Letters 10-24-2016

It’s Obama’s 1984 Several editions ago I concluded a short letter to the editor with an ominous rhetorical flourish: “Welcome to George Orwell’s 1984 and the grand opening of the Federal Department of Truth!” At the time I am sure most of the readers laughed off my comments as right-wing hyperbole. Shame on you for doubting me...

Gun Bans Don’t Work It is said that mass violence only happens in the USA. A lone gunman in a rubber boat, drifted ashore at a popular resort in Tunisia and randomly shot and killed 38 mostly British and Irish tourists. Tunisian gun laws, which are among the most restrictive in the world, didn’t stop this mass slaughter. And in January 2015, two armed men killed 11 and wounded 11 others in an attack on the French satirical magazine Charlie Hebdo. French gun laws didn’t stop these assassins...

Scripps’ Good Deed No good deed shall go unpunished! When Dan Scripps was the 101st District State Representative, he introduced legislation to prevent corporations from contaminating (e.g. fracking) or depleting (e.g. Nestle) Michigan’s water table for corporate profit. There are no property lines in the water table, and many of us depend on private wells for abundant, safe, clean water. In the subsequent election, Dan’s opponents ran a negative campaign almost solely on the misrepresentation that Dan’s good deed was a government takeover of your private water well...

Political Definitions As the time to vote draws near it’s a good time to check into what you stand for. According to Dictionary.com the meanings for liberal and conservative are as follows:

Liberal: Favorable to progress or reform as in political or religious affairs.

Conservative: Disposed to preserve existing conditions, institutions, etc., or to restore traditions and limit change...

Voting Takes A Month? Hurricane Matthew hit the Florida coast Oct. 6, over three weeks before Election Day. Bob Ross (Oct. 17th issue) posits that perhaps evacuation orders from Governor Scott may have had political motivations to diminish turnout and seems to praise Hillary Clinton’s call for Gov. Scott to extend Florida’s voter registration deadline due to evacuations...

Clinton Foundation Facts Does the Clinton Foundation really spend a mere 10 percent (per Mike Pence) or 20 percent (per Reince Priebus) of its money on charity? Not true. Charity Watch gives it an A rating (the same as it gives the NRA Foundation) and says it spends 88 percent on charitable causes, and 12 percent on overhead. Here is the source of the misunderstanding: The Foundation does give only a small percentage of its money to charitable organizations, but it spends far more money directly running a number of programs...

America Needs Change Trump supports our constitution, will appoint judges that will keep our freedoms safe. He supports the partial-birth ban; Hillary voted against it. Regardless of how you feel about Trump, critical issues are at stake. Trump will increase national security, monitor refugee admissions, endorse our vital military forces while fighting ISIS. Vice-presidential candidate Mike Pence will be an intelligent asset for the country. Hillary wants open borders, increased government regulation, and more demilitarization at a time when we need strong military defenses...

My Process For No I will be voting “no” on Prop 3 because I am supportive of the process that is in place to review and approve developments. I was on the Traverse City Planning Commission in the 1990s and gained an appreciation for all of the work that goes into a review. The staff reviews the project and makes a recommendation. The developer then makes a presentation, and fellow commissioners and the public can ask questions and make comments. By the end of the process, I knew how to vote for a project, up or down. This process then repeats itself at the City Commission...

Regarding Your Postcard If you received a “Vote No” postcard from StandUp TC, don’t believe their lies. Prop 3 is not illegal. It won’t cost city taxpayers thousands of dollars in legal bills or special elections. Prop 3 is about protecting our downtown -- not Munson, NMC or the Commons -- from a future of ugly skyscrapers that will diminish the very character of our downtown...

Vote Yes It has been suggested that a recall or re-election of current city staff and Traverse City Commission would work better than Prop 3. I disagree. A recall campaign is the most divisive, costly type of election possible. Prop 3, when passed, will allow all city residents an opportunity to vote on any proposed development over 60 feet tall at no cost to the taxpayer...

Yes Vote Explained A “yes” vote on Prop 3 will give Traverse City the right to vote on developments over 60 feet high. It doesn’t require votes on every future building, as incorrectly stated by a previous letter writer. If referendums are held during general elections, taxpayers pay nothing...

Beware Trump When the country you love have have served for 33 years is threatened, you have an obligation and a duty to speak out. Now is the time for all Americans to speak out against a possible Donald Trump presidency. During the past year Trump has been exposed as a pathological liar, a demagogue and a person who is totally unfit to assume the presidency of our already great country...

Picture Worth 1,000 Words Nobody disagrees with the need for affordable housing or that a certain level of density is dollar smart for TC. The issue is the proposed solution. If you haven’t already seen the architect’s rendition for the site, please Google “Pine Street Development Traverse City”...

Living Wage, Not Tall Buildings Our community deserves better than the StandUp TC “vote no” arguments. They are not truthful. Their yard signs say: “More Housing. Less Red Tape. Vote like you want your kids to live here.” The truth: More housing, but for whom? At what price..

Home · Articles · News · Books · Tom Wright‘s Roadwork
. . . .

Tom Wright‘s Roadwork

Rick Coates - June 7th, 2007
Editors Note: Rick Coates detailed Tom Wright’s biography in a two-part article that appears in the archive section of northernexpress.com beginning with the August 28, 2003 issue. Tom Wright moved to Northern Michigan in 2000 to collect his thoughts and organize his photo archives. Coates also served as project facilitator for Tom Wright’s “Knew and Used Photography,” the international debut of Wright’s photographic collection, in November of 2003. The exhibition (one of the most successful in the history of the Dennos Museum) attracted thousands, including several rock stars (Rod Stewart, Uncle Kracker, Bob Seger and Ian McLagan), to Traverse City. Coates also edited the “Exhibition” catalogue that featured several of Wright’s best photos. For additional information on Tom Wright,visit tomwrightphotography.com.

By Rick Coates
Tom Wright’s memoir, “Roadwork: Rock & Roll Turned Inside Out,” hits the bookstores this week. Several critics and rock legends are calling it one of the most important books interpreting the ’60s and early ’70s rock music scene.
“Roadwork” had experienced several “flat tires” over the years on its way to being published. A year and half ago the “engine blew,” almost sending the tales of Tom Wright to the salvage yard for uniformed music scholars to tell.  
It was a frightening call in October of 2005. “Hey Rick, Tom Wright just had a heart attack and they are rushing him to the hospital.” That message on my voice mail from Kozmo, the former bass player with the ’60s Detroit rock band, The Frut, sent my mind off in 20 directions.
As I drove frantically to Northern Michigan Hospital in Petoskey to see Tom, my first thought was Tom couldn’t go yet; he has to finish his book, because who the hell else was going to be able to explain the 500,000 photographs he took during his career, documenting rock music luminaries?
Then there was this much-anticipated explanation of what the ’60s and early ’70s music scene was all about that he promised to give in his memoir. Tom Wright was center stage of the scene and his perspective of that era had not been given. Rock legend Pete Townshend of The Who had read early excerpts of what Tom was crafting, and predicted in his blog that the book would be one of the most important and best books on rock music.
Sure, Wright had captured so much with his camera, but more importantly he had captured the essence of it all with his mind. That was now in jeopardy of being lost forever.
When I arrived at the hospital, Tom was faced with the typical Tom Wright crossroads (his many crossroads are documented throughout “Roadwork”). Choose a seven-bypass heart surgery (which would be a first for the hospital’s heart surgeons), or go home and take his chances. He had been there before, sort of, but this was the first time his actual life was hanging in the balance.
There were few words that I could offer him, but I knew others could and would. When I got home that night I immediately e-mailed the royalty of rock and roll: guys from The Who, The Stones, The Eagles, MC5, The Faces, Rod Stewart and numerous others. Just the simple “Tom Wright” in the subject line would get them all to open their e-mail. Why? Because Tom Wright holds a place in rock and roll’s inner circle, as he played a crucial role of inspiration and artistic direction to many of rock music’s most influential players.
The responses came back fast and furious. Joe Walsh offered to write the $100,000 check to pay for the surgery (Tom, without any medical insurance, declined the offer). Pete Townshend, on behalf of The Who, wrote back: “There are few others I care to listen to, but I will always listen to you. We are all totally committed to you whatever your decision, but obviously, selfishly, we would like you to do the bypass.”
Ron Wood wrote on behalf of The Stones: “We don’t have time to come in to perform “Amazing Grace” for you.” A reference to when The Rolling Stones flew into Marquette for the funeral of one of Tom’s best friends, and performed the song at the service. Wayne Kramer of the MC5 checked in, as did Ian McLagan of The Faces and several others offering support and encouragement.
Probably inspired by the words of support from all of his rock and roll friends, Wright opted for the surgery. Had he went home without it, he probably would have died and “Roadwork” would have been scrapped.
Now, all of this might seem trivial on the surface, but not to the true fan of the ’60s rock music scene. “Roadwork” by Tom Wright builds the bridge between the land of misunderstanding where so many have been living, to the island of insights.
Wright’s heart attack surely played a role in this book. It brought clarity and perspective to his life, a life that at times brought self-doubt not only to him but to thousands of others from that generation who began asking what it all meant?
In the book Wright reflects on whether he “wasted the most productive years of his life.” By the ’80s, rockers from the ’60s were either dead, in rehab or asking the question: Why did they let disco come in and take over, and did any of it really matter? Fortunately, Wright puts it all in perspective in “Roadwork.”
After recovery, Wright went to his computer, and with the help from seasoned music biographer Susan VanHecke, began piecing together what surely will be one of the best music scene memoirs ever written. It is definitely in the same league as
Bob Dylan’s, which is by far the best written to date.
When guitar legend Pete Townshend received an early draft, he was so inspired by what he read he wrote a three-page foreword for the book. Townshend, is one of rock music’s most intellectual members and has written numerous book reviews, writes eloquently to Wright’s contribution to the whole process. For fans of The Who, it might come as a surprise that had Townshend not met Wright in 1962 at the Ealing Art School, there would have not been a band known as The Who.
“One thing is certain. Had I not met Tom Wright, The Who would never had become successful,” Townshend writes. “We would have remained the Detours, a solid little pop band doing what hundreds of others were doing around the same time: playing local clubs, pubs, weddings and parties purely for pleasure…After a few years I would have stopped playing with them and gone off to work as a sculptor, or for an ad agency…Roger Daltrey often puts the success of The Who down to his efforts in 1962 of getting me out of bed… Roger and I must differ. I put our success down to the fellow who left that particular bed behind when he was deported.”  
The list of those influenced by Wright is a literal who’s who of the ’60s rock and roll scene, from Joe Walsh to guys in the Rolling Stones, and several Wright would meet during his days at the famed Grande Ballroom in Detroit. 
While Wright’s more than 500,000 photographs make for a great story, it is his words that are the focus of “Roadwork.” Wright had been trying to publish his work since the mid-’70s, but publishing houses wanted more shots of “Mick’s lips” or stars strung out on drugs. They were not interested in Wright’s inside observations of what had just happened over the past 10 years. It appeared no one was.
In fact, Wright, distraught, depressed and drained from rehab, even considered tossing everything away until his mother convinced him to have others look at his collection. After having his collection appraised and getting input from John R. Payne, one of the most respected appraisers of antiquities in the world (he appraised the President Nixon collection), Wright decided to bequeath his collection to the University of Texas Center for American History.
For the person looking for a coffee table book of glossy photographs, this book isn’t for you. In fact, albeit while they look really cool, Wright’s photos take backstage to his written reflections. Only some of his Mexican collection photos are glossy; Wright opted to have the rest of the photos on a dusty archival paper.
Little of his photographic work has been seen until recently. Some album covers and a few photos appeared with magazine articles, and the occasional print was given to the artists he captured, but most never made their way to prints or the public eye.

One thing Wright won’t be able to do is inspire a lost generation of rock music photographers. He is critical of some of his contemporaries and second-generation rock music photographers.
“I was in the front car of a spaced-out rollercoaster, and every once in awhile I’d just turn and snap everybody’s picture. I wasn’t one of those guys who stopped the rollercoaster, rearranged it, made everybody get out and use hairspray. I got the shots from the inside, where the action was exploding. I shot the whole thing from within the eye — at least half a million pictures — while the public, the press, and front row photographers were outside blowing in the wind… misunderstanding everything.”
Wright is also critical of photographers of his generation who simply held up their camera, snapped hundreds of pictures, sent the rolls in for someone to develop, and selected the best shot. He personally developed every shot, rarely took portraits, and never put the camera on auto while holding the button down. He “eyed” every shot he took.
Besides being a photographer with “all area access,” Wright managed several bands. He also became the stage manager of the Grande Ballroom in Detroit and for two of the most financially successful outdoor music festivals of the day; The Detroit Rock and Roll Revival and Goose Lake.
Wright also orchestrated what is considered one of the top 10 great moments off the stage in rock & roll history: Keith Moon’s birthday party at the Flint Holiday Inn in 1967. Wright sets the record straight on that night and so much else.
“Roadwork” is a must read for anyone who lived the ’60s music scene. Wright’s perspectives are those of an insider, a person who helped create the music and the scene of the day. His access was like no other, and while others have attempted to capture this era, no one has come as close as Wright. The popularity of the bands of that day remains intact today, making “Roadwork” an excellent read for a younger generation of music fans wondering why the bands of their era won’t have the same impact of rock music’s greatest generation.
Pete Townshend was only partially correct when he wrote in the foreward, “This is also very much my story.” No Pete, this is very much all of our story. Look for “Roadwork” at your favorite bookseller today. A warning: don’t plan on doing anything else once you pick up a copy; once you start reading, you won’t want to put it down until you are finished. 
  • Currently 3.5/5 Stars.
  • 1
  • 2
  • 3
  • 4
  • 5