John Ward Hickernell: A Moment in Time

“There are decent people, even in rock and roll. If all you’ve been exposed to are the crazy ones, and then you run into a cool one, it sticks in your head.”

For John Ward Hickernell, Benjamin Orr was one of the cool ones.

smile 03John recently posted some eye-catching photos on Facebook of Ben at Cleveland Municipal Stadium. No surprise that they grabbed my attention, since I’d never seen them before, but John’s explanation of the pics had me even more curious: it turns out he had happened upon the small group behind the scenes while The Cars were waiting to take the stage of a major concert. Wow, that seems pretty lucky, huh?

Would John mind sharing more details of his memories with us? Not at all! He assured me, “It was a pretty cool day, and time has passed, and people are passing, too, and just seems kind of cool to get the photos out there, and the story, and the pin, and the whole nine yards. I don’t feel like I own them; I just happened to catch the moment.”

Don’t you just love the kindness of people? Thank you so much, John ~ let’s dig in!

It turns out that The Cars were in Cleveland to play at the World Series of Rock (WSoR). The concert was originally scheduled to take place on August 5, 1978, with Fleetwood Mac headlining, joined by Bob Seger and the Silver Bullet Band, Todd Rundgren and Utopia, Blue Öyster Cult, and The Cars. Fleetwood Mac’s Lindsey Buckingham fell ill but rather than cancel, the August 5 show was rescheduled for August 26. Unfortunately, that bumped Seger and BÖC from the bill; they were replaced with Eddie Money and Bob Welch.

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Image via liveauctioneers.com

The Cars had been touring behind their debut album since June with almost no break. They had played a sold-out concert at Cleveland’s Agora Ballroom on July 18, which would have definitely been a homecoming show for Ben, and in fact, you can hear him acknowledge it on stage at the end of “Bye Bye Love.” Their performance, which was broadcast live on local station WMMS (and released on vinyl in 2018 as The Cars’ first official ‘live’ album), was packed with precision, perfection, and an abundance of attitude, proving to yet another eager audience that The Cars were a force to be reckoned with.

Still, with only “Just What I Needed” and “My Best Friend’s Girl” on the radio to recommend them, The Cars were generally considered ‘new’ and had much to prove. Playing the WSoR with its crowd of more than 70,000 fans was a considerable step up from the 2,000 at the Agora, and was likely the largest audience the band had played in front of to date. I imagine they were nervous, excited, and probably still a little stunned at how well the debut album was being received around the country.

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Image via fleetwoodmac.net

It’s worth noting that the order of the WSoR lineup that day was determined by the traveling schedules of the acts. Eddie Money kicked off the show, followed by Todd Rundgren; they both had flights to catch so they went on early. The Cars played their set next, then Bob Welch, who was arriving from St. Louis, played fourth. Of course, the fiery finale featured Fleetwood Mac. A review of the concert from Cleveland Scene writer Dave Voelker pointed out the unique position The Cars were in.

“The Cars were left with the unenviable task of following Rundgren’s ecstatic set — a position they wouldn’t have had if Todd & Co. didn’t have to play in Chicago later that same day,” he wrote. “They’re still a little unseasoned, but I’m confident that many in the audience now know there’s a lot more to the Cars than their main claim to fame, ‘Just What I Needed.’ Particularly, the raw power of ‘Don’t Cha Stop’ and ‘You’re All I’ve Got Tonight’ seemed formidable and impressive, marking this sharp new band as an attention-worthy contender.”

Jane Scott from The Plain Dealer noticed, too. In her August 28 review she wrote, “The Cars, an up-and-coming Boston band, had fans dancing across the field with its ‘Just What I Needed’ and ‘Best Friend’s Girl.’” Clearly, our boys could handle playing for such a huge crowd.

Without going too deep into the WSoR’s colorful history, let me give you a quick overview of this popular but short-lived concert series. From 1974 to 1980, legendary Cleveland concert promoters, brothers Jules and Mike Belkin, worked diligently (if gingerly) with officials from the Cleveland Municipal Stadium to host a run of summer concerts featuring the hottest rock bands of the day. Each event included multiple acts on the bill, and fans packed the playing field and bleachers of the open-air venue for hours, partying to icons like The Beach Boys, The Rolling Stones, Rod Stewart, Pink Floyd, and Aerosmith.

And when I say ‘partying’ I DO mean partying. The festivals quickly gained a reputation for being rowdy and dangerous, riddled with drugs, alcohol, and varying levels of stupidity and crime.  And this show was no different. Though The Plain Dealer reported that the crowd of 73,000 was considered one of the best-behaved audiences in recent attendance, the police still had their hands full. Several violent incidents occurred before, during, and after the show, including multiple stabbings, robberies, and an accident in which a man fell from the upper deck during the concert while swinging from the rafters and was transported to the hospital in critical condition.

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2nd from left: John rocking with The Estes Brothers, c. 1975.

But none of that was on the radar of twenty-one year old John Ward Hickernell, a self-described “musician-artist-hippie-type kid who would to go any extreme to make art.” As a multi-instrumentalist himself, John was chasing the rock-and-roll dream (most notably playing guitar for The Estes Brothers). His focus wasn’t the fame and the glory, but experiencing the creative ecstasy of it all, and he pursued art in any and every form. Is it any wonder, then, that Todd Rundgren was his role model?

He explains, “Todd’s always been my creative inspirational individual. I’ve always been awed at what it must be like to possess that kind of creativity, like ‘what am I going to do today? Because I can do just about anything and if I don’t know how to do it, I’m going to learn how.’”

John’s mission, in addition to capturing the day on film, was to try to make a connection with Todd, and here’s where his personal story begins. I had the privilege of chatting with John and listening as he related his experience behind the scenes at the World Series of Rock.

John began, “Back in those days concert security was much different than today. Maybe one guy to watch over a massive area of space, and that guy was more than likely a hippie, too. I’m sure that I looked the part with my vest with many pockets of film and my shoulder bag and camera, out on safari shooting pictures. So with a few words to the one lone security guy he let me pass right on through and into a closed-off section of Cleveland Municipal Stadium.”

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Cleveland Municipal Stadium, August 26, 1978

The day was oppressively hot, made more intense by the sun beating down and the mash of the crowd. The stadium was bursting with happy-go-lucky music fans and John documented the sight, snapping pictures as he worked his way along the near-empty concrete walkways enclosing the open-air venue. Coming to the end of one of the first-level ramps he noticed a small handful of people milling around. As he drew nearer he was able to identify Ben Orr, Ric Ocasek, and Todd Rundgren in the group.

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Todd Rundgren and Utopia

John’s dream was about to come true; his hero, Todd, was within a few concrete feet of a handshake! But can you believe it? “[Todd] was hanging around and I ran out of film,” John groaned. “As I loaded a fresh roll I looked for him and he was gone, heading to the stage with Utopia. So I ended up with one ‘lone shot.’”

A disappointing turn, for sure, but not all was lost. John dug The Cars, too. He remembered Ben as a local kid from his days on The Gene Carroll Show, and was happy to see him now in this more personal setting. John could see that Ben had a special guest with him – his mother – and John was leery of interrupting the band’s privacy, but it ended up being a very relaxed scene.

middle finger 02.jpgJohn recalled, “Ben was very nice. At first I thought he may have been a bit pissed that I was shooting pics and invading a moment. I do have one picture I came across and he was with his mom, and he’s adjusting his glasses… he’s doing a ‘middle finger glasses adjustment.’ At the time, me being a little bit naïve, I kinda thought okay, maybe he’s not quite happy with me taking pictures. Of course, now I know that that’s kind of an inside thing in the music business: if someone’s got an attitude with you they’ll adjust their glasses with their middle finger.

“But after exchanging a few niceties with Ben that tone faded; he was cool and he smiled more, and he didn’t give me the finger anymore.” John laughed.

Still, John hung back, but he could see how attentive Ben was to his mom. John respectfully observed the way “Ben was close to her the whole time, pointing things out, like out in the crowd and the bleachers, and stuff like reminiscing about being in the stadium for other events, ball games ….that’s what I with bettygathered. And the physical resemblance they had was very obvious. She seemed a bit taken back. She smiled a lot but didn’t say anything to me.”

Though the encounter was just a moment in time, it struck a chord deep down in John that has resonated over the years. As I listened to John share, I was really moved by his heartfelt reflections. “Being a Cleveland boy myself, I can remember going to Indians games there as a child; I’m sure he and his family did as well, so you know it could’ve just as easily been me. And [The Cars] were on the edge of being a huge success. So I totally had a tie to that whole feeling, or imagining how he must’ve felt, for sure. You know, the ‘local boy does good’ sort of thing. We ALL dreamed of that! There it all was right in front of me. I’ve thought about that a lot over the years. Made it all the more heartbreaking when he passed.”

John quietly focused on taking photos, storing up tangible snapshots to accompany the impressions in his head.

“Ric kind of acted like he might have been a little bit self-conscious,” John reminisced. “That’s just my personal take on it. They were very nice. I took dozens of photos, taking time to chat. I will say that after a bit they seemed to be posing, so it got intense because I was the only guy there with a camera.”

John was gracious enough to share several of his terrific photos of Ben and Ric with us from that day:

 

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At one point, Ben gave John a gift: a little white promotional Cars pin, which John has kept all these years. “He just reached in his pocket and he pulled out a pin and he says, ‘Hey man, I hope they turn out good,’ [referring to the photos],” John remembered. “He asked me if I was with the Scene, a Cleveland music rag paper that we all lived for each issue! I let him know that I wasn’t, but I worked for the company that printed Scene and that I actually ran a press that printed it.”

 

As they wrapped up their time together, Ben asked John to send him some of the photos if they turned out. And that was it. “I don’t think they were up there for more than half an hour, and then they receded back into the bowels of the stadium.”

Thrilled with his encounter, John continued to hang around in the relative quiet of the concrete passages backstage. He absorbed Utopia’s set with rapture. “I remember how cool ‘Eastern Intrigue’ sounded in the stadium from backstage. It was so great: no bounce, no echo like you would hear being out front, or anywhere else in that stadium for that matter.” He doesn’t remember much else in terms of the music that day; he was more into documenting the show with his camera. But while John wasn’t focused on the Cars’ set itself, it’s not because he didn’t have an appreciation for the band or their music. In truth, his feelings are quite the opposite.

“You know, it’s all timing. Sometimes all the planets line up and something unpredictable happens, and that’s kind of the way it was with The Cars. If you look at the end of the 70s, we’d been through glam rock and glitter, and Bowie and Mott the Hoople, Lou Reed… tons. And then of course there was disco and stuff like that, but The Cars really had a different writing style that was clearly evident in the way they played, and their persona just pushed it over the edge. They really were a bridge into the next realm.

“I remember seeing them at Live Aid in the 80s. They were well-established stars at that point. Ben was talking to a VJ from MTV; he was obviously having a good time, acted a bit buzzed, smoking a cigarette, it was a hell of a party. That was the last I saw of him other than magazines and videos.

“All musicians dream of success; they just do. [The Estes Brothers] had gotten very close just a year and a half earlier, so I felt a deep connection to all that: the road that musicians take and keep trying time after time. I know he did, as well. We all do. There are thousands who chase it their whole lives —  damn good musicians. So I always felt that connection. Thinking about the moment in the stadium… it held deep meaning for me.”

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And Ben?

“It’s hard to explain how I felt about him, but I could relate, maybe… just a sad story to me. That’s all there seemed to be for me for a lot of years. I was down more than I was up. But avoiding useless rambling… Seeing him with his mom [in Cleveland] was personal for me. And for him.”

John concluded emphatically, “You can tell all you need to know about a person sometimes from just one gesture. The mere fact that he had his mom there tells you the kind of person he was. What else do you need to say? That pretty much told me how cool he was.”


Oh, P.S.! John did end up meeting Todd many years later! John recounted, “For many years I was always like a step behind him ‘til finally in ’08 or ’09 they had an exhibit at the Rock Hall. He was there doing a meet-and-greet type sort of thing and oh my gosh, the line of people went all out the Rock Hall, down to East 9th Street, so I’m standing in line, you know, and I get up to where I’m inside the building and I could see him, and then… well, of course, they had to go.”

So John bought a ticket to the museum anyway, figuring since he’s there he might as well look at his exhibit. He went downstairs and there was no one down there, but then he said, “All of a sudden these two big doors swing open and here comes this whole troop of people: Todd Rundgren, Kasim Sulton, the curator, a couple security guards, a photographer, his wife Michelle, and their son Rebop. That ended my days of being two steps behind him. I got to meet him and take a ton of pictures of that. I’ve met him a bunch of times since.”

Yay!  I love happy endings!


My main sources:

  1. The first place I looked? Deanna Adams’ definitive guidebook of Cleveland rock history: Rock and Roll and the Cleveland Connection, pages 243-244.
  2. This invaluable scan and this one, from World Series of Rock concerts at Cleveland Stadium 1974-1980 on Facebook, gave me great info on the August 26 show.
  3. This terrific piece by Matt Wardlaw provided some Agora info and the cool quote from Dave Volker.
  4. I got so much wonderful input from this great WMMS Facebook group!
  5. And a little Wikipedia, of course!
  6. All photos courtesy of John Ward Hickernell (except as noted) and used with permission. Thank you for your generosity, John!

 

The Gifts of “Let’s Go”

The Gifts of “Let’s Go”

(Header photo courtesy of Natalie Gaber)

I’m groggy, lying in my bed Sunday morning. I have to check out of my hotel in half an hour but I don’t want to start a new day. How could Saturday night have flown by so quickly? Images keep flooding my mind, little snippets of conversations to replay, impressions to sort and kind words to tuck away in my heart… elements of a gift. And Ben… so much Ben in the air!

If I could just turn back the clock and experience the night of January 12 all over again.

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Photo courtesy of Joe Milliken.

Admittedly, I almost get off on the wrong foot. I take a few wrong turns trying to get to the venue and I’m about 15 minutes late; it is a relief to finally see the shining logo of the Music Box Supper Club beckoning me in the dusk. I whisper, “Okay Ben, here we go,” as I give a little tug on my memorial pendant.

From the minute I pull into the valet lot my mind is going over the to-do list: scope out the concert hall, find the production team, preview the slideshow, time cues, guest list adjustments… Heading up the stairs and ah, there’s Joe! Yay, Neil and Diane are here! Hugs all around. Wait, where is David Spero? On his way? Got it.

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Joe, Donna, Lars, and Matt. Photo courtesy of Matt Fuller.

The guys from Moving In Stereo are here, too! I make sure to give Matt Fuller, the bassist and co-vocalist for the band, an extra-tight hug. I am so grateful for all he did to connect us with Colleen, the owner of the venue, and to secure the gig for tonight. He’s been on board since the first hint of the event and was invaluable in my planning. I am introduced to drummer Bryan Beyer and keyboardist Joshua Hartman who are both filling in tonight. Noah Patera is unable to be here on his drums, but it turns out that Lars Altvater’s prior commitment has been cancelled. Rather than pull Josh off the keys, though, Lars chooses to spend the evening taking photographs and mingling. Like the other members of the band, Lars is the definition of class and professionalism. Rhythm guitarist and co-vocalist Danny Ayala and lead guitarist Bob Heazlit greet us with huge smiles and hearty hugs, too. I am so happy to see these talented men again!

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Photo courtesy of Joe Milliken.

Leaving the band to finish their dinners, Joe and I go check out the concert hall. The space is terrific: a nice-sized stage with plenty of room for the video to be shown on both the left and right of it. Tables fan out into the large seating area, and a well-equipped bar is conveniently off to the right. The servers are bustling around getting ready for their night as we preview the video setup — it’s excellent!

Ah, here’s David Spero. Okay, up on the stage, figuring out logistics. I see people are starting to trickle in. Do I know them? Are they from the Fanorama? But I don’t want to be awkward and stare, and oh yes, I need to grab drinks for Joe and David, find a portable mike for the Q&A session, and figure out where the Mac’s Backs Books rep is going to set up — oh hey, she’s here and has it all under control. I should have known. Suzanne from Mac’s Backs Books has these events down to a science and is a joy to work with. Perfect!

Before I know it the place is filling up. I’m so giddy to greet my beloved friends and to make connections with others I’ve only known in text. Lots of hugs and happiness everywhere; the place is crackling with energy. And it’s already time to pull Joe from the foyer where he’s been signing books and get him to his position on the stage. But first… the green room. We need to refocus. I give Joe a minute of quiet to breathe, to settle down and plant his feet. We both need it, actually.

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Photo by Michael Kenny.

Now I cue the production guys, the house lights go down, and David Spero welcomes the guests. The video plays off perfectly and Ben’s presence fills the room. We see him grow from infant to teen to rock star, moving through the success and difficulty in his life, his unmistakable charisma intact. I can’t help but seek out the faces of those who knew Ben best to catch their reactions; my heart swells as I see their approval and happiness. I feel like creating this tribute with photos and music is one of the gifts I offer for the event and I am thankful it seems well received.

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David Spero and Joe. Photo courtesy of Becky Broderick.

People continue to arrive as David introduces Joe and the two begin their talk like old buddies. All eyes are on them. The first of two of ‘the most beautiful moments of the night’ happens when David asks Ben’s former bandmates to stand and be recognized. A handful of men rise from around the room, and the crowd answers with hearty applause. Joe makes sure to mention Chris Kamburoff (Mixed Emotions) by name, who couldn’t be here because of health issues, and encourages Chris’s son, Ashton, to stand in his father’s place. More applause… and tears, too. Precious.

We take a few questions from the audience but the time has evaporated and I give David Spero the ‘five minutes’ signal. He wraps it up like a pro, and it’s time for me to escort Joe back out to the foyer. As we wind our way through the crowd people are shaking Joe’s hand, clapping him on the back, congratulating him. His smile is huge. Moving In Stereo is taking command of the stage and the slideshow is playing again for those who missed it as we make our way out to the table, where a line of people are already waiting for a signature.

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Moving In Stereo takes the stage. Photo courtesy of Linda Strong Beyer

I wish I could be in two places at once, both sitting beside Joe hearing all of the amazing Benjamin stories people are sharing with him as he signs their books and poses for pictures, and simultaneously rocking out near the stage to the pulsing sounds of the greatest Cars tribute band ever. Instead I go back and forth between Joe in the foyer and the guests in the concert hall, trying to greet everyone without being a creeper… I just want to hug each one and tell them how grateful I am that they came and that they have made my night so special just by showing up.

Throughout the evening I witness so many ways that this show has brought people together. I overhear happy exclamations of, “Hey man! It’s so great to see you again!”, observe pockets of social media friends meeting and hugging, am asked to take group photos of tablemates. Two Cleveland radio legends carve out time for a chat and an interview together. Fans stop me to ask about my Benjamin Orr t-shirt, and I am able to lead them right to the artist in the audience. The grandson of one of Ben’s early friends is a fledgling guitar player, and after the show I take him to meet the members of Moving In Stereo, where they talk about Les Pauls and check out the view from the stage. And I have the privilege of meeting people who read my blog or listen to the podcast and hear their words of encouragement. It is all so dear to me!

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Me with Joe Kurilec of the Mixed Emotions. Photo courtesy of Joe Milliken.

I am also fortunate to encounter people who are important bricks in the tower of Cleveland rock history: Harry Harwat, Dante Rossi, Wayne Weston, Joe Kurilec, John Gardina, David Spero… ordinary looking people that you might pass on the street, but who played such foundational roles in Benjamin’s success, and I know that this night is also for them; it is about their legacy, too. I’m honored to have them sign my copy of the book.

And the band… THE BAND! I catch snippets of songs as I’m moving about, enjoying my favorites like “Let’s Go,” “Gimme Some Slack,” and “It’s All I Can Do.”  From time to time I stop at the table where my dear friends Kurt, Nat, and Dave are, and we look at each other and gush, “these guys ROCK!” but I don’t really get a chance to focus on the show until a bit later when Joe has a break in the autograph action and he’s able to come join the party. We rock out to “Good Times Roll” and “Just What I Needed” and people are dancing and singing along and the room is packed… it’s so awesome! Even with two stand-ins the music is so tight and true and my adrenaline soars even higher.

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John Gardina plays “Drive.” Photo courtesy of Becky Broderick.

Toward the end of the band’s hour-and-a-half set, the second of ‘the two most beautiful moments of the night’ takes place. One of Ben’s former bandmates, Mixed Emotions bassist John “Johnny Joe” Gardina, has come to the event. It takes some persuading, but he is finally convinced to join Moving In Stereo onstage for an encore performance of “Drive.” It’s so touching to see the smile on the face of this talented and humble man as he picks out the bassline to one of the most memorable songs Benjamin Orr ever sang. The way he stands toward the back like Ben used to, and how he adds his own flair to the melody, and shyly accepts the cheers of the crowd… All these little things reflect how much Johnny Joe loves and honors Ben.  It is both tender and badass at once, and a highly fitting way to end the night.

Now maybe you already know this about me: I’m not a professional publicist. I am a homeschooling mom with four kids and I’m a bit of an organizational freak, so while I know how to boss people around and get things done, I’ve never put together a shindig this big. Joe took quite a gamble, placing the responsibility of this event in my hands. And I know this night is not about me, not in the slightest. But I gotta tell you, as I look around at about 300 people partying over Ben and the book, I feel pretty proud of myself. No catastrophes, no resorting to Plan Bs, no disappointments, and Joe is rosy-cheeked with happiness. A definite success.

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Me with author Deanna Adams. Photo courtesy of Joe Milliken.

The cherry on top? One of my writing heroes, accomplished Cleveland author Deanna Adams, is in attendance, and when I meet her she praises me loudly for all the work I’ve done promoting Let’s Go!, and she announces that she wants me to be the public relations coordinator for her next book. I won’t hold her to that second part of it, but I take it as a very sweet and meaningful compliment, and I feel it deeply.

The lights come up but the connections continue. More introductions are made, hellos and goodbyes, group photos. My voice is a bit hoarse, but I can’t stop smiling. It’s all been so lovely! As Joe and I prepared for this night, I kept telling him, “Don’t be nervous. These people just want to party with you. You’ve already given them your gift.” And now I realize, as I run my fingers over my Benjamin Orr memorial pendant (as I’ve done so often this evening), that this party itself was full of gifts, too, that every attendee generously gave to us.