New documentary “The Show’s The Thing: The Legendary Promoters of Rock” traces the unknown story of the 10 billion dollar live concert music industry we know today. The film had its world premiere at DOC NYC this week.
If you have been to a good concert before, you are probably familiar with its anatomy, equal parts electric and flesh. There are many moving parts needed to create that engrossing experience: a set of rousing openers, fantastic visuals, gorgeous lighting, a healthy crowd, and an impeccable stage technician delivering your hungry ears the best possible sound. Live music is that which goes straight for the heart, lifting you off your feet for a couple hours. Mega-agent Frank Barasolona knew this all too well.
The professional, highly-orchestrated concert we are familiar with today didn’t exist 60 years ago. Shrewd promoters like Frank Barasolona, who started the legendary Premier Talent agency, were instrumental in creating the modern-day concert practices, working tirelessly with like-minded hustlers like Irv Zuckerman, Any Grant, and Ron Delsener to bring the best acts to the people of America and the U.K. They were considered the tastemakers of music, the custodians of rock-and-roll bad-assery that wielded all the power; if you were a band seeking a venue, a promoter could either make or break you. Without Barasolona, Van Halen would have never touched down at JFK, and The Who would have never made it to the middle of nowhere in Des Moines, IA.
The 1950s and 60s was a time when the mainstream music culture was dominated by the youth. With nearly 65% of the population under 35, anything went to concerts. As music journalist June Harris mentions, burning guitars and smashed drum sets became a routine spectacle. The open-mindedness of this newly emerging juvenile audience gave promoters free license to dress up the stage in whatever way they wanted. At the time, the idea of spending more than $1000 on lighting was considered ludicrous. That quickly changed. As promoters injected live shows with a sense of extravaganza, paying more attention to (and more money for) the visual aesthetics of their concert, their popularity rose dramatically. Promoters became the music industry’s impresarios, changing the way everyone from record labels to venue owners approached crafting the live show experience.
Co-directors Molly Bernstein and Philip Dolin have stitched together something truly riveting, giving us an intimate look at the colorful lives of some of music business’ most influential players. A facet of the documentary’s strength derives from its charming interviewees, who inject the film with a pinch of levity that keeps you hooked from start to finish. For those with a nostalgia for the 60s, or are curious about the complex, yet entertaining history about a cultural moment that marked one the most significant watershed in music history, this documentary is certainly worth the watch.
