The mockery of the Monkees contrasted with real bands

Punk Rock Historian and Professional Consultant

~Hudley Flipside

While the sitcom was a mostly straightforward affair, the music production generated tension and controversy almost from the beginning. Music supervisor Don Kirshner was dissatisfied with the actor/musicians’ musical abilities, and he limited their involvement during the recording process, relying instead on professional songwriters and studio musicians.

At 8 to 10 years old my friends and I watched The Monkees. We were believers and were all inclusive in the voice of a generation. Crushes were flying around the place and mock band performances were as familiar as tents made out of blankets and sheets. As young girls this was spectacular.

Now I can not watch a show without wanting to regurgitate due to the sugarcoating like the cereal we used to eat back then. Or white bread sandwiched with butter and crystalized sugar.

Two songs come to mind “(I’m Not Your) Steppin’ Stone, and “I’m a Believer.”

“(I’m Not Your) Steppin’ Stone is written by Tommy Boyce and Bobby Hart and recorded by Paul Revere & the Raiders.

“I’m a Believer.” is a song written by Neil Diamond.

Yes, both songs were currently riding a generation that had a lot to say in real time. It was around 1966. Yet, the Monkees were riding their fame on fake time. The medium created by middle-aged men. Mirages in the deserts of youthful minds. That’s entertainment as the band The Jam would say.

“An electric train and a ripped up phone booth

Paint splattered walls and the cry of a tomcat

Lights going out and a kick in the balls.

I tell ya that’s entertainment, that’s entertainment.”

The album also includes “(I’m Not Your) Steppin’ Stone,” The Monkees’ version of which became a U.S. Top 20 hit in 1967.[3]

Sfetcu,Nicolae (2014). American Music. Niolae Sfetcu. p. 166.

It is ironical when the Sex Pistols and Minor Threat both recorded versions of “(I’m Not Your) Steppin’ Stone.” The Sex Pistols music is what it is. They did play by the Monkees playbook and included a lot of mockery and falseness to their persona.

I know Minor Threat was a real band.

That is a good contrast. The mockery of the Monkees contrasted with real bands. That is where my experience comes in. Working with so many bands I learned about the realness and authenticity of what bands do and who they really are. Real talent, intelligence, and heart and sometimes a lot of anger.  I am glad I know the difference and have that under my belt.

The Monkees] pioneered the music video format and paved the way for every boy band that followed in their wake, from New Kids on the Block to ‘N Sync to the Jonas Brothers, while Davy set the stage for future teen idols David Cassidy and Justin Bieber. As pop stars go, you would be hard pressed to find a successful artist who didn’t take a page from the Monkees’ playbook, even generations later. Monkee money also enabled Rafelson and Schneider to finance Easy Rider and Five Easy Pieces, which made Jack Nicholson a star. In fact, the Monkees series was the opening salvo in a revolution that brought on the New Hollywood cinema, an influence rarely acknowledged but no less impactful.

-Sandoval, Andrew. “How Davy Jones and the Monkees Impacted Music, Hollywood – and Jack Nicholson”. The Hollywood Reporter. Archived from the original on April 30, 2012. Retrieved May 20, 2012.


Conspiracy theory are Shawn Kerri and Mad Marc Rude the same person?

Punk Rock Historian and Professional Consultant.

~ Hudley Flipside

I may be whacked and out of this world but existing through the punk scene some things bugged the hell out of me. This is one story that needs some clarity.

Shawn Kerri is an American cartoonist who was dynamic through the 1970s & 1980s. She is known for her art as one of the rare female contributors to Cartoons Magazine and as part of the early Southern California punk rock scene, creating iconic images used by the Germs and the Circle Jerks.

Kerri moved to Los Angeles in 1977 and was involved during the punk rock scene in the late 1970s and early 1980s. In 1978, she published a fanzine called Rude Situation, with Mad Marc Rude, who was then her boyfriend.

‘During this period, she drew numerous promotional flyers and tour posters for her friends, which included members of the Germs and the Circle Jerks. One of her best-known images, “Skank Kid””

A little punk history, a cross over. I still believe that Mad Marc Rude and Shawn Kerrie are the same person. I thought this and no one has made me think otherwise.

When Los Angeles Flipside Fanzine came out with our Comic Relief Issue # 33 both Mad Marc Rude and Shawn Kerri premiered in this issue.

I have been studying both of their signatures. Both are different yet there is a similarity, though I must admit a very subtle one. As is their art.

Mad Marc always uses the © image in his signatures. Shawn does not very often.

Mad Marc Rude © Date.

Shawn Kerri

Then while looking for an image of Eddie Egan who just passed away for his memorial, I stumbled upon a punk cat image which seems to engage with the possibility again. The subtle difference is how each artist signs their artwork. Most often we did not see many © being thrown around. Yet in this one it is there and looks like a Mad Marc Rude merged with a Shawn Kerri and the surprise is at the ending of the signature.

It looks like Carrie © 85.

The “A” looks like a Mad Marc Rude “A.” It has the format of his signatures. Yet it looks like her signature in how the rest is formed except for two things.

A “C” is added to the beginning and an “E” is added at the end.

From Classified ads section Los Angeles Flipside Fanzine # 48 Doggie Style

The cartoon is humorous filled with punk savvy and has the Mad Marc Rude / Shawn Kerri style. During the early punk scene most all of our communications / correspondence was done through the mail. So many artists, friends, bands and beyond I never met in person. This is the case with Mad Marc Rude and Shawn Kerri. As a punk historian I may not find a conclusion to this narrative. Someone please help me debunk this with solid evidence.

Expose the falseness or futility of this. DEBUNK THE PUNK!

Happy Amoeba

Self-Portrait of a Holly MAMA

Punk Rock Historian and Professional Consultant

Hudley Flipside

That’s one thing Earthlings might learn to do, if they tried hard enough: Ignore the awful times and concentrate on the good ones.

~ Slaughterhouse-Five, Kurt Vonnegut

Very early Hud doodling…

As an older earthling, at least I believe I am one, in these rather ‘awful times’ I find it easy to ‘concentrate on the good ones!’ Today when the car radio played the song Come As You Are by Nirvana for the millionth time, I had a strange flash back to a similar punk anthem.

Amoeba was the song. One day I drove out to Troy High School in Orange County all by myself. Adolescents and Agent Orange played that day.

The song that I superimposed in my mind over Come As You Are is the song Amoeba. It was so clean, powerful, and moving. The songs feel the same in intensity too. Both knocked my socks off.

I include the live review below from Los Angeles Flipside Fanzine # 20. (The Circle Jerks, Halloween Issue. October 1990.)

Edward Colver Image

I have other good times too like the days I gave birth to my two sons, riding Sony, the white mustang, freely over the hills of the Santa Monica Mountains on a foggy morning, and the first time I had sex at 15 in my parents’ downstairs bathroom. All new and interesting adventures.

So again, I have posted about life being like a “Slaughterhouse-Five” experience. And though times are very crazy I hope we all can find comfort in our good memories.

Hudley Live Review. Los Angeles Flipside Fanzine # 20. (The Circle Jerks, Halloween Issue. October 1990.)

The Song Alfie

Punk Rock Historian and Professional Consultant

Hudley Flipside

The Gals and Michael Caine in Alfie (1966)

Here’s a song that had me hooked since 1966 at 8 years old. Now a classic jazz standard. One of those songs that moves through my life and enhances the human experience. Making life lovable in troubling times. The original film Alfie is a sweet film with major dangerous life lessons learned. Michael Caine is beautiful.

Shelly Winters’s character is one that I can now relate to more thoroughly in my feminine older years. The song Alfie is a deep and reflective song. Originally song by Cher when she was a rather unknown street singer/ musician.

“The title song, “Alfie”, written by Burt Bacharach and Hal David, was sung by Cher over the film’s closing credits in the US release. It became a hit for British singer Cilla Black (Millicent Martin sang Alfie on its British release) and for Madeline Eastman and Dionne Warwick. Numerous jazz musicians have covered it and it has become a jazz standard.”

Here is an interesting example or another jazz standard interpretation that I found lovely of the song Alfie.

Alfie (by David K. Mathews featuring Amikaeyla) from DAVID MATTHEWS — Fantasy Vocal Sessions Vol.1 Standards released 2018.

A song for the heart. Always good to hear.

Slash and Flipside on ROQ late 1970s

Punk Rock Historian and Professional Consultant

Hudley Flipside

“Records…..Records….and Records!!!!!” ~ Mike Vallejo

If you lived as a teen in the late ’70s or during the ’80s you were most likely riding the original wave or skating the rebellious cement of the original punk rock scene in some way, shape or form. Mike sent me a CD in the mail, like the good old days, of an early interview with Slash Magazine and Flipside Fanzine on Rodney on the ROQ. I am airing it again today. Mike said it was OK to post this on my blog.

From the Flipside 10 Year Anniversary issue.

Mike sells more than just records and seems to have a lot of music and things that document the early punk scene. I also purchased a CD from him of The Jam playing the Whisky A Go Go. A thrill for me to find. I am delighted to receive this CD. My mentors speak! I was most likely listening to this on my parents’ old WW II German Telefunken radio. WOW! Enjoy and thanks Mike Vallejo! A friend indeed.

The last audio 7 ends abruptly. I wrote a letter to Kickboy-face after hearing this live back when it was on the air.  He wrote back a week later. Also I danced with him at the Whisky A Go Go live to Madness.  It is strange but this captures pre Elks Lodge Riot... we all know how that turned out!!

X-8 001
X-8- A Flipside Crew Trip to San Francisco ’79. photo by Peter Landswick (AL, Hud, Pete and X-8)

Rodney on the ROQ Los Angeles Flipside Fanzine and Slash Magazine (KROQ)

I know that the nasty Slash characters played a song trick or two on Rodney… did you catch it… an utmost synchronicity for me…

Ultimate conclusion !

All about a Song II: We are the champions by Queen!

Punk Rock Historian and Professional Consultant

Hudley Flipside

Sue and Holly June 1976 Graduates

Putting this up because it fits with the theme of “All About A Song.”

They played this song at a punk rock night at the local pub! The bartender was a thorn in my side with his mockery! I was sporting my Target video shirt!

(Target Video (aka TargetVideo77) is a San Francisco-based studio, founded by artist Joe Rees, who collaborating with Jackie Sharp, Jill Hoffman, Sam Edwards and others, archived early art performance, punk and hardcore bands on video and film.)

I tend to be paranoid…I heard the talk in the dark corner above the turn tables! I am a wise gal! I have been around the block and letting guys think they are fooling me amuses me!

Happy that they even took the time ain’t bad news!!

When they were still in diapers…

Sue and I saw Queen live in 1977 at the Long Beach Arena! This song was our theme song! The song was fresh, ours and live!!

Sue and I …will keep on fighting tell the end…best friends!!

Sue and I were graduates of high school and known serial killer survivors!!


Sue had a job, a new brown Pinto automobile and money to spend! I was not as fortunate! She got me a black & white silky jersey jacket for the Queen show! She was sporting her 5-inch platform tennis shoes at the time! Her shoes were nothing compared to the glitter scene giants that we had to tunnel through at this event! What a massive horror show! The last and only horrendous giant rock show I ever went to besides those at the Olympic Auditorium Golden Voice punk shows of the 1980s!

1977 album News of the World

All About A Song: Very Very, Wild Wild…

Punk Rock Historian and Professional Consultant

Hudley Flipside


I resurrected this old post because it is a good story about the history of a song. As I am beholding to many. KROQ, Rodney Bingenheimer and the early Flipside Fanzine Crew and all of those nobody punks on the streets who welcomed me in… us in, no questions asked.


Jumping in the truck and taking the kid to school. Turning on the radio while a song is starting to play. So, we turn it up as loud as can be. The car radio vibrating as truck bounces its way down the road…breaking the mediocrity of routine by invoking my once “young woman” once more. Looking over at son, he is clearly into the drums because he is mocking the drumbeats.

“The Ballroom Blitz” is a song written by Nicky Chinn and Mike Chapman and originally recorded by the British rock band The Sweet. Billboard ranked it as the No. 16 song for 1975.”


At the age of 18 the song Ballroom Blitz played on the Telefunken Radio. The radio vibrated on the wood shelve next to the fireplace. It was free FM KROQ.

“Poo Poo Pee DOO…KROQ”

Rodney, Posh Boy, Mike (ZED) and Steve (ZED). GOLD Records for the success of Beach Blvd. From Los Angeles Flipside Fanzine Number 20, The Circle Jerks Cover By Edward Colver

The punk scene was like Halloween, Christmas, horror films, and freedom all at the same time. Overwhelmed, I felt as though I was in A Midsummer Night’s Dream, mimicking Puck— taking on the images that were around me without question. I was becoming one with my punkalullaby. I coined the word punkalullaby. It means that the whole time I was in the punk rock scene, from beginning to end, it was all about a song. One song to the next pulled me though the scene. Once that loud music got into my blood there was nothing like it.


Whenever Ballroom Blitz came on the radio, I bounced like a rubber ball around any room. A song that is responsible for pulling me into the world of KROQ, Rodney Bingenheimer (Rodney on The Rocks) and the Los Angeles punk rock scene. (Ya there was a time before Henry… amen hallelujah!!)

“KROQ’s 1976 rebirth was perfectly timed with the emergence of punk rock and New Wave and KROQ quickly became the voice of the burgeoning Los Angeles scene, with disc jockey Rodney Bingenheimer joining the station and introducing many new and local bands, including The Ramones, The Runaways, The Stray Cats and The Go-Go’s, on his massively influential shows.”

~KROQ Wikipedia

If a song can encapsulate youthful dreams and rebellion this is the one for me. Like many songs that we take for granted, this tune always seems as new as the day I first heard the song Ballroom Blitz. Fresh, stimulating, and as wild as the Los Angeles streets I soon joined.

It is a very wild song. The word very and wild are my favorite words and I use the words while describing this song…ya ya ya!!

“As punk expanded its hold on the music scene of the mid to late 1970s, KROQ steadily adding more of it to their freeform format, cementing their place in the Los Angeles market. The station’s proximity to Hollywood and the Los Angeles punk rock scene gave it a unique place in the development of this newer music and much later with the alternative rock genre. In the late 70s and early 80s KROQ was quickly becoming one of the most influential radio stations in broadcast history.”

~KROQ Wikipedia

Helen Wrote…about Dead Clubs!!

Punk Rock Historian and Professional Consultant

~ Hudley Flipside

Hudley and DEE (RIP) Picture by Hilda

Recently, a few of our Los Angeles Clubs have closed or are in the process of transforming. All generations or music scenes go through these changes. Owners and promoters come and go. Yet what is happening now seems as revolutionary as when the underground scene claimed these clubs as their own. I speak from the late 70s to now because it is nothing new. I just hope that the youngsters will continue finding and creating a scene that comes from their rebellion. Technologies have changed everything! We no longer go to shows to make friends and find support like we once did. We don’t need fanzines anymore or a band’s creative flyers. These are for the old-time collectors. Gamers and hand-held devices are changing the world. It is something we all have to work out, because it can’t be what it used to be. Festivals are a nightmare from my perspective. No one can ever bring this particular youthful music scene back… no matter how anyone tries to ‘Viagra’ it. I find joy in reflecting back on this time.

I am presenting an extremely wonderful article by Flipside Fanzine’s Roving Reporter Helen Jewel. It is a good read. Ya might have to squint your eyes or zoom in a great deal to read it; I invite you to be amazed. Enjoy the patina of the original Flipside Fanzine. It has aged a lot. Again, Thank you Helen. I appreciate you much more now than I ever did then!!

From Issue Number 37 the mid-1980s. Dead Clubs by Helen Jewel

(With a little help from her friends!)

Big Boots and Dancing, and reading the book Generation X while trying to find Prince Buster’s 45s.

Punk Rock Historian and Professional Consultant

Hudley Flipside

In this picture X-8 represents the original punks of Los Angeles. Who were creative, loud and in your face! 1978-79.

Pete woke up on the Chinese New Year looking out of the hotel room window while a chicken’s head was chopped off. Right across the street at a restaurant café.

Big boots and dancing…it be a trilling time for me.

This is one of my favorite images. I have posted it a few times before. It contains a lineage of Flipside Fanzine characters who worked on issues. It has an interesting foresight to It; from left to right is X-8, Hud and Al. The picture is taken by Peter Landswick. All four of us worked on Flipside together at an interesting time in the world of Punk Rock. It was before the Orange County scene exploded as well as the new generation of punk English bands. The early Los Angeles punks were much more silent now. X was going for a major label.

The Go Go’s, The Bags and Fear were kind of changing their places and goals. The original punk scene of LA was dying and a new one was forming.

I like the texture and graphic perspective of this image. Pete is a creative photographer. This picture enjoyable taken at an alley in San Francisco when we rebelliously tagged the underground mod scene. At the time The Specials and Madness are unknown bands. As wild as any youthful band. I think it is the best time of crazy characters and wild free adventures.

Two L.A. Music Men

Punk Rock Historian and Professional Consultant

Hudey Flipside

Remembering friends Joe Doherty and Bob Cantu on their birthdays.

Though their birthdays are on different days, today is Bob’s birthday.

I remembered this post I did on an interesting night.

La Cita Bar and The Redwood Bar & Grill

Both guys… I respect. One I’ve known for twenty-five years; the other I have known six. Both have roots deep in the underground music scene of Los Angeles; one a fanzine journalist, Flipside Fanzine and Baby Jeepers, and the other is singer for Jughead’s Revenge.

At night, the buildings of light merged along the Hollywood freeway. The fast-moving river of car lights of red and white screamed a colorful expression to the low foggy clouds above.

Clubs, restaurants, movies and driving home from work; happy hour peaked in the city! Cars stopping too quickly, and others were slicing in front to get by as the strong current of cars raced towards the Broadway exit.

The lost shadow of Bunker Hill and Angel’s Flight whispered a Déjà Vu of voices among the unknown new buildings standing tall near and around the Angelus Plaza.

Parking was good past 8 PM and walking on Hill St. with my old black boots gravitated with familiar strides of a dark night. This October night was quiet, off and a bit tilted. Noir, unfamiliar and vexed I felt a blend between the femme fatale and the innocent unaware woman.

Joe Doherty, Jerry A. (aka Jerry Lang) Poison Idea, Edward Colver & Karin Swinney, Hudley Flipside, Demi Lishen-Girl (Mary)
At The ScotlandYard Pub Canoga Park.
Is Canoga Park a good area? 2009?

While drinking beers, gazing above at the three giant buildings dancing lazily in the foggy clouds, I felt secure in the iron fence outdoor patio.

Joe recommended the classico margarita. I’m sure that this place, this bar, and this drink are known by many. It was a tasty drink and it lingered on my taste buds as we said our goodbye and walked to the next bar on 2nd Street.

Funny as I grow older how I feel time bends. What seems so long ago; what I wanted to run from then, now bends and reaches back towards me. Finding me again. Seeming closer now than it once was.

Both guys were a couple blocks from each other that night; they both hold and continue to endure a musical something that binds us to the underground music scene of Los Angeles. Beholding to the music scene.

Bob put out his own fanzine promoting the scene he loved; Joe was going to tour Australia which was his dream come true.

Bob was standing at the entrance to the bar. Our friend quickly stamped our wrists before we knew it. We did not plan to go there. We talked and moved inside the club. My appetite was soon satisfied with one of the best club-hamburgers around. Sweet ranch dressing, french fries and beer; loud live music, smoky leather jackets and a cocktail waitress all moved tilted and film noir before my sleepy eyes.