“Rock 'n’ roll is art, but it also means sex, so it’s just the perfect combination -- especially for the young teenage girl. I remember when Mick Jagger lit me up when I was 15, and I thought, 'OK, I want some of that.' our relationship was purely sexual.”
Des Barres was motivated to log her experiences, and those of her pals, because she felt the word "groupie" had become something tawdry, especially as reality shows featuring rock stars looking for love in a house full of women looking for fame became the norm.
“For a real groupie/music lover, you’re not in it for money. You’re in it for the thrill of being with someone famous,” she said. “Sure, we loved the little bonuses. Being taken on the road, staying in really cool places, but the main joy was to be with this person. We all fell in love. There were relationships.”
Her cross-country journey took her to Utah to see Tura Satana, the woman who taught Elvis a few tricks in the boudoir; Seattle, where Robert Plant's muse Michele Overman resides; Chicago, the home of iconic groupie Cynthia Plaster Caster; California to meet Cassandra Peterson, who was a well-known groupie before becoming Elvira; and Arkansas, to visit the famous Connie Hamzy, known solely as “Sweet Connie.”
“Sweet, sweet Connie, doin’ her act / She had the whole show and that’s a natural fact,” Grand Funk Railroad sang in its song "We're an American Band."
Hamzy, unlike the other groupies, was never looking to build relationships. She was after sex, and she unabashedly shared intimate moments with virtually every rock star -- even their roadies -- who came through Arkansas.
“Look, we’re not hookers, we loved the glamour,” she clarifies in the film when pressed about her conquests. “We’re getting to hang with celebrities. I’m 55 years old, so I don’t do the things I used to. I don’t look the way I used to. There aren’t women who could do what me or Pamela does. How many songs on the radio have a gal's name in it?”
Sweet Connie never minces her words -- ever. She boasts that she’s bedded -- or serviced -- anywhere from 700 to 1,000 musicians and their crew guys. She says she still gets requests from bands, which she is happy to oblige. Though a lot of her anecdotes can't be printed in this publication, one of her favorite memories is of helping Don Henley join the "Mile High Club" -- with a little bit of help, albeit unexpected.
“I had my eyes closed, because that's what you do when you're making love, before feeling another set of hands on me and it was the pilot. Then I realized, who could be flying this thing? Don tells me not to worry, it’s on autopilot,” she said. “My only complaint is they didn’t ask me how I felt. I mean, it can’t be safe to put the plane on autopilot, can it?”
Hamzy admits she sometimes got attached to some of the stars, including Eddie Van Halen (she also had his brother, “but not at the same time,” she quickly points out).
“I think I let him slip through my hands. I did get attached to some of them. I feel in love with some of them. You build attachments,” she says before catching herself. “But it's pointless. They are here today, gone tomorrow.”
When pressed about relationships with married musicians, she lets out a hearty chuckle. “I was with some and their wives, at one point, which I didn’t mind. Most of the times the wives detest me. But I will say if they think I’m the only one who’s ever done this with their husbands, then they are very naïve.”
Overman, who also dated a pre-Aerosmith Steven Tyler, puts it differently when she thinks of her teen years with Plant (ironically, they dated at the same time Des Barres was seeing another Zeppelin member, Jimmy Page).
“It was an instant attraction. And he was married, so you know, it didn’t last. But it lasted for three years. I just really liked him,” Overman said. “I really wanted a boyfriend. And when you’re that young, you kinda don’t think about the consequences of that sort of thing. You just think it’s all going to work out the way you want, and you will ride off into the sunset. But it didn’t.”
“Let’s Spend the Night Together: Confessions of Rock’s Greatest Groupies” airs Wednesday at 8:30 p.m. on VH1.
-- Gerrick D. Kennedy
twitter.com/gerrickkennedy
Photos: (Top left) Pamela Des Barres and Keith Moon.
(Top middle) Vintage Des Barres.
(Top right) The GTOs, a groupie group created by Des Barres that featured her, Linda Sue Parker, Lucy McLaren, Christine Frka, Sandra Leano, Judith Edra Peters and Cynthia Cale-Binion.
(Middle left) Vintage Michele Overman.
(Middle right) Jimmy Page with Des Barres.
All photos courtesy of VH1.
Aaron Brazell notes, as many have, that it’s amusing to watch the apoplexy aimed at Julian Assange and WikiLeaks for posting stolen classified documents while his co-conspirators in the mainstream press publish them with next to no criticism. But Aaron moves from this to make a more novel argument, namely that Assange is threatening to topple what’s left of the traditional media business model.
he media is on the sideline, their power usurped from this rogue operative with a rogue website. Instead of the New York Times or Washington Post benefitting from the receipt of leaked information as has been the case in their traditional past (see Watergate), an upstart “news organization” is stealing their thunder. Sure the Times and a variety of other media outlets were given the data eventually, but the arbiter of information was no longer them.
While the media wrings their hands over a contrived battle between the morality of publishing leaked, national security documents and preservation of national secrets, the bigger capitalistic battle is happening and that overshadows journalistic sense of responsibility.
The ability to be first is being tainted here. While Wikileaks promises to distribute new information, acting as a benevolent dictator, to news organizations, these news organizations are capitulating their responsibilities simply to make sure they have some crumbs off of Assange’s table.
No one, certainly, is suggesting that news outlets should become a lap-dog, as I have heard toss around, of the government, bowing to their every will and whim. Certainly not, lest we live in a Communist system. However, the media is expected to operate in a suitably responsible way.
In this case, the media knows that they are on the outs. In a last gasp of industry-pride, they have sacrificed themselves in a last-ditch effort to remain relevant. Put in another way, they have come to serve themselves instead of the people they exist to serve.
I’m not sure I agree with either part of this.
WikiLeaks and Newspaper Profits
First, it’s true that the Internet has been killing the old business model based on advertisements in printed copies. And WikiLeaks is to some extent furthering this. But, as it is, WikiLeaks is only important because hundreds of reporters from well established newspapers are sifting through the piles of mostly worthless documents to ferret out what’s interesting and distill it for their readership.
The upshot is that Assange is handing these papers mini-scoops and exciting stories to cover, thus boosting their bottom line. By contrast, I haven’t the foggiest notion of how Assange is making any money off of this.
Now, it’s conceivable that Assange could bypass the Guardian, Times, and others and simply dump them out there for crowdsourcing. Maybe Josh Marshall and the TPM gang or Arianna Huffington’s minions over at HuffPo would do the sorting, instead. But right now, the threat to the mainstream media is minuscule at best.
WikiLeaks and Journalistic Ethics
Is the press here ignoring the real risks of going public with classified documents that could ostensibly cause real harm to their publics? Maybe. Then again, this is hardly the first time. Leaks are the bread and butter of scoop journalism and they have been for some time.
Further, it appears — granted, we have nothing to go on but the publishers’ own accounts of the process — that the newspapers in question actually took the risks seriously, carefully vetting the information before going to press. The NYT, especially, seemed to bend over backwards to get commentary from the US Government and to pass along any objections and their own redactions to other papers who’d received the dumps.
Beyond that, once Assange made the documents publicly available on the Internet, the only thing the editors would have achieved by refusing to report on what was in them was to lose money. Someone was going to report anything of interest.
Turning full circle, I’d also note that there’s an important distinction between the conduct of the newspapers in question and of the WikiLeaks gang: The former didn’t encourage the commission of crimes by those entrusted to protect America’s secrets and set up an elaborate conspiracy to make doing so easier. Yes, they routinely cultivate sources with access to such information and happily abet legitimate whistleblowers. But they’re not out to create anarchy just for the hell of it.
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