\n\n
\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n
\n\tSarah is even more unabashed: \u201cIt\u2019s like letting a million people see you in bed with whomever you love\u2026 and being naked and having sex with your music\u2026 Having orgasms with something that is so real and that you love. I could never relieve\u201d \u2014 that is, satisfy \u2014 \u201cmyself without being onstage now. I feel tears and a good hurt and a good pain. It\u2019s ritualistic, spiritual. When we recorded \u2018You Turn Me On,\u2019 I was howlin\u2019. It\u2019s not just sexual, it\u2019s what life\u2019s about.<\/p>\n
\n\t\u201cYou can come anytime<\/em>, for whatever. If the president did something that I thought was great and I was caught up in it, I\u2019d have an orgasm. But he ain\u2019t did that to me yet.\u201d She laughs and thinks back to her feelings onstage. \u201c\u2018You Turn Me On\u2019 is my song,\u201d she says, \u201cbut I don\u2019t wear tampons because if it run down my leg, that\u2019s what you see and that\u2019s what you git. We told our band, \u2018Now we like to reach orgasms onstage, and they thought we were from out there somewhere\u2026 \u201d She looks a little dreamy. \u201cI really came in Philadelphia\u2026 \u201d<\/p>\n\n\n
\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n
\n\tShowtime at the Civic Center in Atlanta brought out an 80\/20 black\/white mix of friendly bizarros, tinseled gays, lesbians, hip middle class. At least half the 1500-person crowd were highly adorned black gays who heeded Labelle\u2019s standard request \u201cto wear something silver.\u201d<\/p>\n
\n\t\u201cA lot of black people are used to only going to black concerts and being black,\u201d says Sarah. \u201cSame with whites. We bring the gays out and they make a lot of friends. We\u2019ve brought all kinds of people together.\u201d
Nona Hendryx, writer of most of Labelle\u2019s material \u2014 heavily laden with messages of personal freedom \u2014turns from her dressing room mirror; she is sequined about the eyes: \u201cThat\u2019s why a lot of gay people feel so comfortable with us. There\u2019s no wall like, \u2018You can buy my records and listen to my music, but you can\u2019t come around me.\u2019 If I find you acceptable within my own lifestyle, then you\u2019re with me. Besides, I like appealing to both men and women. I have no preferences. I don\u2019t limit myself. I\u2019m all sexes. I don\u2019t know what a heterosexual or a bisexual or a homosexual or a monosexual is. I don\u2019t understand the differences.\u201d<\/p>\n
\n\tBefore their show, Labelle passes the time nipping from a bottle of Courvoisier and joking about Philadelphia, where Nona ran into the microphone twice during \u201cLady Marmalade\u201d and popped out her dentures. Sarah stands up to mimic: \u201cShe had the biggest black spot in her mouth and I looked down and saw these white things and went flat.\u201d<\/p>\n
\n\tNona [head thrown back in laughter<\/em>]: \u201cA boy kissed me after that\u2026 \u201c<\/p>\n\n\tSarah: \u201cPushed his tongue all the way back to her tonsils\u2026 \u201c<\/p>\n
\n\tPat: \u201cHe had been throwin\u2019 up all over the stage. You don\u2019t know where his mouth had been, but some guys look so<\/em> good, you don\u2019t care where they been \u2026 and he didn\u2019t have no teeth either!\u201d Everyone is laughing now, but Nona does a quick pause that this is being written down.<\/p>\n\n\tOut front, things are picking up. A black Batwoman in a maroon cape says she comes as \u201ca universal lover, to show my love for Labelle.\u201d A 28-year-old member of the Atlanta Feminist Lesbian Alliance in the first row earnestly tells a reporter: \u201cLesbians love Labelle. To us, they\u2019re very together women who love people and each other. And they have a heavy feminist message.\u201d And Charles Glass, a 24-year-old orderly at a mental hospital, lightsteps in a black leotard, silver pouch, black picador\u2019s hat, black cape, black mask \u2014a black Zorro? Not exactly. \u201cI really wanted this to be a pouch like a kangaroo and the cape like Batman,\u201d he volunteers with pride. \u201cBatman\u2019s my hero.\u201d Glass says he talks to suicidal patients every day, that he plans to get his Master\u2019s degree in actuarial sciences, \u201cpredicting how long people will live. Ain\u2019t that too much?\u201d His love for Labelle, he says, dates back to 1961 when they first formed as Patti LaBelle and the Bluebelles. \u201cBut I changed and they changed, so here I am.\u201d<\/p>\n
\n\tAfter shedding her Flash Gordon silver gable spacesuit following a stomping, race-around version of \u201cRevolution,\u201d Patti surprises the audience by apologizing for the song. She is hurt, she says, that white reviewers in Philadelphia had apparently misunderstood the group\u2019s intentions. \u201cThey said we were saying to kill Whitey,\u201d she said later. \u201cWe feel that baddies could be black or white or green or whatever.<\/p>\n
\n\t\u201cIt has been said that we\u2019re a racist group,\u201d she is telling the crowd. \u201cBut the song deals with the facts of life. We want you to love the next white person and him to love us and if we put our efforts together, maybe we can get the man out of the White House.\u201d (Again, she explains herself after the show: \u201cWhoever\u2019s in there who is wrong<\/em> should be out.\u201d) She asks the audience not to take the song the wrong way. It is quiet. Then the crowd breaks into shouts, whistles and tambourines.<\/p>\n\n\tLabelle\u2019s arrival in New Orleans is timely, a sensuous group whose hit song about a Creole hooker underscores the city\u2019s moral flaw. Local papers have been spinning tales of townhouse bordellos in the French Quarter, where \u201cconfidential informants\u201d clutching taxpayers\u2019 money have purchased acts of oral copulation for $30 a shot. Other alleged customers in the \u201cBurgundy Street Affair\u201d include a former King of Carnival, a bank president, local judges, city officials, Democratic party heavies and local biggies in sports, construction, entertainment and the Mafia. But names of alleged visitors listed in the warrant have not been circulated by local media, though the document is a public record. And the DA has halted a grand jury investigation into the matter. The mahogany men\u2019s clubs are atwitter. But drawing any correlation between scandal and ticket sales will not be easy, because Philadelphia-based promoter Larry Magid has set ticket prices at an $8.50 top and many last-minute walkups will frown and turn around at the box office, leaving the 2300-seat Performing Arts Theatre about 40% empty.<\/p>\n
\n\tLabelle, along with manager Vicki Wickham, check into the Richlieu sleepy and wearing little makeup. They are not quite midway into a tour that began in mid-March in Detroit and ended May 11th at the Harkness Theater in New York. The trip has taken Labelle to Boston, Philadelphia (a five-show sellout in Pat\u2019s hometown), Atlanta and, now, New Orleans. The full-dress tour, they feel, will help cement the curious into a permanent following.<\/p>\n
\n\tIn the elevator, Pat explains: \u201cSome people have to see first. They might see a poster of these three crazy-looking ladies and say, \u2018Wow, we should go see what they\u2019re doing. Maybe they\u2019re the Supremes.\u2019 But we\u2019re singing material that we want to sing \u2014 but people won\u2019t listen if we speak like human beings. We have to be raving animals, talk loud and look crazy. So after they look at us, they might listen.\u201d<\/p>\n
\n\tAfter their metamorphosis in 1970 from Bluebelles to Labelle, the women cut two albums for Warner Bros., Labelle<\/em> (1971) and Moon Shadow<\/em> (1972), which established Nona as a promising writer. They backed Laura Nyro on Gonna Take a Miracle<\/em>. Labelle switched to RCA and in 1973 released Pressure Cookie\u2019<\/em>, an LP Pat says is their most politically significant record to date. But none of them sold \u2014 the labels didn\u2019t understand them, said Labelle, and couldn\u2019t promote them properly. \u201cLabelle was ahead of our time because we did something opposite from what was happening for a black girl group,\u201d said Nona. Then they were heard by Don Ellis, A&R executive of Epic Records, and Allen Toussaint became their producer, cutting them at his Sea-Saint Studios right here in New Orleans.<\/p>\n\n\tToussaint, says Pat, is a genius for shortening their material to three-minute radio length and for showing her how to pace herself and \u201cnot give everything I have to one song.\u201d Toussaint also wrote two songs for Labelle. \u201cAll Girl Band,\u201d he said, contains a \u201cheavy feminist message and symbolizes all things women entertainers and Labelle have gone through, a very real and serious picture of the pain involved.\u201d<\/p>\n
\n\tVicki Wickham, along with Labelle, had a strong hand in the first three post-1970 albums. Success came with a male producer. Pat doesn\u2019t consider the sexual politics. \u201cThe only difference working with Allen was the know-how and professionalism he brought in. We had a hit, but it was not because he was a male. It was just the right combination of things.\u201d Toussaint has agreed to produce their next album, now under way. Things have never looked better for Labelle. <\/p>\n
\n\tIt has taken them 14 years but they range from 29 to 31 years old and the saga goes further back. Pat, 31, is one of six children of a railroad worker and part-time jazz singer from Philadelphia. She graduated from singing in front of the mirror to church, and at 16 joined a four-girl group, the Elm Tones. They performed Top 20s in local clubs for nine dollars a night. Later, she formed the Ordettes with her sister, Barbara, and Cindy Birdsong.<\/p>\n
\n\tNona Bernis Hendryx, 30, the first of her mother\u2019s seven children, and Sarah Dash, 29, the seventh of 13 children and daughter of a scrap-metal dealer\/minister, both grew up in a section of a South Trenton ghetto since razed by urban renewal. Nona was expelled from the sixth grade for fighting. \u201cI had nothing, so I took it out on anybody,\u201d she recalls. <\/p>\n
\n\tHer father worked a succession of jobs with the railroad in a rubber factory during World War II and finally, says Nona, \u201cgot disillusioned and became an alcoholic.\u201d She resented him at one point \u201cbecause I didn\u2019t understand the society he was living in\u2026 then I found out what he was going through as a black man in America.\u201d The \u201clove lost\u201d between them and a childhood spent \u201chungry and cold\u201d politicized Nona and inflamed a social conscience that jumps through such songs as \u201cLonely.\u201d While she says that the suffering \u201cmade me what I am,\u201d she does not resent it. \u201cIt\u2019s just part of my past.\u201d Today, she says, she is not involved in politics. \u201cMy political feelings come out in my songs,\u201d she says, \u201cbut I don\u2019t get involved in political groups. They don\u2019t remain the same. I\u2019m involved in things like charity organizations. Politics is a demoralizing occupation.\u201d<\/p>\n
\n\tSarah Dash, as a girl, sang on street corners. \u201cMy father used to say, \u2018Child, you\u2019re singing for the devil,\u2019 and my mother would laugh.\u201d She was expelled from the choir when the choirmaster discovered her freelancing in nightclubs. Sarah found Nona in another church choir and asked her to join the Del Capris. They dropped out of high school, traveled to Philadelphia to audition and were hired by the manager of the Ordettes as a separate group. Personnel changes resulted in Pat, Sarah, Nona and Cindy merging into Patti LaBelle and the Bluebelles. Their first hit, \u201cI Sold My Heart to the Junkman,\u201d sold a million in 1962. Through the years, they had more modest successes \u2014 \u201cDown the Aisle,\u201d \u201cDanny Boy\u201d and \u201cYou\u2019ll Never Walk Alone\u201d; they trod the chitlin circuit with Roy Hamilton, James Brown, Brook Benton, the Temptations. Their R&B\/gospel sound \u2014 mellowed with standards and show tunes \u2014 brought them a crown of thorns: \u201cThe Sweethearts of the Apollo.\u201d<\/p>\n
\n\tFrom the beginning, their audiences included healthy numbers of homosexuals. Sarah says their songs \u2014 especially the standards \u2014 did it; Nona says it was the group\u2019s \u201cintensity and emotion onstage. And we had a freedom of touch. If a gay girl went into a show where anyone was performing and touched, the group would be horrified. I wouldn\u2019t be. You can\u2019t put yourself that far from people.\u201d Besides, she reminds, \u201cthere\u2019s a gay chitlin circuit, too. We played places like the, Music Box in Cleveland.\u201d<\/p>\n
\n\tLaBelle never made more than just enough to get by, and in 1967 Cindy Birdsong left to join the Supremes. \u201cIt made me feel very hostile at first,\u201d says Pat. \u201cWe didn\u2019t find out until the night she Ieft. And I was very bitter toward her for a while; then we realized that she was doing something she felt she needed to do\u2026 you can\u2019t knock a person for trying to better themselves.\u201d<\/p>\n
\n\tThey auditioned for a new fourth member, but after a drag queen showed up, Pat said, \u201cWe realized we didn\u2019t need anybody else. And it worked.\u201d And where are, say, the Supremes today? \u201cWe could have easily ended up that way,\u201d says LaBelle, shaking her head. \u201cWe think how lucky we are every day. It might be what they want, but we would not have been happy doing what they\u2019re doing, not progressing, just doing the same thing over and over and not really doing music.\u201d<\/p>\n
\n\tIn the Apollo days, there was neither the conviction nor the magic glue that bonds the women now. \u201cWe just wanted to diddy-bop sing,\u201d says Nona, \u201cget onstage and be in the lights. We didn\u2019t know any better. There wasn\u2019t the feeling, strength or power the three of us have now. We\u2019ve gone through so much with each other, it\u2019s like a marriage. You just don\u2019t split up until you can\u2019t grow any further together. We feed off each other.\u201d<\/p>\n
\n\tPat looks like the group\u2019s mama, and she admits to a \u201cmother fetish\u201d for Sarah and Nona onstage, and for everyone else offstage. And she exudes Earth Mother sexuality, though she doesn\u2019t consider herself sexy. \u201cI have great sexual drives and rushes, but my body is not a sexy body and I don\u2019t have a sexy face and voice. But I love sex and my husband considers me a sex maniac.\u201d<\/p>\n
\n\tBetween shows and recording sessions, she is a happy wife and mother in Philadelphia, where her husband, Armstead Edwards, is a high school administrator and a reported \u201cbookworm.\u201d Pat won\u2019t deny it. Edwards, she says, is never concerned with her silvery showbiz life. \u201cHe never says anything negative. He doesn\u2019t say much of anything. If he didn\u2019t like something, he\u2019d write me a letter.\u201d<\/p>\n
\n\tShe constantly phones up Sarah and Nona, who live in Manhattan, only several blocks away from each other, but prefers the home life \u2014 \u201ccooking, cleaning and watching TV\u201d \u2014 to hanging out. \u201cIf I had to choose between music and home, I\u2019d stay home.\u201d Among her best friends is Laura Nyro, who she met when she tagged along with Vicki Wickham when Wickham interviewed Nyro for a British pop paper. \u201cWe\u2019re at each other\u2019s houses all the time, and we exchange tips on food, men, babies \u2014 she\u2019s my facts-of-life sister; all we talk about are the facts of life.\u201d The reclusive Nyro, she said, would be performing again soon.<\/p>\n
\n\tSarah Dash calls herself \u201cprobably the most boring\u201d of the group; she visits nearby discotheques occasionally (Nona does most of the dancing in the streets). Her best friends are Pat, Nona, Vicki and her family, who live in New Jersey. Her father, the Pentecostal minister, \u201cprobably wishes I\u2019d put more clothes on. But the first time he saw us the way we are now, he was overgassed. Now he can\u2019t stop talking about us.\u201d A New York-based underground paper told of Sarah having three boyfriends. She denies it. But while she\u2019ll laugh and tell about onstage orgasms, \u201cmy personal life is something I never discuss with anyone. It\u2019s another side to me.\u201d<\/p>\n
\n\tAnd then there\u2019s Nona, who frequents the discos, bicycles, plays tennis and has taken up fencing. For her songs, her favorite political input is \u201cpeople.\u201d Musically, it\u2019s Randy Newman, Stevie Wonder and Joni Mitchell. Poetically, it\u2019s Nikki Giovanni and Kahlil Gibran. Spiritually, Alan Watts. \u201cNightbirds,\u201d she says, was for Janis Joplin, and she wrote the song after being repulsed and hurt by a book called Going Down with Janis<\/em>. \u201cTo me, the book destroyed the illusion of her music. The song wasn\u2019t in answer to the book, it was just my own tribute to her.\u201d<\/p>\n\n\tNona\u2019s best friends are Pat, Sarah and Vicki. She names four other women, including Rosie Casals, and two men. The first is Elton John, who used to back the Bluebelles in Europe when he was Reg Dwight, pianist for Bluesology. \u201cHe was quiet and shy and we fed him ginger cookies all the time.\u201d The other man is Mick Jagger; the Bluebelles were the opening act on the Stones\u2019 first U.S. tour in 1964. \u201cI see him now and then,\u201d said Nona.<\/p>\n
\n\tAs for her handcuffs and whip, Nona laughed them off as \u201cprops \u2014 and, you know, you can look but don\u2019t touch.\u201d Then she opened up: \u201cI like whips \u2014 I use one, but not the one I wear onstage. I used to live next door to a person who did it for a living. I\u2019d never seen it, and one day I peeped and saw the outfit and everything. Then a friend of mine said she was into doing it and had a whole kit. I thought it was highly sexual.\u201d She doesn\u2019t like pain, she said, \u201cbut all that black leather \u2014 it\u2019s cute.<\/p>\n
\n\t\u201cAnd I\u2019ve always had a handcuff fetish. I used to get policemen, security guards at concerts, to lock me up. And I\u2019d sit and look at them and play with them. They were shiny.\u201d And sexy? She thought it over. \u201cI imagine so,\u201d she says, her voice a little softer. \u201cI like it. You could say so.\u201d<\/p>\n
\n\tAt 3:00 p.m. it is 80\u00b0 beside the pool at the Richlieu, but the women change for the concert and slip into their limo for lunch at Roccaforte\u2019s, a briny eatery deep in the city\u2019s Irish section and a favorite hangout of political ward bosses. Everyone orders seafood. Pat, a renowned cook, sniffs suspiciously at her crustaceans and sends the salad back with disgust. The lettuce had brown spots. Talk turns to the circumspect sniff Pat gave Vicky Wickham\u2019s radical ideas about the group in 1970, when they joined her in England to cut a record. Pat was afraid of losing fans.<\/p>\n
\n\t\u201cNona and Pat had a thousand old standards up their sleeves,\u201d recalls Vicki, a crisp, 35-year-old blonde. She had hosted the Bluebelles in 1965 on a top British rock show she produced , and saw the women as potential Stones. \u201cAnd I was saying, \u2018No, I really don\u2019t want to hear any more of those Cole Porter songs.\u2019 \u201cPat, a voracious eater who tastes from all plates and scrapes what\u2019s left, nearly chokes on a scallop and the table cracks up.<\/p>\n
\n\t\u201cI had no concept of the problems a black act had in America. English acts, if they were any good, played at Festival Hall, and I couldn\u2019t understand why a black act, if it was good, couldn\u2019t play the same circuit the Who played. My naivet\u00e9 probably made it work because when the girls would say, \u2018We can\u2019t do that,\u2019 I\u2019d say, \u2018don\u2019t see why not.’\u201d<\/p>\n
\n\t\u201cIf she hadn\u2019t,\u201d said Pat, \u201cwe\u2019d still be in Philadelphia doin\u2019 clubs.\u201d Vicki changed their name to Labelle, beefed tip their material with songs by Jagger-Richard, Pete Townshend, Carole King and Cat Stevens, urged Nona to write from her gut, split singing among all three women, booked them into the Bottom Line, nodded when Bette Midler got them into the Continental Baths, home of Midler\u2019s first major triumphs and hooked them up with Toussaint. (The clothes came from Larry LeGaspi, a young Puerto Rican who was \u201ca groupie,\u201d says Pat, from the Bluebell days. \u201cHe came up with some things, we started wearing them and they just got crazier and crazier. Now he has his own store opening.\u201d<\/p>\n
\n\tDown the road, Vicki sees Labelle playing small theaters cross-country \u2014 a traveling Broadway show, eventually expanded for TV, a la Midler, minus props. Epic\u2019s merchandising director, Bruce Harris, says simply: \u201cThe time was right for them to happen,\u201d and cites their past gay, hip audiences \u201cwho didn\u2019t come into fruition until now.\u201d A super number was done in New York for the Met (Labelle was the first black pop group to play the Metropolitan Opera House) last fall to spread it from New York. Before the Met,\u201d Lady Marmalade\u201d was playing the discos, where LabeIle would drop in, dance and tell the folks about the Met engagement. They advertised the concert in publications like Michael\u2019s Thing<\/em>, Alter Dark<\/em> and Interview<\/em>. \u201cThe Met was explosive,\u201d says Harris, \u201cand the single iced the cake.\u201d <\/p>\n\n\tIn Seattle, Mrs. Marvin Branham denounced \u201cLady Marmalade\u201d as a song that \u201cflaunts prostitution and is offensive to blacks.\u201d She led an irate group of black mothers from St. Theresa\u2019s Catholic Church in hounding radio stations to drop the song. Her key objection lay in the French line, \u201cVoulez vous coucher avec moi?\u201d<\/em> which means \u201cDo you want to sleep with me?\u201d The women bought ads in the city\u2019s papers and urged parents to tie up radio station switchboards with complaints. Most of the stations did not knuckle under.<\/p>\n\n\tIn a fashionable Philadelphia private elementary school, children were reportedly threatened with suspension if they did not cease and desist from singing the lyrics with abandon in the halls. CBS television made Labelle alter the lyric in question to \u201cDo you want to dance<\/em> with me?\u201d to appear on a recent Cher show and Pat says that similar requests were made in Belgium and France during a winter tour of Europe.<\/p>\n\n\tPat sighs, \u201cIt\u2019s really weird after singing \u2018Sunday\u2019s News\u2019 and \u2018Revolution\u2019 and other songs that were just as good or better than \u2018Lady M.\u2019 It\u2019s sad. We believed in the other stuff more than \u2018Lady M\u2019; the lyrical content was just more relevant. But \u2018Lonely\u2019 could never get to be Number One\u2026. I don\u2019t see how a hooker<\/em> got to be Number One, though, because people are afraid of that too\u2026 I mean, it\u2019s kind of a tacky song to bring into liking you\u2026 I wouldn\u2019t want my baby singing it.\u201d<\/p>\n\n\tThe talk gets Vicki thinking about the rash of \u201cLady M\u201d censorship incidents, and she gives vent to a powerful rage: \u201cIf all of us got up off our asses and did something about it, we wouldn\u2019t put up with Ford and we wouldn\u2019t put up with the bullshit of CBS telling us not to say \u2018coucher\u2019<\/em> on television.\u201d Her \u201cchief ambition for Labelle,\u201d she says, \u201cis that we\u2019re going to be strong enough one day to say to CBS, \u2018To hell with you!\u2019 If we can\u2019t say what we want to say, then we\u2019ll go somewhere where somebody will let us.\u201d<\/p>\n\n\tNona ends the conversation by calling \u201cLady Marmalade\u201d \u201cjust a silly, dumb song that made me laugh. Dodging something that\u2019s real \u2014 like prostitution \u2014 is ridiculous. I just will not hide in a closet.\u201d The record, she says, is \u201csweet and sour. I find it sour when people think that \u2018Lady M\u2019 is all Labelle is about.\u201d<\/p>\n
\n\tNew Orleans is a bust. The women blame the promoters for being too bullish (and greedy) and the Epic rep forgot to advertise the concert on the radio. \u201cIt was just a fuckup,\u201d he says. In the limo on the way for post-show shrimp, Nona asks him, \u201cYou been married three times, huh? You must have hangups.\u201d He just stares out the window, and she falls asleep. <\/p>\n\n\n
\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n
\n\tFriday. A clambake with friends is called off to fly unexpectedly to New York for costume fittings, then back to Memphis. And as the Cadillac bounces over ghetto ruts on the way to the airport, Patti washes down pork skins with chocolate milk and says that she is tired, wants to \u201cget out soon and us to do what we\u2019re going to do soon because I want to have a family, have more kids, be a star in my own house. I don\u2019t want to be out there funkin\u2019 at 35. The body feels old now. Some can get away with it, like Tina Turner, she\u2019s ageless. But I really don\u2019t want to be an old<\/em> rock star. So before it happens, I\u2019ll get out.\u201d<\/p>\n\n\tAnd the others just look out the window at the black kids on one roller skate, radios glued to ears, and Sarah lets Pat finish and says, \u201cI hope Labelle goes on forever. If Carol Channing can do it, I can do it. I don\u2019t see any limit to our age. And Pat? She will be back. I know Pat. Music is part of her life. We\u2019re no different from any other women, we just know what we want. And when I hear us happen onstage, it\u2019s a feeling beyond compare.\u201d<\/p>\n<\/div>\n
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Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"This story was originally published in the July 3, 1975 issue of Rolling Stone. First there is the voice from out of the darkness….<\/p>\n","protected":false},"author":5,"featured_media":38704,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-38703","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/38703","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=38703"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/38703\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/38704"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=38703"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=38703"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=38703"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}