Hi Guys -- Here is the rest of the piece about early Gainesville Band memories.

The UF Rathskellar burned to the ground back in about fall '88, following a grease fire in the kitchen. It was located on the site that is now occupied by the parking lot directly east of the Student Recreation Center near the football stadium. It was a huge, cavernous building, large enough for several hundred people, with all kinds of small side rooms and a basement catacombs you could get lost in. Paragon played a few weekends there, notably a "Battle Of The Air Bands" contest where we couldn't get the PA to get loud enough, due to some arcane wiring problem only Paul Brey and senior members of the UF engineering department could understand.

Another long-gone venue that was real active at the time was the Hogsbreath Saloon, located on NW 13th Street at the present site of Sharkey's Sports Bar. The Hogsbreath was in business from the late '70s through 1991, most of that time operated by Joe Henderson, son of "Trader Tom" Henderson, proprietor of Gainesville's oldest and most respected strip club, Trader Tom's. Joe Henderson deserves some props for his role in promoting the Gainesville band scene, because the Hogsbreath would book practically anything and so long as you didn't give Joe a hard time and your audience didn't try to sneak drinks in, everything was cool. Back in the early '80s the Roach Motel played there quite a bit, along with most of the punk, new wave, reggae, metal, jazz, blues, and cover-rock bands in the county. In my view, the major stumbling block to the Hogsbreath's success was that they never did sell draft beer, and due to the costs of bottled or canned beer, the college crowd tended not to buy a lot of beer there and instead drank at home or in the parking lot.

Also, we can't forget Reality Kitchen, which operated in three locations at various points on Main Street from about 1982-84. Run by local artist Jim Evangelista, the 'Kitchen was probably the most band-friendly club in town during its existence, but it wasn't around long enough to have the overall impact of the Hogsbreath.

There were other places to see local bands, of course. Let's see - -- The Metro, located in the old Atlantic Bank building on Main Street just north of University Avenue, in the site where The Down Lo is today. The Metro didn't book a lot of bands but they had a few. From time to time local bands played at musical events on the UF campus, in the Orange and Brew pub, at Lake Alice Field in the 1970s, the UF Bandshell starting in about 1980, and the Plaza Of The Americas, site of the infamous UF Halloween Ball in the 1970s. Most of the local bands served as opening acts for bigger touring bands. Another long-gone venue was the Star Garage downtown, which currently serves as offices for various court-related entities. In about 1980-82 it was a big empty building that occasionally served as a concert hall. I saw John Cale there in about 1981, and in 1982 it was the site of a full-scale punk festival, SlamFest '82, which featured bands from all over the state and got a lavish write-up in "That's Stupid" magazine.

Then there was Dub's, the king of cover-rock bars. Dub's reigned on the north end of 13th Street, where it turns back into 441 and heads west toward Alachua. Dub's didn't book many local bands playing all-original material, but they did let cover bands sneak in a couple of originals per set. This was an actual policy -- Paragon played there one week in 1983 (perhaps the peak of the band's career) and was actually told they couldn't play more than two originals per set. Paragon got into a little hot water when their lead singer, Frank Wickes, threw a cup off stage, angering a relative of Dub who happened to be working there at the time. This led to a confrontation between Frank and the bar employee (a common occurrence) and Paragon was not asked to play there again (a common occurrence).

In early 1984 Paragon broke up, and I quit being their sound engineer. As a result, I didn't see so many local bands for about a year and spent more of my free time practicing karate. On the way to class one day I saw a flier on a telephone pole advertising a gig with a band called Mutley Chix. Funny name, I thought, sounds like "Motley Crue." Little did I know that a couple years later I would be a whole lot more familiar with them, and the rest of the "Class Of '86." But that's another story. Tom Nordlie 10/1/99

Destroy magazine was a riot, you could buy it at Hyde & Zeke for a buck, and stay informed about Florida punk bands, new record releases, vicious humor ridiculing G'ville commercial new-wave band The Riff, and various comic strips like "Your (sic) A Skin Head, Charlie Brown" and "Kung Fu Drug Addict." They published 12 issues (I think), plus a 13th "best of" issue. For years I had the "Destroy Map Of Florida" up on the wall in whatever house or apartment I occupied, featuring amusing icons for things like "Old People In Slow Cars" and "Klan Country." There was a second local punk 'zine published briefly around '82 called "That's Stupid," which had contributions from future Yardape Greg Carlson. It had the same general approach as "Destroy." I used to have a few issues of both mags, but lent them to someone who was supposedly making a movie, and never got them back. Don't make the same mistake I did, kids -- DON'T LEND YOUR OLD PUNK-ROCK MEMORABILIA TO ANYONE FOR SUPPOSED HISTORICAL/ACADEMIC PURPOSES, YOU WILL NOT GET IT BACK.

Posted on Monday, February 16 @ 21:59:42 PST by Mudcrutch www.MudcrutchFarm.com MudcrutchFarm.com is an online community devoted to the band Tom Petty and the Heartbreakers. Why "Mudcrutch Farm?" Well... Tom Petty was in a Gainesville, FL band called Mudcrutch in the early 1970's. Some of the band lived on a "farm" by the same name. It was located in some woods off North 13th Street near Dub's. Ex-Epics members Tom Petty and Tom Leadon decided to form their own band, calling themself Mudcrutch. Later on, Tom Petty recruits Randall Marsh on drums. The band needs a second guitarist and Marsh suggest Mike Campbell (his roommate in college at the time), Petty and Leadon later persuade Campbell after hearing him play the song "Johnny B. Goode." In 1971 Petty, Campbell and Marsh organize the 1st "Mudcrutch Farm Festival". Jim Lenahan is for a while the lead singer in Mudcrutch, but left to go to college elsewhere. In '72 the band organizes the 2nd "Mudcrutch Farm Festival". 1973 rolls around and Mudcrutch records two tracks -- "Up In Mississippi" and "Cause Is Understood" at Criteria Studios in Miami, FL. They get boxes of 45s . Tom Leadon gets kicked out of the band due to a incident at the bar Dub's, that got them fired from doing gigs there. Benmont Tench then joins the band to play piano. The band recruits a new guitarist named Danny Roberts and Mudcrutch's first demo tape is recorded in Benmont Tench's parent's living room. In 1974 Petty, Roberts and roadie Keith McAllister takes the demo tape to Los Angeles, CA and finds interest from seven record labels there. Mudcrutch then later signs up with Danny Cordell's Shelter Records in Tulsa, Oklahoma and the band relocats to Los Angeles, CA to start record an album for Shelter Records, but the album was never released and the band breaks up. The result is "Depot Street" & "Wild Eyes" is released, the only Mudcrutch single to be made. In 1975 Petty forms a new backup band called the Heartbreakers, with Mike Campbell on guitar, Benmont Tench on keyboard, Ron Blair on bass, Stan Lynch on drums and Jeff Jourard on guitar. The rest, you could call history... Of course one of TPATH's songs had to make the list. Is anybody else shocked that Kerry has had such a successful campaign so far? I think Dean's public office record is way more impressive than Kerry's. Theme tunes make pitch to emotions By ANDREA JONES The Atlanta Journal-Constitution John Edwards was born in a "Small Town." John Kerry "Won't Back Down." And Howard Dean wants "A Little Less Conversation." Sometimes, political campaigning really is just a song and dance. The theme songs candidates choose when hitting the trail can speak volumes to voters, as presidential hopefuls try to cement a carefully crafted image or evoke a certain feeling. "Using a song encourages voters to think of candidates as products, like laundry soap or a cleaning supply," said Jay Hamilton, an assistant advertising professor at the University of Georgia. "Candidates are reaching out to the emotional, not the thinking, level." Just ask John Edwards, who has linked his campaign to just one song. Each time the North Carolina senator hops off his "Real Solutions Express," the bus' sound system blasts John Mellencamp's "Small Town." As Edwards gives the crowd the thumbs-up, Mellencamp croons about growing up poor in a town with "little opportunity." The song plays before every Edwards event ? from big rallies to small house parties ? and longtime supporters often can be identified by the fact that they know every word. Kim Rubey, Edwards' spokeswoman, said Edwards used "Your Life Is Now," another Mellencamp anthem, in his 1998 run for the Senate. "Mellencamp songs just fit John Edwards really well," Rubey said. "They reflect his overall message of wanting to unite the country." And it doesn't seem to bother the one-time rebel rocker, who has played at fund-raisers for Edwards and Dean and recent campaign dropout Wesley Clark. Mellencamp's agent, Bob Merlis, said the musician is "happy to help." Mellencamp and other artists don't receive royalties when songs are played at events, but Merlis said he believes "a change in the country" would be payment enough. An outspoken anti-war activist, Mellencamp keeps close tabs on who is using his songs in campaigns, Merlis said. "He certainly wouldn't want be associated with someone that has a really different take on politics," Merlis said. Rockers have raised issues with political camps over theme songs in the past. In 1996, Bob Dole had to stop using "Soul Man" ? which he had changed to "Dole Man" ? after the song's copyright owners sent him a threatening letter. And Ronald Reagan's 1984 re-election campaign was out of tune when it tried to use Bruce Springsteen's "Born in the U.S.A." as the president's anthem. While the chorus sounds patriotic, the song was actually about a disenchanted Vietnam veteran and his struggles. The Boss quickly told Reagan's folks the song was off-limits. Democratic front-runner John Kerry also is using a Springsteen song, "No Surrender," as one of his two rather angry anthems. He often takes the stage to the tune of "No Surrender" and Tom Petty's "I Won't Back Down." "Like soldiers in the winter's night with a vow to defend," the Springsteen song goes, "no retreat, baby, no surrender." Katina Stapleton, an assistant professor of political science at Syracuse University in New York who teaches a class on pop music and politics, said candidates are harnessing the power of suggestion. "Most of these songs are clearly not about what the candidate is trying to make them into," she said. "But it's up to the audience to determine the meaning." And that's gotten tougher as more and more candidates turn to pop music for inspiration, said Nashville songwriter Dan Tyler. Tyler penned an original song for Howard Dean's campaign called "The Dr. Is In." In just over two months, his Web site received 6,000 hits and became an Internet phenomenon. Dean also used a remix of Elvis Presley's "A Little Less Conversation" and Jackson Browne's "Doctor My Eyes." "Songs can be really, really powerful," Tyler said. "In Dean's case, though, I guess it wasn't enough." Whatever their musical tastes, any of the candidates would be happy to trade their theme songs for President Bush's: "Hail to the Chief." Posted on Monday, February 16 @ 21:59:42 PST by Mudcrutch