{"id":1317,"date":"2025-10-08T18:00:59","date_gmt":"2025-10-08T18:00:59","guid":{"rendered":"https:\/\/www.clarku.edu\/alumni\/?p=1317"},"modified":"2025-10-08T18:05:55","modified_gmt":"2025-10-08T18:05:55","slug":"booked-em-clarks-backstage-pass-with-dan-portnoy-79","status":"publish","type":"post","link":"https:\/\/www.clarku.edu\/alumni\/2025\/10\/08\/booked-em-clarks-backstage-pass-with-dan-portnoy-79\/","title":{"rendered":"\u201cBooked \u2019Em\u201d: Clark\u2019s Backstage Pass with Dan Portnoy \u201979"},"content":{"rendered":"\n
\n

As a student at Clark in the late 1970s, Dan Portnoy \u201979 helped turn Clark into a stop for some of the era\u2019s most iconic performers. From booking The Cars before they hit the charts to signing Talking Heads months before their debut album, Portnoy found himself at the center of Clark\u2019s thriving live music scene.<\/em>

What began as a favor for a friend (Larry Pinckney \u201980) on the Student Activities Board became an unforgettable hands-on education in show business.<\/em><\/p>\n\n\n\n

\"\"<\/figure>\n<\/div>\n\n\n\n

<\/p>\n\n\n\n

Beginnings on the Student Activities Board<\/u><\/strong><\/p>\n\n\n\n

It was 1976 and the Student Activities Board (SAB) was in the Little Center then. The fellow who preceded me was Larry Pinckney. I wasn\u2019t a music person; he was. Since he was like 11 years old growing up in Philadelphia, he was promoting acts in the music business\u2014he managed major acts when he was a teenager or something like that.<\/p>\n\n\n\n

When we were freshmen, the group that preceded him running SAB had a major scandal. My sense was they spent a lot more money than they had and broke the budget. Clark had to back it up. They were ousted. Larry, who was a freshman and knew the business backwards and forwards, took it over.<\/p>\n\n\n\n

I just got involved because I was down the hall in the dorm. We were friends, and when he decided to go and design sets for major acts, he chose me to take over. Even though I was not the most into the music business, he thought I was responsible. I kind of am.<\/p>\n\n\n\n

Learning the Music Business<\/u><\/strong><\/p>\n\n\n\n

I kind of slid into it and had a blast with it. It was great.<\/p>\n\n\n\n

We (Clark) had a lot of advantages\u2014if there was a band booked in Boston and booked in western Massachusetts, we were right in between. If they had an extra day, Clark was a good place to slot in.<\/p>\n\n\n\n

I spent a lot more of my time doing concert stuff than doing my academic work. I was in the SAB office all the time.<\/p>\n\n\n\n

It was pretty wild, me being a sophomore or junior, signing these contracts with no faculty oversight.<\/p>\n\n\n\n

Talking Heads (February 6, 1977)<\/u><\/strong><\/p>\n\n\n\n

When I booked them, they were already pretty famous. Back when Larry was doing concerts, punk was coming into vogue, and we just said, \u2018We need to do a punk band.\u2019 Turns out it was the Talking Heads before Talking Heads: \u201977 came out. Nobody had heard of them. Larry told me he paid $350 for them.<\/p>\n\n\n\n

I was like ten yards in front of the Talking Heads (during the concert). I wish in retrospect I paid more attention to what they were playing, but it didn\u2019t sound great\u2014it was too loud and reverberating for that small of an area. That became my favorite band for the longest time.<\/p>\n\n\n\n

Later, when they were huge, WCUW asked if I could get a band like Talking Heads for a benefit. I called the agent, and they remembered we\u2019d booked them when they were nobody, so we booked them again for a pittance of what they were able to charge then.<\/p>\n\n\n\n

They came up. I said, \u2018What kind of sound and lights do you want?\u2019 They said, \u2018Actually, just put two trees on each side of the stage with no gels\u2014just all white light.\u2019 It was the most incredibly creative use of lighting I\u2019ve ever seen.<\/p>\n\n\n\n

Sad story: I had a box of my college things in my parents\u2019 attic which was thrown out when they moved\u2014it contained the contract with both my signature and David Byrne\u2019s on the bottom. I wasn\u2019t as concerned with the academic items that were lost!<\/p>\n\n\n\n

The Cars (September 24, 1978)<\/u><\/strong><\/p>\n\n\n\n

Getting that band was a real coup. One summer I spent in Worcester, I just heard a demo\u2014it wasn\u2019t out yet\u2014it was \u2018Just What I Needed\u2019 by the Cars. As soon as I heard it, I called the record company, got in touch with the agent, and said, \u2018I want to book the Cars.\u2019<\/p>\n\n\n\n

I booked them for about October. It was a good move\u2014lucky and fortuitous. By the time they played at Clark, the cost to book them was 15\u201320 times higher. I\u2019m pretty sure it was $3,000, and I think they were going for $30\u201350,000 depending on the size of the arena.<\/p>\n\n\n\n

Booked Shows & Stories<\/u><\/strong><\/p>\n\n\n\n

\u2018Dizzy\u2019 Gillespie<\/strong> (February 26, 1978):<\/strong> I\u2019m not a big jazz fan, but we tried to book different types of music. My mother is a huge jazz fan and couldn\u2019t believe I booked \u2018Dizzy\u2019 Gillespie. Every contract had riders\u2014the typical clich\u00e9d stories of only red M&Ms. Most of them weren\u2019t like that, Dizzy\u2019s manager gave me his home number and said to ask him what he wanted.<\/p>\n\n\n\n

Earl Klugh (September 30, 1978):<\/strong> We did a coffeehouse in Dana. We rented tables, cappuccino machines\u2014it came off really well actually, though my artistic sense is poor. I bought all these mylar strips to look cool\u2014it didn\u2019t. But it was fun.<\/p>\n\n\n\n

Taj Mahal (March 12, 1978): <\/strong>During that time, I was most into reggae. I hitchhiked to New York, found this ska band from Dominica called Moja Nya. They opened for Taj Mahal\u2014came out in full African attire. They were in dashikis, as opposed to jeans and t-shirts when I first found them.<\/p>\n\n\n\n

We also had Meatloaf, Be Bop Deluxe, Dwight Twilley Band, Robert Palmer (who painted the mirrors in Atwood with mustard and ketchup) and Chicago blues acts from Alligator Records.<\/p>\n\n\n\n

Memorable Moments<\/u><\/strong><\/p>\n\n\n\n

When Patti Smith played (March 16, 1979), she told me directly: \u2018When we start \u2018Because the Night\u2019 and we put our hands up, turn on the lights.\u2019 I was up above the stage on the catwalk\u2014the booming intro drumbeat from down below hit my heart. It got all the excitement up, and at the same time, when they left, the lights being on signaled no more encores.<\/p>\n\n\n\n

After Clark<\/u><\/strong><\/p>\n\n\n\n

I do think it [the experience] had influence\u2014I got two offers in the music business after Clark, including from Alligator Records. It wasn\u2019t my style everybody was hip and cool and yet you\u2019d get stabbed in the back nonetheless or you\u2019d have to stab somebody else in the back. That wasn\u2019t for me. I liked the much more calm and demure atmosphere of investment banking.<\/p>\n\n\n\n

My first job in finance was at Morgan Stanley. I think they were impressed that I was spending 40+ hours a week booking concerts while going to school.<\/p>\n\n\n\n

Reflections<\/u><\/strong><\/p>\n\n\n\n

Sometime after I was booking the concerts I didn\u2019t think of myself as too much of an egomaniac, but there was this one editorial\u2026The Scarlet did a story about me without interviewing me. It had this one cartoon sketch\u2014it was purportedly me, a guy in a big top hat plugging in a thing with lights coming on. I was the mover and shaker. I didn\u2019t feel like the mover and shaker.<\/p>\n\n\n\n

Funny story: Whenever a Talking Heads (or Cars, among others) song comes on the radio, I always call out, \u2018Booked \u2019em!\u2019 My kids, of course, roll their eyes. Hey\u2014it\u2019s only been a couple thousand times.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

As a student at Clark in the late 1970s, Dan Portnoy \u201979 helped turn Clark into a stop for some of the era\u2019s most iconic performers. 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