The framing option for this RUN includes a 1 inch black wood frame with UV-glass, foam core backing and ready to hang hardware.
“The photo was taken at our house on Hill Street in Ann Arbor, and it was the MC5 and Trans-Love Commune. I don't know the exact day, but it was in 1968 when we were trying to get a good publicity picture for the MC5 to use to get more paying gigs and get them more known, more famous. They were very cooperative. They would do anything I asked them to do to take the picture. Including going nearly naked.
They knew it would blow up. They had that ambition. There was nothing stopping them. They were into whatever would help make the band more exciting. Especially the outfits. They kinda got the idea from watching people like James Brown. They knew they wanted the audience to feel excited and to come back, so they never wore the same things twice. We did a new light show every weekend. There was always something new to keep the fans coming back.” - Leni Sinclair
“You can tell from reading what my perspective on the whole thing was. It’s a pretty accurate piece of writing from my point of view. This band was fantastic. They were the fucking bomb. It was easy to represent them, because they could deliver even more than you could promise.
I saw them every time they played for about two years. They were so fantastic. They played, and I was a fan of theirs and then I became close friends with Rob Tyner. Very close friends. We’d get high, and rant and rave. He was a brilliant character. He turned me onto these concepts of a rock 'n roll band being more than just a way to make some records and buy your mom a new car. You could really do something to alter the course of events with this music and the careful presentation of it.” - John Sinclair
ABOUT THE ARTISTS:
was born in Koenigsberg, East Prussia, and raised on a Collective Farm in the former East Germany. She escaped from there before the Berlin Wall was built, and emigrated to America with the help of relatives and settled in Detroit. While studying geography at Wayne State University in the early 1960s, she helped organize the Detroit Artists Workshop and began documenting the cultural and political history of Detroit with her camera. She soon discovered the thriving Detroit jazz clubs and by mid-decade, she also found herself amidst an explosive “Michigan Rock” scene, working with emerging artists such as the MC5, Iggy and the Stooges, and Bob Seger while also serving as part of the lighting crew at the legendary Grande Ballroom.
(born October 2, 1941, in Flint, Michigan) mutated from small-town rock’n’roll fanatic and teenage disc jockey to cultural revolutionary, pioneer of marijuana activism, radical leader and political prisoner by the end of the 1960s.
In 1966-67 the jazz poet, downbeat correspondent, founder of the Detroit Artists Workshop and underground journalist joined the front ranks of the hippie revolution, managing the “avant-rock” MC5 and organizing countless free concerts in the parks, White Panther rallies and radical benefits. Working closely with lead singer and songwriter Rob Tyner and the members of the band, Sinclair brought the MC5 to local fame, national attention and a contract with Elektra Records.
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