The ‘Monterey Pop Festival, Then and Now’ is presented by the Museum Of Monterey from April 13, 2012.
In 1997, a decade before a fortuitous meeting between Michael C. Ruppert and Venice musician Doug Lewis in the spring of 2008, Lewis was busy recording his on-going Fell Music project. The meeting of Ruppert and Lewis would lead to the forming of the New White Trash and the making of their debut album, Doublewide, a 37 song double-disc set chronicling the slide of the former middle class down a ‘steep and slippery slope to the new white trash, a place and genre impartial to race, creed or color’. Doublewide was released January 11, 2011 and has since found a home with a worldwide audience of truth seekers investing in alternative and conscious voices to match the signs of the times. One song from Doublewide, titled ‘We Can’t Escape From‘ found its way onto the soundtrack of the DVD release of Collapse the Movie, directed by documentary filmmaker Chris Smith and featuring Michael Ruppert as the only character in the film. Roger Ebert said this of the film: “I don’t know when I’ve seen a thriller more frightening. I couldn’t tear my eyes from the screen. “Collapse” is even entertaining, in a macabre sense. I think you owe it to yourself to see it. ”
Some people meet over drinks; Ruppert and Lewis met at a dog park adjacent to the Santa Monica airport near Venice, CA. In an excerpt taken from the article ‘Grooving With The Archetypes‘, a piece about the VAC written by Bud Theisen, Lewis says, “Mike and I met at the local dog park, our dogs got on very well and so did we. I gave Mike a copy of the Cheeters first CD and he loved it. He gave me a copy of Crossing The Rubicon, which I devoured.” Lewis, always on the prowl for new musical talent, took an interest in Ruppert’s desire to play and record music. “I made him work for it,” says Lewis. “I pushed him pretty hard and he didn’t fold. In fact, he blossomed. Mike is a great teacher about what he knows, and a terrific student when it comes to learning new skills.”
For Ruppert, those new skills included learning how to work the microphone while developing a more ‘left brain’ approach to writing, away from the factual reporting of his day to day and into a more sublime world of the trans-poetic, lyrical experience. In a word…storytelling. Fortunately for Ruppert, Lewis had been mining this ground for decades, with themes and songs of cautionary tales to do with protest, eternal war, with revealing commentary swiped against a background extending from Vietnam to the big bomb.
For Lewis and Ruppert, there were no issues in reaching common ground in the recording studio. With their two sensibilities cut from the same desire to formulate words into the action of social commentary by speaking out through popular song, Lewis and Ruppert, along with Andy Kravitz, Kristen Vigard, Cara Tompkins, James Mathers, Malia Luna, and a host of others, poured their time and energies into recording their collaborations for what would become Doublewide.
Could two people be more different? Lewis – tall, lanky, whip-smart with movie-star looks (think Willem DeFoe meets Chet Baker) and more rock and roll attitude than most rock & rollers vs Ruppert – a former LAPD cop who looks like he could be Wilford Brimley’s kid brother. Yet, for Lewis, meeting and recording with Ruppert had a reassuring effect. “Mike and my sensibilities are perfectly aligned. I’d been working this ground a long time, steering each of my collaborative projects into a direction of relevance, refining the message, speaking out. Working with Mike was a breath of fresh air. Between us, we hit a groove and didn’t waver”
‘Dangerous Ground‘ from Lewis’ Fell Music project was recorded in 1997 at Arthur Barrow’s Lotek Studios in Mar Vista. The message is familiar, the imagery informed and the lineage apparent from the Dangerous Ground to Doublewide.
Mark Baer, President, Museum of Monterey and Managing Director of SmartChannel.TV