ever, and one that would become legendary.)

We would shoot the band backstage before they make their stage appearance. Shoot the three girls (back-up singers who will exit twice for wardrobe changes.) Take stage with band as they do final curtain call. Our job was to focus on the three female back-up singers, two black and one white blonde (an Oreo type threesome on stage with blondie in the middle).

The three female back-ups were incredible singers, with amazing, powerful voices that literally mesmerized the audience at different times. I fell in love with all three, especially the blonde, English singer Sam Brown, a popular recording artist in her own right. The other two were Claudia Fontaine and Durga McBroom.

Sam Brown had a hit single in the U.K.- "STOP", and several other album CD's out. She and I would have time to visit on this night, as well as with Claudia and Durga. Three amamzing women. If I knew how to transfer over YouTube footage, I'd post the three women doing back-to-back solos from the Pink Floyd Pulse Tour song "Great Gig in the Sky".

That night I would meet several original members of the band in David Gilmour, Rick Wright, Nick Mason and Guy Pratt. They gave an incredible concert that featured the most incredible state of the art concert stage lighting I've ever seen. Even today, fifteen years later, I was amazed at the concert lighting roadies, the designers, the electronics, and the incredible laser effects.

All I had to do was carry around a small light, bounce some ambience off a wall occasionally, talk to the girls, sit and watch an incredible event from right off stage, talk to the girls, go to the after party, talk to the girls and get to know a little bit about Sam Brown. I have to admit, this woman, Sam Brown had me hooked. I wish I could play she and the other two angels singing, "Great Gig In the Sky" from that Pink Floyd's Pulse tour. If you guys saw Sam sing her solo, you'd know why I fell in love with her that night. She's brilliant!

Anybody from the U.K. heard of Sam Brown???? After that night in 1994, Pink Floyd holds a special place in past.


-Rick Farris

Rick, about a year and a half ago, I worked backstage security for a Roger Waters show here in Chicago.
I didnt hit it off real well with his people,no big deal, it happens.
Anyway, he was using back up singers and I wonder if it was the same three girls. They were tremendous.
He is one of the best musicians Ive ever seen perform.

Brian . . . To my knowledge, the girl's from the Pulse Tour were different from other tours. I would learn that different trios performed with them in the 70's, 80's, 90's, all good. Roger Waters was not with the group in '94 for the Pulse tour. He was off on his own, he and David Gilmour had difficulties, I heard? I did like the guys I met, but had little contact with anybody but the girls. And to be honest, that's all I cared about.

-Rick

[kikibalt]

Floyd Mayweather is a Power Seller on Ebay
March 17, 2009 by Edgar Gonzalez


Many people don’t believe Floyd Mayweather is having financial problems because of back taxes. The truth is, he is and that is why he’s eager to return to the ring.

His need of money is why he is selling his 2008 Escalade limousine on Ebay for $125,000. With only 3,300 miles, that’s a pretty good deal. The MSRP is well over $215,000.

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THIS LIMO HAS IT ALL!!! Seeing is believing so check it out. Click here.