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Robert Barry Francos
The first issue of FFanzeen was dated 7/7/77. It was started in response to the elitism of college newspapers at Queens College, where I couldn't get an article printed unless it was about disco or prog. Ugh. One night at CBGBs, I got up the courage to approach Miriam Linna, who was then drummer of the Cramps, and started from there to get interviews. As my knowledge of the physical aspects of publishing grew (e.g., layout, typesetting), thequality of the mag grew. As the 70s turned into the 80s, a New York fanzine, The New York Rocker (post-Alan Betrock), repeatedly complained about the scene and kept putting it down. At that point, I made a promise to myself that when I started to not be as interested in the scene, I would pull out before I became bitter, like them. As time went on, I found I was printing more and more stories from bands from the '60s, than from the current crop, so I knew, it was time for me to pull the plug. The last issue of FFanzeen was dated December of 1988. It was a wonderful 11 year, 15 issue run. I still have many friends that resulted from my fanzine days, Nancy Neon included, and for that I feel very fortunate. Now I do reviews for other fanzines, including Shredding Paper and Jersey Beat. Also, I take photos of bands, including at a Brooklyn-based non-profit/DIY club called the Punk Temple. My music photos from years gone by can be seen here, and the newer ones from the Punk Temple. If bands are interested in my taking their photos, I can be bought.

Nancy L. Foster created the original fanzine "New Age" in the 1970's out of Greensboro, North Carolina (not to be confused with the national publication which took the name which focused on, well, "new age" type subjects). She also wrote for Robert Barry Francos' Fffanzeen out of New York, Muisc Monitor in North Carolina, and The Improper Bostonian. As music editor for the men's publication OUI in the 1980's, and full editor for a couple of national teen magazines published by Oui, Nancy brings a special insight and respectability to Music Business Monthly. Her photo appeared in Musician's Magazine for years as half of the nom de plume Janis Reed.

Joe Viglione began publishing at the age of 15, turned that magazine into a respected rock record label in 1976, went on to manage Stones/Steve Winwood producer Jimmy Miller, held A & R positions at several Independent labels signing Jefferson Airplane's Marty Balin, Johnny Thunders, Spirit, and other acts. His work has appeared in Billboard, The Boston Globe, Boston Phoenix, Real Paper,, All Music Guide, Barnes &, trade publication Medialine (the former Replication News). His column in Musician's Magazine garnered A & R interest from major labels for many Boston area acts, those A & R men probably not aware that Nancy Foster's photo and Joe's scribblings were what they were actually reeding...that is, reading.

A.J. Wachtel is a celebrated Boston area writer best known for his work with The Beat magazine, a regional paper that made some noise in the 1980's after being created by the late Mickey O'Halloran. Barry Cowsill allegedly started a rumor that A.J. is cousin to guitar great Waddy Wachtel, something that has probably dogged Waddy for decades. It is rumored he has had involvement with The Boston Phoenix, The Boston Herald, The Boston Globe, The New York Times and (though he'd never admit to it) even more straight laced business journals. A.J.eventually became what he spent many years writing about - a musician who did in-depth research on the subject matter of alcohol and wanton women. Thankfully, he survived this decadent moment in his past, surviving even the moniker that became legend in the Bunratty's circle - Blind Lemon Pledge (And The Seeing Eye Dogs). He was also a member of the Allston Brothers band. A drier, more cerebral entertainment writer in the new millennium, at the time of this writing, our scribe supports the local Boston music scene, seeking out the next big thing to prove to the world that Boston Common is the ultimate oxymoron.

Gary Pig Gold (not to be confused with the Jazz drummer for Bonnie Raitt/Ivan Neville) came of musical age whilst being babysat by mighty CHUM-AM 1050 Toronto at his Aunt Jenny's Canadian cottage during the long-lost Summer of '62. He spent the early Seventies collecting Merseybeat and Buddy Holly vinyl until bumping into Joe Strummer at a Troggs concert in London circa August of 1975. Duly inspired, Gary immediately returned to Canada to start that nation's very first pre-punk fanzine "The Pig Paper" by scalping mock-concert programmes outside local Who and Kinks koncerts. That lead to the formation of Pig Records (first signing? the now-very-hot-indeed-again Simply Saucer) and an offer to tour Australia as Jan and Dean's bassist. No passport; stranded in L.A.; began a new band there (The Loved Ones) which offered The Bang(le)s their initial Orange County, CA gig. But then next he knew, Gary was night-managing the Vancouver, British Columbia 7-11 en route to touring throughout the second Reagan administration as the self-styled "Gary Jardine" of Canada's only fully-authorised Beach Boys tribute band Endless Summer. Legendary Canuck punks Teenage Head were then toiling the same circuit; Gary hooked up with their lead screamer Dave Rave, recorded his "Valentino's Pirates" album in Daniel Lanois' Grant Avenue Studio, moved the operation to an illegal sublet on Manhattan's extremely Upper East Side, and licensed said recording to none other than Melodiya Records (making Dave the first non-Russian signed exclusively to the then-Soviet state label). Put together the Hoboken-based Maximum Rhythm 'n' Bluegrass band The Ghost Rockets next, helped form the To M'Lou Music label with ex-Cheepskate Shane Faubert, and can to this day be found happily running said virtual record company from high atop the Heights of Jersey City, USA ...when not filing his quarter-century-and-counting "Pigshit" column for MBM, that is!