Mr. Royale and I just returned to the States after 9 days in Italy and an additional 4 in London. Whilst I cannot claim to have conducted extensive research on the pop music of Sorrento, Florence, Rome, or London, my brief listen to the radio, via taxi rides and cafe culture, yielded the following observations:
Both countries are stuck in a 1980s time warp.
American music is played frequently; Italians don’t listen to much Italian music.
Much of the music was re-mixes of American music from the ’80s. Especially Michael Jackson.
For variety, the DJ would occasionally play something from the 1970s.
The DJ Plan B was something that sounded like an outtake from a Eurovision contest or off of yet another Hotel Costes soundtrack.
A full, cooked English breakfast does taste better when accompanied by Small Faces.
From our city wanderings, we were also puzzled by the preponderance of Pink Floyd t-shirts. We didn’t hear any actual Pink Floyd music, but for whatever reason, new versions of vintage PF t-shirts and album covers were all over Italy.
I’m calling on Mod, who I know lived for a while on The Continent, and any of the lot of you to share your observations of the music-listening habits of our RTH brothers and sisters across the Atlantic.
I think you can top the pre-teen dance moves by this girl appearing alongside James Brown in this performance of “Hell.” How I used to love listening to this album when I was about 10 years old, hanging out in my uncle’s bedroom and digging his 8-track tapes! I couldn’t dance as well as this girl back then, as now, but I bet some kid other than Michael Jackson and his siblings and “special, little friends” have topped her work. Which kid dancer in will come out on top?
Years ago, when my wife and I were first dating, we ran into one of my old musician friends on a street corner. His long hair and slacker Shaggy Rogers facade hid the fact that he was a gentle, thoughtful guy whose only vice was sweets. After continuing on our way, she said something like, “Band members have this reputation for being tough and cool, but whenever I meet them they’re usually the nicest people in the club.” From 1978 through the 1980s, Penny Rush-Valladares interacted with rock stars galore while running Backstage Cafe, a concert catering company in Kansas City, Missouri. In the process, Penny became a member of the Kansas City rock scene herself. From both the tales on her website, Rock and Roll Stories, and our conversations about her her experiences, it quickly became clear that Penny was among the many nice ones in the rock scene, super nice.
But this hard-working, rock ‘n roll-loving hippie (in the best sense of the term) isn’t beyond dishing more than her patented turkey dinners. In the course of our talk we gain some shocking insights about the likes of Roger Waters, Neil Diamond, and Bob Dylan – not to mention a story about Van Halen that’s more disgusting than I would have thought possible. A key detail about a diminutive purple presence in the ’80s rock scene explains so much, but let’s not get ahead of ourselves. In the true spirit of the Halls of Rock, Penny brings a cheerful attitude, a bruised-but-not-beaten sense of idealism, and the willingness to let it all hang out. You won’t run into a Penny on any old street corner.
Penny’s website chronicles some of her earliest rock ‘n roll stories, including her night with The Beatles; we start with her entry into rock ‘n roll catering.
RTH: Can you summarize your work as a rock ‘n roll caterer? How did you get started as a caterer for touring musicians? You were initially based out of a certain venue, right?
Penny: Well, yes and no. I worked out of the Uptown Theatre in the beginning, helping another woman and learning the ropes. But it soon extended out into other venues. It was in its infant stages and we made it up as we went along. Basically we had to come up with a little dressing room food for the artists and some crew dinner for 20 or so guys. The reason I got involved was because I loved going to concerts and wanted to be backstage, so I soon realized there was a need for food and I knew that was something I could do.
It just kept evolving and demands from the artists kept getting more involved and official. A contract “rider” came along, which listed all the particular needs of each act and their food requirements were included. So it didn’t take long for me to start specializing in concert catering. I never wanted to do other kinds of catering, because I was only doing it to be backstage.