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| Jimmy Page using a violin bow while playing a Gibson Les Paul on "Dazed and Confused." This photo was shot on my very first roll of film (excluding the test roll when the camera was purchased). © ROGER BARONE 1975 |
The night before Led Zeppelin's concert at the Spectrum, an indoor track meet was held.
This would be the most brutal, physical and exhausting challenge I've ever faced at the arena.
I arrived at work around 5:30 pm on Zeppelin Eve. I was deployed immediately, and began wheeling equipment into place, prepping for the track move-out and the Zep' move-in.
Changing over from a track meet took longer than most events because the track belonged to the Philadelphia Department of Recreation, and city workers were responsible for dismantling the setup.
And typical of city workers, they did it there way. In other words, they took their time.
The track meet ended around 11pm. The oval-shaped track was assembled like a big puzzle.
Individual panels, about fifteen-feet long and thirty-feet wide were set in a steel/aluminum frame. The panels, about 75 in all, were reddish-brown, with painted, evenly spaced, white lines for lanes on each.
Some panels were flat, others (radial sections) were arched and angled. The four corners of the track setup were elevated and supported by steel beams. The beams were part of a girded support system secured by bolts and screws. Lots of them!
It took all night to remove the track, load the trucks and clean the floor, so we could begin setting up the seating area. (On some occasions, union rules and policies were conveniently overlooked, while other times, we were hollered at for simply plugging an extension cord into a socket.) We were getting paid less than 4 dollars an hour, while city and union laborers were earning at least four times our pay.
During the hockey season, an insulated floor usually covered the ice, but several times a year, the Flyers were scheduled for extended road trips. During these times, the Spectrum booked full-floor shows. Events that required use of the entire bowl floor, extending into the first five rows of portable seating, that set on metal risers. The rodeo, circus, horse show, circus, and tennis tournaments all required the full floor. In addition, these shows often need the ice removed entirely for their productions.
The risers were old, beaten and dysfunctional. To level the steps, four by fours were used. It took a lot of time to get these safely aligned, and insert rubber pads between the open spaces where the risers touched. After the risers were pulled into place, seats had to be set, hooked together and checked for wads of bubble gum, which we removed by spraying an aerosol vapor, that would freeze the surface, making it easier to scrape the gum off with our razor box cutters..
As we continued setting up the riser seating, and rolling out the floor chairs, the first members of the Zeppelin crew began to arrive. Move-ins were typically scheduled around 7am for bands with big stage setups and a lot equipment. As the backdoor leading to the delivery tunnel was raised, a blinding sunlight filled the tunnel.
Changeover crew workers always tried to get home before daylight. It was easier to fall asleep before the next day of the rat face would begin.
But we knew this would be a long night. I had already been working twelve hours when the Zeppelin trucks started pulling in. Roadies with heavy English accents and credentials dangling around their necks began giving directions, and barking orders.
Showco, a sound and lighting company from Waco, Texas was hired for this tour. They had been with Eric Clapton ('74) George Harrison ('74) and would accompany Paul McCartney &Wings the next year. We began hauling the long steel lighting trusses from the top of the truck, and carried it down an aluminum ramp, where the local stagehands took it to the stage for assembling.
Meanwhile, additional changeover crew members were setting up chairs. Normally, the seating would be finished by 3 or 4 am on a normal changeover night. Tonight, we were far behind schedule. As the Zeppelin stage began to take shape, the lighting system was hoisted into place above the stage, and the sound wings constructed, it was almost 5 pm.
Because the seating wasn't completed, and the stage was, access to the storage areas were blocked, sl\o we had to carry the empty chair racks up the lower-level steps to the concourse, then wheel them to section M, where a freight elevator took them down to the storage area in the delivery tunnel. Four men, each took a corner of the metal chair racks and carried them. It was very difficult to maintain your balance and work in harmony with four individuals.
We could see the fans lining up outside, their bodies pressed against the doors waiting to enter. We were exhausted. The gates were still closed as the order to "open" was delayed. Finally, everything was in place, only minutes before the show. Zeppelin was scheduled to take the stage at 8:30; they were the only performers.
I took a brief break a short-time earlier with a co-worker, Phil Amorosi, a diehard Zeppelin fan, and we waited for them to arrive backstage. I hid my new camera in a brown paper bag. I photographed Zeppelin's arrival, and stayed backstage until they returned to take the stage.
I have a great photo of the full group, it's featured in the tribute book, titled, "God Bless The Spectrum," and I got a few rare candid shots of Robert Plant seconds before taking the stage.
When Zeppelin took the stage, I stood on a chair in the photo pit, literally two-feet away from Plant's knee, and got some incredible close ups, All the while, having my ears ripped to pieces by the wall of Zeppelin speakers just a few feet away to my right. I was exhausted by the end of the night. Dead tired, and decided to go home after working about 26 straight hours.
As I was waiting in line with another worker and close friend, Jimmy Bordoni, a drunk called me a 'frizzy haired mother fucker." I punched him in the face, and we got into a brawl He pulled a lot of my hair and cut my lip. Just what I needed after the most grueling night of work in my life. I was fortunate that my camera was not broken, or the film exposed or damaged during the fight.
A young lady, standing behind me, gave me a Kleenex tissue to wipe the blood. I was wearing my green army jacket, and it had blood stains, too. After I thanked her, I said, "I guess I lost." I made my way home, and couldn't wait to get my photos processed. It was all worth it. I worked very hard to get the pictures you'll see on my blog. I hope you enjoy them.
NOTE: editing to be continued tomorrow!
During the hockey season, an insulated floor usually covered the ice, but several times a year, the Flyers were scheduled for extended road trips. During these times, the Spectrum booked full-floor shows. Events that required use of the entire bowl floor, extending into the first five rows of portable seating, that set on metal risers. The rodeo, circus, horse show, circus, and tennis tournaments all required the full floor. In addition, these shows often need the ice removed entirely for their productions.
The risers were old, beaten and dysfunctional. To level the steps, four by fours were used. It took a lot of time to get these safely aligned, and insert rubber pads between the open spaces where the risers touched. After the risers were pulled into place, seats had to be set, hooked together and checked for wads of bubble gum, which we removed by spraying an aerosol vapor, that would freeze the surface, making it easier to scrape the gum off with our razor box cutters..
As we continued setting up the riser seating, and rolling out the floor chairs, the first members of the Zeppelin crew began to arrive. Move-ins were typically scheduled around 7am for bands with big stage setups and a lot equipment. As the backdoor leading to the delivery tunnel was raised, a blinding sunlight filled the tunnel.
Changeover crew workers always tried to get home before daylight. It was easier to fall asleep before the next day of the rat face would begin.
But we knew this would be a long night. I had already been working twelve hours when the Zeppelin trucks started pulling in. Roadies with heavy English accents and credentials dangling around their necks began giving directions, and barking orders.
Showco, a sound and lighting company from Waco, Texas was hired for this tour. They had been with Eric Clapton ('74) George Harrison ('74) and would accompany Paul McCartney &Wings the next year. We began hauling the long steel lighting trusses from the top of the truck, and carried it down an aluminum ramp, where the local stagehands took it to the stage for assembling.
Meanwhile, additional changeover crew members were setting up chairs. Normally, the seating would be finished by 3 or 4 am on a normal changeover night. Tonight, we were far behind schedule. As the Zeppelin stage began to take shape, the lighting system was hoisted into place above the stage, and the sound wings constructed, it was almost 5 pm.
Because the seating wasn't completed, and the stage was, access to the storage areas were blocked, sl\o we had to carry the empty chair racks up the lower-level steps to the concourse, then wheel them to section M, where a freight elevator took them down to the storage area in the delivery tunnel. Four men, each took a corner of the metal chair racks and carried them. It was very difficult to maintain your balance and work in harmony with four individuals.
We could see the fans lining up outside, their bodies pressed against the doors waiting to enter. We were exhausted. The gates were still closed as the order to "open" was delayed. Finally, everything was in place, only minutes before the show. Zeppelin was scheduled to take the stage at 8:30; they were the only performers.
I took a brief break a short-time earlier with a co-worker, Phil Amorosi, a diehard Zeppelin fan, and we waited for them to arrive backstage. I hid my new camera in a brown paper bag. I photographed Zeppelin's arrival, and stayed backstage until they returned to take the stage.
I have a great photo of the full group, it's featured in the tribute book, titled, "God Bless The Spectrum," and I got a few rare candid shots of Robert Plant seconds before taking the stage.
When Zeppelin took the stage, I stood on a chair in the photo pit, literally two-feet away from Plant's knee, and got some incredible close ups, All the while, having my ears ripped to pieces by the wall of Zeppelin speakers just a few feet away to my right. I was exhausted by the end of the night. Dead tired, and decided to go home after working about 26 straight hours.
As I was waiting in line with another worker and close friend, Jimmy Bordoni, a drunk called me a 'frizzy haired mother fucker." I punched him in the face, and we got into a brawl He pulled a lot of my hair and cut my lip. Just what I needed after the most grueling night of work in my life. I was fortunate that my camera was not broken, or the film exposed or damaged during the fight.
A young lady, standing behind me, gave me a Kleenex tissue to wipe the blood. I was wearing my green army jacket, and it had blood stains, too. After I thanked her, I said, "I guess I lost." I made my way home, and couldn't wait to get my photos processed. It was all worth it. I worked very hard to get the pictures you'll see on my blog. I hope you enjoy them.
NOTE: editing to be continued tomorrow!
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