Letters 08-31-2015

Inalienable Rights This is a response to the “No More State Theatre” in your August 24th edition. I think I will not be the only response to this pathetic and narrow-minded letter that seems rather out of place in the northern Michigan that I know. To think we will not be getting your 25 cents for the movie you refused to see, but more importantly we will be without your “two cents” on your thoughts of a marriage at the State Theatre...

Enthusiastically Democratic Since I was one of the approximately 160 people present at when Senator Debbie Stabenow spoke on August 14 in Charlevoix, I was surprised to read in a letter to Northern Express that there was a “rather muted” response to Debbie’s announcement that she has endorsed Hillary Clinton for president...

Not Hurting I surely think the State Theatre will survive not having the homophobic presence of Colleen Smith and her family attend any matinees. I think “Ms.” Smith might also want to make sure that any medical personnel, bank staff, grocery store staff, waiters and/or waitress, etc. are not homosexual before accepting any service or product from them...

Stay Home I did not know whether to laugh or cry when I read the letter of the extremely homophobic, “disgusted” writer. She now refuses to patronize the State Theatre because she evidently feels that its confines have been poisoned by the gay wedding ceremony held there...

Keep Away In response to Colleen Smith of Cadillac who refused to bring her family to the State Theatre because there was a gay wedding there: Keep your 25 cents and your family out of Traverse City...

Celebrating Moore And A Theatre I was 10 years old when I had the privilege to see my first film at the State Theatre. I will never forget that experience. The screen was almost the size of my bedroom I shared with my older sister. The bursting sounds made me believe I was part of the film...

Outdated Thinking This letter is in response to Colleen Smith. She made public her choice to no longer go to the State Theater due to the fact that “some homosexuals” got married there. I’m not outraged by her choice; we don’t need any more hateful, self-righteous bigots in our town. She can keep her 25 cents...

Mackinac Pipeline Must Be Shut Down Crude oil flowing through Enbridge’s 60-yearold pipeline beneath the Mackinac Straits and the largest collection of fresh water on the planet should be a serious concern for every resident of the USA and Canada. Enbridge has a very “accident” prone track record...

Your Rights To Colleen, who wrote about the State Theatre: Let me thank you for sharing your views; I think most of us are well in support of the first amendment, because as you know- it gives everyone the opportunity to express their opinions. I also wanted to thank Northern Express for not shutting down these types of letters right at the source but rather giving the community a platform for education...

No Role Model [Fascinating Person from last week’s issue] Jada quoted: “I want to be a role model for girls who are interested in being in the outdoors.” I enjoy being in the outdoors, but I don’t want to kill animals for trophy...

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