She wouldn’t want me telling you this — the first thing to know about Roni Hoffman is that, unlike some of us, she tends toward the taciturn. In fact, after more decades together than we’d ever admit, I’m still hearing new details of her story.
But it’s a helluva story.
Her boyfriend was among the first of the dubious breed that came to be known as rock critics. You see, back in the day, there were these things called daily newspapers and each one had a middle-aged guy who wrote about jazz and that’s who the dailies would send to cover rock concerts, often with laughable results, at least to rock fans. But along came a publication called Crawdaddy, the first real rock magazine, a year before Rolling Stone. Sandy Pearlman wrote for it. And so did Roni’s b.f. Which meant that at 17 she got to hang out with Jimi Hendrix backstage at a club in Greenwich Village, and later to attend the press conference atop the Pan Am building where, in a publicity stunt, the nascent guitar god had just landed in a helicopter. She was at the Dom on St. Mark’s Place when the Velvet Underground played, and a 17-year-old Jackson Browne opened. She was at Patti Smith’s first poetry reading, before Lenny Kaye strummed along on guitar, and then backstage at the Bitter End when Bob Dylan stopped by to pass Patti the torch as rock ‘n’ roll poet laureate.
Jim Morrison put his arm around Roni’s shoulders and a joint in her mouth. Mick Jagger just put his arm around her shoulders — though the occasion happened to be a birthday party for a raging drunk Norman Mailer, who put his hands all over her. She dined with Lou Reed at the writer Lisa Robinson’s apartment. She and her b.f. shared a house with the Blue Oyster Cult, back when those metal pioneers were called the Soft White Underbelly. She met the young Iggy and Alice Cooper and Marc Bolan of T-Rex and such monumental rock elders as Muddy Waters and Screamin’ Jay Hawkins. She was at the celebrated Rock Writers Convention in Memphis in ’73, where the original lineup of Big Star, Alex Chilton’s band, played their one and only gig, and on the infamous Hells Angels boat ride around Manhattan, the same year, where she got to know Jerry Garcia and Bo Diddley, both of whom performed, and where she witnessed the Angels preparing to throw overboard a smarmy young local-TV reporter named Geraldo Rivera. She was in the room when Epic signed a raggedy-ass outfit from SUNY/New Paltz called the Dictators, who would then make the first-ever punk record. An undergraduate Gary Lucas crashed on her couch, a dozen years before he captained Beefheart’s Magic Band and an over-served Lester Bangs passed out in her armchair, a dozen years before he overdosed.
Her kids think of her as their unassuming mom. Little do they know.
Hard Rock has a cafe at the brand new Yankee Stadium, and, along with the prime real estate, gets thirty seconds every game in front of 50,000 fans on the hi-def Jumbotron. Not surprisingly, they tossed the opportunity to agency of record, D/C, which cooked up a modern mashup of the old chestnut “Take Me Out to the Ballgame” as sung by New York-area rock stars.
The spot was mostly shot at the stadium the day before it opened. And the musical cast included Darryl “DMC” McDaniels, en route to a plane to Cleveland for his induction into the Rock ’n’ Roll Hall of Fame; Bronx native and Yankees fanatic Ace Frehley of Kiss; Scott Ian of Anthrax; Little Steven Van Zant; the Bacon Brothers (Kevin and Michael); the Dictators’ Handsome Dick Manitoba, another Bronx-bred Bombers fan; and Bernie Williams, the retired Yankees star — and hot-shot guitarist — now making his own promising play for rock stardom.
In addition to the scoreboard, the spot will be aired on the TV systems at both the Yankee Stadium and Times Square cafes.