humanhost

[humanhost]

An Interdimensional Letter

[humanhost]

Out Now:

"Springtime For Blongo"

by Rick Weaver & Mike Host

With Bandcamp Friday comes a new download/cassette record release, "Springtime for Blongo" by the duo of frequent 2000's era Human Host contributor Rick Weaver and Human Host founding member Mike Host. "...Blongo" is their first release together under the Weaver & Host name, and the first time the pair have worked together on a full length record since the 2008 Human Host album "Creature Mountain".

Reasons for the less spacey moniker are not easy to summarize. The best way to distill the album's energy is to say that fantasy and reality were more balanced than usual for both artists as they created this mercurial set of songs (plus one lengthier semi-improvised composition) from 2021 to early 2022. This period was marked by dramatic moments of life and death for people all over the world. It was a time that provoked more thought than usual, but just as much mystification as any other moment in the Host's ongoing adventure into the realm of fantasy realism/real illusion.

Invisibility is usually at the heart of all Human Host works and inspirations. That's why when MT6 Records released the first HH full length in 2004 the group titled it "Invisible Arteries". "Springtime For Blongo" does not ignore the importance of invisibility, but tangible things became harder to ignore as the album was being made, so some noticeable acknowledgement of this had to come through in how the artists chose to credit themselves. Hence, a less spacey project name was born.

But the music of "Blongo" is far from strict in its relationship to this planet or any other physical thing. The record's press release makes sure that no one would ever mistake this record for anything other than a Host-adjacent gesture of interdimensional goodwill:

'Rick Weaver & Mike Host have been serving the globe as an unlimited imaginary partnership for 20 years, collaborating with the multi-media project Human Host and beyond (e.g. Zack Kouns, Lucas Rambo, old table, Form A Log, Feast Of The Epiphany, the Towson-Glen Arm Freakouts archival project). The duo takes pride in what they do and they accomplish this by never rushing through a creation. They make extra sure that whoever comes in contact with their work is charitably confused, happily unable to remember what they wanted in the first place. Weaver & Host's healing state of confusion illuminates existence long before any of their creative work is ever released to the public. 

Rick Weaver & Mike Host specialize in residential and commercial contextual installations using the finest in hand made melodic ingredients. Additionally, free of charge, Weaver & Host's music will accidentally provide decoding, root expansion, and unidentifiable repair services.

If you're looking for a premier melodic experience, "Springtime For Blongo" by Rick Weaver & Mike Host is the album for you. It's out now on Entropic Records.'

You can hear highlights from the album streaming for free at the Entropic Records Youtube channel:

You can mail order your cassette copy direct from the duo by contacting either one of these email addresses: 

[email protected] or [email protected]

As HH is on a lengthy hiatus from live appearances, you may purchase copies of the "Blongo" cassette at the merch table at any Fleece Eater show. Fleece Eater is a new-ish band featuring Mike from HH on drums. You can find out where their next shows are via the F.E. Instagram account: @fleece_eater

You can get digital copies of "Springtime For Blongo" from the respective Bandcamp profiles of Human Host....

...and Rick Weaver

...and from Entropic Records' website: 

Additionally, a single from the album ("Blongo" lead off cut "Moonlight Mosaic") is available as a download via the Human Host Bandcamp profile.

~

~

image credits (top to bottom) :

Detail from the cover art of "Springtime for Blongo"

and,

the full cover art from the "Moonlight Mosaic" single release

#Bandcamp #bandcamp friday

[humanhost]

HUMAN HOST IN PUBLIC: The First Two Decades Part 2 - a Realicide show at an abandoned apartment house in Cincinnati, Ohio; Autumn 2004

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People who live in or near the midwestern city of Cincinnati possess an odd mix of cultural influences. Smashed up against the border of Kentucky bluegrass to the south, the Appalachian foothills directly to the east, and the agricultural bread basket of Indiana to the west, the citizens of this Ohio River beacon have all been defined by contentious issues of identity. The southern influences seem to bubble up stronger here than in any other city in Ohio, even though for the most part the state has always been squarely neutral or unapologetically alligned with the Union when it came to political divides left over from the American civil war.

One of the more harmless southern culture elements in Cinci is the southern accent. Many Cinci residents speak with a drawl more akin to that of their neighbors in West Va. and Kentucky. With this accent,  words, sometimes even single letters, can sound as if they have two or three extra syllables.

At Human Host’s first Cincinnati show, before the music began, we overheard a kid in the audience off in a corner talking with some of her friends. Her voice had a thick southern drawl. She was talking about how that day was her birthday and someone had gotten her “EGGS” as a present. This inspired laughs and a’lot of confusion. I stopped whatever I was doing and replied, ”Eggs??? Really? That’s a strange birthday present. I mean, there’s nothing wrong with that, but...” She laughed and replied, ”No, no, no. Not eggs, i got ‘E’, as in ecst*sy” (aka the wild party drug so popular at raves and other EDM-type music fests). Her southern accent was so prominent that out of the corner of my ear the letter “E” seemed to sound more like “Ehhh” or “Ayy”. Since there is no such noun as “Ehh”, my imagination quickly transformed “Ehh” into “eggs”.

It was just a mistake, but in a weird way it was also a poetic allusion of things to come; eggs and ecstasy were ultimately the two things that symbolized the energy that went on to illuminate Human Host’s first Cinci show.

~

Before Human Host ever played Cincinnati, Rick Weaver’s other band New Flesh had made a splash in the town a few months-to-a year prior to HH’s debut there. Rick had turned the Host crew on to the records, flyers, zines, and web content created by Cinci multi-media collective Realicide; the collective’s teenage co-founder Robert Inhuman (who today is known as Robert Imhuman) was the promoter who booked New Flesh and he also had a great interest Rick’s other early 2000′s projects (mainly, Organ Donors, Flowers In The Attic, and eventually Human Host).

Anti-authoritarian/anti-imperialist provocation was and remains to be Realicide’s main raison d’etre, but these kids weren’t by-the-numbers punks. They refused to accept any strict convention involving punk tradition, especially when it came to hierarchies and aesthetic parameters. Much like Human Host, Realicide is concerned with creating a medium as expansive as their message. The group’s influence has extended far beyond the noise scene that initially embraced them. Today Realicide provides a free mobile sound system for local political demonstrations, they set up DIY film screenings with their offshoot group Gonx, and the Realicide artists have even gained a foothold in the global experimental punk scene by touring internationally. The Realicide record label releases material from like-minded overseas artists, and has secured worldwide distro for the releases of the many Ohio-based Realicide stalwarts.

Even though political elements have always been only a tiny piece of the chaotic puzzle that is Human Host’s inspiration, Realicide’s methods weren’t wildly different than ours. Their distinctly 21st century-style multi-media weirdness was drenched in classick crust punk presentation; just like us they refused to embrace the future, nor did they worship the present or the past. Just like us, this was a crew interested in altering their reality through creative work in as many different and positive ways as they possibly could. Come hell or high water, Realicide and their allies were going to save the world in their own weird way and we wanted to help them do it.

As we started booking our second tour in the fall of 2004, Rick Weaver convinced Robert and the Realicide crew to help book a Cinci stop for us. Memories about the tour date’s venue and exactly how the Realicide crew secured it are unclear; Rick Weaver seems to think this show may have originally been booked at a cafe or coffee shop. If that was the case, a last minute re-scheduling was probably neccessary after the original venue randomly cancelled on Robert. Touring around the U.S. playing experimental pop music was still a relatively new thing, especially when it came to the domestic DIY basement show scene circa the early 2000′s, a time that was essentially still culturally smothered by lingering trends of the 1990′s. Consequently, last minute cancellations were common for non-genre artists (aka artists who weren’t easily marketable) in this period.

But Realicide was acutely aware that problems like this were always possible. On a dime, the kids were able to find a back-up venue by utilizing the basement or laundry room of an apartment building one of their friends was sort-of living in. The place was a big old 5 story house on a hill with a basement and an attic. It had been converted into a apartment complex sometime in the 1940′s or 50′s, maybe earlier. By the early 2000′s the building was either abandoned, or its residents were about to be evicted. It felt very awkward hangin in there when the other acts (Realicide and poet/spoken word artist Jim Swill) were not playing. It often felt kind of like we were all tresspassing in there. We had to go upstairs to an apartment to use a bathroom and the place had almost no furniture, and many of the other apartments’ doors were wide open revealing spaces just as desolate as the one where the “public” restroom was. It was clear that - whatever was going on with the building - no one was supposed to be in there.

Adding to the eerie abandoned atmosphere was the fact that the night of the show was cloaked in a dense fog much more akin to that of coastal New England than any midwestern place. It was as if we brought a little piece of “The Evil East” along with us.

By late 2004 HH had been trying out many different line-ups and forms of live performance at gigs, but we were somewhat stuck in a rut by forcing ourselves to do something different at every single show (mostly as a means of adding a dynamic confusion texture to the work). One show we’d be an acid punk band with guitars and primal drums; the next we’d be doing improv drone music; the next we’d be playing quiet experimental folk using toy instruments; and the next we’d be stomping around crooning the paganistic electro-crunk that eventually earned us the 2005 “Best Live Act” award from the Baltimore City Paper (at that time we were one of the few non-genre groups ever to achieve that distinction).  

Since we knew that Robert and his friends were more than enthusiastic about stretching the parameters of performance and presentation, it seemed like the autumn 2004 Cinci event needed to be extra special. Back in the early 2000′s our sets were often meticulously planned, especially sets that we did on tour. Shortly before we hit the road in October ‘04, I came up with the idea of taking a big chance in Cinci and trying out a set that incorporated nearly all of the various shades of Human Host into one mega-diverse half-hour production. Even if the idea fell flat, even if we totally screwed up, we knew that the Realicide kids would at the very least respect us for honestly trying to do something ambitious.

As it turned out, the risky/schizoid set idea paid off. Even the screw-ups ended up making the set incredibly powerful and special. Our demonic crunk tunes would end and we’d collapse on to the floor only to start improvising drones created with tape machines, microphones, and processed live toy drum sounds that lasted only for a minute at a time. As each drone segement unfolded we’d kill the lights using a floor switch connected to the harsh work lights we used to light up most of our 2000′s gigs. When the painful white lights blasted back on we blasted back into our crunkenstein alter egos, howling out our vocals in operatic/troubadour style as we carreened around the room, possessed by music and the ethereal madness of creation on the fly.

Sometimes when we’d kick off the lights we’d forget where the switch was and there’d be a few seconds of maniacal laughter and confusing/out-of-breath discussion accompanying the opening of each crunk beat as we fumbled around attempting to find the “on” switch again. Instead of causing a hiccup in the action, these spontaneous introduction skits only made the performance and the subsequent flood of brutal light a thousand times more intense. Though the dance moves may consequently have been extra sloppy, the overall effect of this set was more energetic and rewarding for both artist and audience than anything we’d done before.

The lyrics and prose of Human Host often detail the symbiotic relationships of vulnerability and chaotic energy, reality and fantasy, intoxication and sobriety, stupidity and intelligence, the old and the new, the weird and the normal, Earth and outer space. As this set concluded I really felt we had covered all of these bases and probably about a billion previously unknown others. That feeling was beyond exhilirating; in the space of a few minutes our entire world had undergone a radical/irrevocable change for the better. While the spring 2003 Human Host show at St. Thomas Church in Towson* was where we were spiritually born, Human Host’s Autumn 2004 Cincinnati show was where our spirit came of age; the *egg* of Human Host had hatched in an outburst of interdimensional multi-media *ecstasy*.

  - Mike Apichella, co-founder of Human Host

~

photo credit: two shots taken by Scott Russell at a Human Host tour date that occurred at Nowarehouse in Cincinnati, Ohio circa Autumn 2008; unfortunately there are no known photos of the first HH Cinci show circa 2004.

* https://humanhost.tumblr.com/post/704049932941803520/human-host-in-public-the-first-two-decades-part

[humanhost]

Human Host In Public : The First Two Decades Part 1 - The First “Pre-Recorded” Show, April or May 2003, St. Thomas Church in Towson, Md.

In the spring of 2003 the grindcore/speed punk band Squints, screamo heavies Beyond The Grunt Call, and ultra slop garage punks The Castrates shared a bill with Human Host at St. Thomas Church in Towson, Md. If memory serves correctly, Squints were the headliner and the Host played second to last, right before Squints. By that point we had played no more than 2 or 3 other shows and those earlier gigs featured a line up that was mainly doing a kind of psychedelic punk which was almost totally different than the electronic/beat-driven music that would soon become our signature sound. So the kid who booked us at this gig was familiar with us as a 4 or 5 piece band that had a live drummer, guitars, and all the other average instrumental accoutrements of late 20th century rock. In short, everyone assumed we were just another guitar band filling out a bill with a buncha other guitar bands.

This assumption could not have been further from the truth.

The spring '03 show at St. Thomas was the first Human Host show to feature a set of completely electronic music mixed with performance art. The only live music element was vocals; the instrumental music was pre-recorded, just backing tracks played through the p.a. - no amps, no instruments, no problem. 

This type of performance was a knod to the dynamic/dance driven shows created by some of our fave early aughts pop acts - boy bands like N-Sync and Backstreet Boys; rap acts like Three Six Mafia, Cash Money Millionaires, and Nappy Roots; the big flashy choreography of live gigs from Destiny's Child, Blaque, Britney Spears, Christina Aguilera, Mandy Moore, and other bubblegum divas. Of course, our dance moves were never as rehearsed as any of the pop artists we loved. Our intentionally spazzed out steps resembled avant garde performance art a ' la The Living Theatre and Andy Kaufman, or the physically demanding 1920's slapstick comedy of Buster Keaton, Charlie Chaplin, Laurel & Hardy, and other surrealistic vaudevillians.

To say the least the audience of young suburban punks, Carver Center students, and metal heads really had no idea what to do other than simply to stare at us with their mouths agape. We had no records out at the time but we had plenty of lyric sheets to give out that night, an element that freaked the kids out even more. The lyric sheets highlighted the occult poetry of our interdimensional message; the artwork/design on these lyric sheets reflected an interest in the paranormal, paganism, comic book art, folklore, and other arcane visual/literary elements. In addition to the occult message, the crazy moves, and raw band-less/amp-less minimalism of 4 or 5 people running around with nothing but microphones and a billion pounds of nervous energy, we performed by the stark light of the fluorescent fixtures that hung throughout the venue. All the other acts played by dim floor lights that were confined to the stage. Our choice to have the regular lights on ( blasting us and the audience with brutal clarity) only accentuated the insane affront to rock'n'roll that we brought that evening. 

Dominic Angelella performs music today with internationally known indie acts DRGN KING and Lucy Dacus. But back in the early 2000′s Dominic was one of the Towson area’s major DIY music promoters. He was the one who booked the spring 2003 gig where Human Host debuted its electronic music mayhem. Appropriately enough, as Dominic remembers it this show was groundbreaking and controversial for reasons that transcended music, a true “ground zero” moment for the explosion of genre shattering creativity that’d soon become Maryland’s most important contribution to global arts and culture:

Dominic Angelella: “This show was a wild one for me on so many levels. I had settled in to a show-booking position I felt good about at St. Toms [aka St. Thomas Church] and this is the first time something felt off to me. Not that (Human Host) had anything to do with it; The Castrates made fliers where they did a collage of various vintage nun porn images and posted them around the city. I remember various people coming to me telling me there was a protest planned for the show, not from the religious right but from punks who found the flier sexist. Calls were made for me to cancel the gig I think?

I’m not really sure why I chose not to cancel the show, (maybe I even talked to [the artists] about this?) but regardless this gig really sticks in my mind as one of the times that cool city bands came up to Towson to play. HH really flipped my wig at the show, mainly because I didn’t expect it. I was at the first HH show at The Talking Head (in winter 2003), and thought I knew what the deal was going to be. Looking back, in many ways Human Host’s set predicted the soon to come Wham City onslaught that would siege the city, forcing musicians to choose between CCAS/Barclay and the new MICA-centric Baltimore music world.” 

Despite the fact that Human Host had done a handful of gigs prior to this, in many ways our spring 2003 set at the fellowship hall at St. Thomas Church was *spiritually the first* Human Host show simply because it was the first gig to feature our own homemade *symbiosis* of electronic music and visuals. Our sample-based collage of dancey toy synth melodies, Miami bass/Timbaland-influenced drum machine patterns, and tonal modern classical motifs never overshadowed the hyperactive performance art and vice versa. This was our way of proudly defying predictable early aughts genre conventions by melding hedonistic pop spectacles with faith-based anti-worship and art music. It was the spark that set off the many ultra weird live show explosions to come. From here on out everything Human Host did only got joyously and progressively weirder.    

[humanhost]

We only have a handful of colors and sizes left of these. Thank you so much to those who already bought some and also to everyone that attended, booked/promoted, and bought records at our recent series of concerts.

Here’s what’s left of the shirts:

Pink with powder blue ink  

2 youth mediums

3 smalls

* * * * * * * * *

Light blue with purple ink

1 youth medium

1 small

* * * * * * * *

Lavendar with black ink

2 smalls

* * * * * * *

Dayglo green with sea green ink

2 youth mediums

2 smalls  

***********

Kelly green with black ink 

1 small

Shirts are $30 each postage paid in continental North America/Mexico  

We also still have an even smaller stash of new Human Host e.p.’s (a self-titled 3 song c.d. e.p.). By request, we will ship a copy of the e.p. for FREE with any shirt order.

Or you can buy an e.p. on its own for the sliding scale price of $5-$8. Shipping rates on c.d.’s vary regionally, so please email us before sending payment.

We only take Paypal and money orders. We’d prefer that you not send cash thru the mail cuz that’s just risky as hell. But if you really want to, that’s fine (just don’t blame us if it gets stolen).

Other stuff for sale: we also have a decent selection of older HH releases on tape/cd/vinyl, informative leaflets (about the Host’s purpose[s]), lyric sheets (from the early 2000′s all the way up to this year), the proto-Human Host Towson-Glen Arm compilations of 90′s teen experimental music, and lotsa other weird stuff. You can learn more about our back catalogue here:

https://at.tumblr.com/humanhost/summer-2020-the-people-of-this-world-are-only/js67nhj4h34t

Any inquiries about Human Host merchandise can be sent via email to our brand new/super spectacular email address: 

[email protected]

This email address will be (most likely) our main non-social media contact point from now on. Whether you’re a die hard Host fan, a total rando baffled by us, or longtime friends and supporters just trying to catch up as we venture deeper into the decades of this invisible odyssey, you can message us anytime at the new address with your Hostian questions & comments, or even just to chat and say ‘hi’.

The Human Host trip is far from over and the peak is occasionally eternal (i.e., a “high” point in one dimensions can be a “low” in others and vice versa). Nonetheless, commitments unrelated to our creative work have just recently caused our public appearances to become fewer. That’s a fancy way of saying we will not be playing out much for the next couple years. But fear not, HH video content should become steadier at the turn of the new year, as will our virtual appearances and our growth as an interdimensional/non-physical entity; this is a constant work in progress, and perhaps the most important contribution we can make to existence (and all other real and imaginary ways of being).

[humanhost]

DM @alexfindcourage on iG for directions and to RSVP, space is limited at this show 

[humanhost]

EVEN MORE NEW Human Host t-shirt designs are available now and will be for sale at all of our Fall 2022 events - sizes include youth medium, small, medium, large, XL, and (for the first time ever) XXL.

[humanhost]

NEW Human Host t-shirt designs are available now and will be for sale at all of our Fall 2022 events - sizes include youth medium, small, medium, large, XL, and (for the first time ever) XXL.

[humanhost]

[humanhost]

HUMAN HOST LIVE APPEARANCES - AUTUMN 2022

Friday October 21 in Towson, Md. at Goucher College w/ Fetcher, Rex Pax, and Plastic Owl

Oct. 23 in Wilkes Barre Pa. at Curry Donuts w/ World Series Of Ghosts, Hobo Houston & The Dirty Rats, and Straight From The Foil

Fri Nov. 11 in Monroe NY at Alex's Wigwam w/ Common Ancestor, Dead Language (NJ), and Nightmare In Wonderland (this show will happen come rain or shine; if weather's bad it'll be moved indoors)

~ 

image credit: a still from the 1972 TV movie ‘Gargoyles’

[humanhost]

"Viva La Wombat" is the latest Human Host single, and the conclusion of a song trilogy soon to be released on a self-titled Human Host c.d. e.p. available later this fall. Other tracks on the e.p. include "Wild Gods Growing Weed, Weed Gods Growing Wild" and "The Human Torch Song" (both of which are also up now as singles on Bandcamp).

Here’s where you can download and/or stream “Viva La Wombat”: 

https://humanhost.bandcamp.com/album/viva-la-wombat  

"Viva La Wombat" has gone through many evolutions. It started out under the name "Hawaii Werewolf", a tune originally co-written by the NYC-based Human Host line up of Mike Apichella on percussion, Steve Yankou (of No One And The Somebodies) on guitar, and John Hollahan (of old table) on bass.

This new/re-titled version was played with electronic instruments and a harmonica by an interdimensional beast with a name that changes in spelling and pronunciation as each moment passes for all eternity. To avoid (and carefully preserve) confusion, we will refer to this creature as "the Host".

The earlier/Earthling-created version of "Viva La Wombat" can be heard on the 2016 Human Host album Ophiopogon's Blue Wonder (engineered by the one and only Paco Cathcart aka The Cradle). That came out on a now outta print tape, but it's still available for download via the Human Host Bandcamp profile.

The song name "Viva La Wombat" also has an odd history. It was first the name of an unrecorded Superstation song which I believe was written by Rjyan Kidwell (?) aka Cex aka Tumblr blogger Sangennaro. Unfortunately no recording of that song exists, but the song's title has been wandering around the subconscious world for a long time and has finally received a sweet place to rest.

More big things are in store for Host lovers this fall, so please stay tuned.

[humanhost]

Our summer of singles rolls on - here’s detail from the cover art of our latest single, “The Human Torch Song”. You can stream and download the song now via Bandcamp: 

https://humanhost.bandcamp.com/album/the-human-torch-song  

Along with our other most recent single release (”Wild Gods Growing Weed, Weed Gods Growing Wild”) this tune will soon be available on all major music streaming platforms.

[humanhost]

Above is the cover art from "Wild Gods Growing Weed, Weed Gods Growing Wild",  the newest Human Host single. It’s out now, available for download, and streaming on Bandcamp: 

https://humanhost.bandcamp.com/album/wild-gods-growing-weed-weed-gods-growing-wild

Soon “Wild Gods...” will also be up on all major streaming sites. 

This is the first of a series of singles we’ll be releasing this year all of which will be collected on a self-titled cd e.p. which should come out this fall and coincide with a series of shows Human Host will be playing in October. Dates and details on that are coming soon.

[humanhost]

A complete schedule of the Autumn 2021 outdoor shows with Human Host and County Conservation District 

[humanhost]

“...an extreme act of relaxation that brings the freedom and safety more often reaped as rewards for struggle.” :

https://www.splicetoday.com/writing/cosmic-sagas-and-intergalactic-conflict

[humanhost]

INVISIBLE TRINITY

When people play music their being merges into the presence created by an invisible lifeform,

A thing which never has skin, organs, blood, bones, hair, or any other physical trait.

The people’s music is the sound that comes when there’s no stand to take,

The sound of a freefall that cannot end on any form of solid ground,

The only song in the world that brings passion and love together:  

The mind that sighs

Beyond the line that has no beginning or end

A trace of space

There’s no disgrace

Through every place

Where we live

Sky blue pink

Sunshine in the rain

Scales that reflect

A memory at rest

For the intimate

For you, for me, for the infinity of others

~

The infinity of others,

A creeping vine of belief, blurred, beyond,

 Belief, blurred, beyond,

Belief,

Blurred beyond,

The creator, the created, and the holy spirits.

--------------------------------------------------------------

(image credit: detail from the Gervasio Gallardo cover art of Ballantine Books’ “The Doom That Came To Sarnath” by H.P. Lovecraft; 1971 edition)

[humanhost]

So after a’lot of thought it has suddenly become clear that there are actually no photos of Human Host touring. There are photos of Human Host playing gigs outside our home town, but that’s not the point here. Ultimately the word “touring” means traveling, moving from point A to point B. There are no actual photos of Human Host in a moving vehicle. There’s not even any photos of us walking anywhere, not even during the many recent Host tours done via public and commercial mass transit.

As we’re stuck in a time of widespread and much needed isolation, it seems like now is the best moment to share some images that reveal why being on the road is so interesting and rewarding. Soon we’ll travel on into another year, so hopefully images like this will come to life: images of mystery and adventure to wash away life’s negativity, images from the not-so distant past to remind us of all the good that waits in places where we can pick up from where we left off.

~

--------------------------------------------------------

Image credits:

Top photo by David Richardson; this was taken in 1999. The driver is Mike Apichella aka your humble Human Host aka the being who’s written this. David and I weren’t on tour with a band, we were on a short road trip heading to the Lancaster, Pa. area to meet up with ex-Bill Haley & The Comets member/legendary 60′s garage rock producer Joey Welz. Still, we were traveling for music-related purposes, so this is probly as close as you’re gonna get to a genuine photo document of the Host in transit. 

Bottom image: A public domain photo taken somewhere near the Utah border in the western desert region of America