Mayor of the Sunset Strip

According to this film, the 'Mayor of the Sunset Strip' is Rodney Bingenheimer. Rodney who? Well, watch this fascinating documentary, directed by George Hickenlopper (HEARTS OF DARKNESS : A FILMMAKER'S APOCALYPSE), and find out! Bingenheimer is seemingly the kind of selfless guy who appears to have initially been a kind of male groupie in the 60s and who subsequently unconditionally promoted U.S. and U.K. rock and pop acts through his L.A. based 'Rodney on the Roq' radio show and is acclaimed in almost reverential tones by those who owe their Stateside break to the airplay which apparently broke them through to the U.S. mainstream. As these artists include the likes of Brian Wilson, The Ramones, The Sex Pistols, Oasis and Coldplay (not sure I can forgive Rodney those last two), and given that the soundtrack includes these bands and many more individuals and groups (e.g. including a certain Mr. Bowie) which would have set virtually any other movie back several million greenbacks had they not offered their tracks for the minimum cost required to sort the legal paperwork, one can see how revered this apparently somewhat impoverished starmaker is (although his collection of pop memorabilia could set him up for several lifetimes should he choose to part with it). A Zelig-like figure whom the film's archival footage (filmed and photographic) shows to have been present at virtually all the epochal rock moments of the last 40 years, as well as one whose life has perhaps not turned out to be as successful as one might expect (the man still appears to dine at Denny's, for crying out loud!) and who seems to have been let down by those who might have reciprocated more kindly for the leg-up he appears to have given them, is well-served by this compassionate, occasionally hilarious (the Cherie Currie story about sinister svengali producer/performer Kim Fowley and his punchy riposte is a hoot) and ultimately rather sad and cautionary tale of the darker side of the American Dream. A man who, as my friend pointed out afterwards, appears to have inspired The Ramones' choice of tonsorial grooming and who still appears to be occasionally mistaken for The Monkees' Davy Jones (he originally auditioned for Jones' role and was sometimes deployed as his double which, if nothing else, seems to have added a few notches to his bedpost) and whose sad-faced countenance speaks more vividly of a lifetime of let-downs than any rancid verbal outpourings (he actually seems too polite to engage in on-screen badmouthing of even those who might deserve a well-aimed verbal broadside), this features an engaging mixture of talking head and rare archival footage and entertains as it delivers an impressionistic vulture's eye view of the West Coast zeitgeist, leaving one in no doubt that the film's title appropriately rests on this unlikely, slightly-built and spindly-legged character. An enlightening documentary, and highly recommended fare with no 'dead air'.

As a co-star in this movie I am duty-bound to make a correction, namely, that RODNEY was NOT dropped off at Connie Stevens' house by his mother. This was a fabrication introduced by the director, and voiced by Kim Fowley.

I agree with several people: the movie should be re-cut (it's possible, because the raw footage is still in storage) and the crap (the too- "dark" stuff) removed...and made much longer. So much was never seen...

and this was supposed to be a pro-RODNEY movie (and not an anti-Kim Fowley picture). It could have been a GREAT documentary instead of just a GOOD one...

Trivia: Originally, this movie was supposed to have been offered via Paramount Pictures. What would have happened IF it had, one wonders?

Rodney Bingenheimer. I hadn't heard his name before this film, but the friend I went to a pre-screening had. I am not originally from Southern California, but my friend is. I never knew the influences people can have over a scene. I am so glad there are people like Rodney out there. In this world of corporate takeovers and the almighty dollar, I am happy there are people who stick to their guns like Rodney. He is one of the last Djs in America that doesn't have a corporation make his playlist and his life reads like a history of who's who in the rock world. He has been everywhere, with Elvis, with John Lennon, with the Beatles eating up shrimp that should have been saved for the Doors. He was Davy Jones' double on the Monkees. He was in "Rock and Roll High School!" He exposed a lot of music in the punk and new wave eras, that might have not been heard otherwise. He played the Sex Pistols when no radio station would touch them. He took a chance on a weirdo named Bowie. He still takes chances, like playing a local (SD) act called Sin Sin 77, which I will have to check out now!

It is hard to believe at times that so many famous people would seek out Mr.Bingerheimer as a friend, but he comes off in the film and in real life (I was lucky enough to meet him and hear him speak after the film...peaks of being close to LA!) as a sincere person who is in it for the music. He likes people and is almost a reflective elflike Warholesque character. He is an introvert and that is what makes this documentary so intensely real, he makes no pretenses, what you see is what you get.

I didn't know at the time of seeing this pre-screening for free, that Rodney was going to show up along with the director, George Hickenlooper (great names!) but it was a rare treat. A local indie station hosted the evening, gave out CDs and tee shirts...what a great night. I had to run home and write everyone to go see this film and get a rare glimpse into the life of someone who lived in the Hollywood rock scene most of his life and has had such a wonderful influence on modern radio. Now if they would only play Rasputina on K-Roq, that would be something!

Can't wait to go up to LA to one of Bingenheimer's "English Disco" nights. I hope he actually gets Wednesday nights on K-roq because he should get more time then a night owl time on Sunday. But it sounds like his audience is young. Why the corporate machine doesn't grab on to the idea that many young people, such as myself, want to listen to new and different music and try to market radio more towards us, like, umm, giving Djs the right to play their own playlists?

I am so glad to know Rodney's story and see all the old footage of Hollywood and rock bands. It is truly an unique and valuable one! This is a must see and is Oscar worthy in my book!

Nothing says more about LA or its much maligned Hit-Driven Radio than Rodney Bingenheimer.

He personally broadcast inspired musical choices on KROQ, his cutting edge decisions to play breakout bands, his warm dedication to Rock N' Roll in the face of fast cash that was always "within his grasp".

I think every young guy of 18-24 wants the "Rodney life". Babes, rock , free music, speedy lifestyle... wow--he had it all !!!

...but it all comes down to the thin brown ashes off the side of a boat in the English Channel. A rare naked moment for Rodney when he's finally "sending off" his Mother. All of a sudden, his edgy life feels empty.

In 1979, when I hit L.A. , Rodney on the ROCKS was the best Saturday night show on radio. What is really great, is that rare magic spikes comes through the classic Rock icon images like the pasty multiple facelifts of a monotone Nancy Sinatra, who can't move her lips.

In the '80's and 90's, his influence on generation(s) of young music fans was unparalleled. Mind you, he has the worst voice ever created for radio. Now, he's faded to a Doctor Demento cult figure that seems more tragic than I would like.

Rodney seems lost and now a little desperate around the edges.... (What does he do besides work 3 hours a week??)

The documentary is brilliant.... How many documentaries have a bad guy that you love to hate--- Kim Fowley-- the Human Canker Sore. (Mr. Fowley claims no drug use but keep inhaling and touching his nose?!? I suspect he might end up on a free guest spot for "Six Feet Under") I'm kinda glad to have NEVER met Kim Fowley in person. Even his video presence is a little freaky.

And... Rodney is never judgmental to anyone... probably a more human flaw when it comes to the Fowleys of this world.

If "Mayor of the Sunset Strip" were not a documentary, no one would ever believe the story it tells. The film chronicles the life of Rodney Bingenheimer, the L.A. DJ who helped to launch the careers of many of the most influential bands in rock music history. However, if you're expecting Rodney to be a dashing, high-powered music exec with loads of cash and garages full of fancy sport cars, think again. He is, in fact, a painfully shy and unassuming man who seems totally out of place in the celebrity swirl of which he became so integral a part beginning in the 1960's. This is what makes his story and the film so fascinating, for who could have imagined that this gnomish young lad from Mountain View, California - essentially abandoned by both his mother and father and rejected by his peers - would somehow manage to make himself the center of attention for some of the greatest rock celebrities of the 1960's and '70's. Everybody who was anybody knew and adored Rodney, and, after he landed a gig as DJ at L.A.'s KROQ in the 1970's, he gave many struggling alternative artists their first real toehold on the radio, playing their records at a time when no other disc jockeys would touch them. The bands who practically owe their careers to Rodney Bingenheimer include Blondie, the Ramones, the Sex Pistols, the Runaways, the Go-Go's, No Doubt, Coldplay, and many many others.

As a documentary, the film, written and directed by George Hickenlooper, takes a fairly conventional approach, combining images from Rodney's life with interviews by celebrities, relatives and friends commenting on him both as a person and as a phenomenon. The film provides a virtual who's who of some of the biggest names in the music business stepping up to the camera to have their say, most of it highly complimentary to the subject. Indeed, almost to a person, the interviewees talk about what a sweet, lovable guy Rodney is and how hobnobbing with so many celebrities has not diminished his innate humility and decency as a person. There is one moment in the film when Rodney allows his anger to get the better of him, but, most of the time, he comes across as a goodhearted, almost passive person who is surprisingly inarticulate and - one senses - not all that comfortable being the subject of a documentary. The film achieves a poignancy and sadness in its latter scenes when we discover that, despite all this notoriety among the glitterati in Hollywood, Rodney lives a rather isolated existence, never having found that one true love with whom he could settle down and make a life. In fact, the movie makes us question whether fame - or even proximity to the famous - can ever really lead to a happy, successful life. It's a lament we've heard many times before and will hear many times again.

"Mayor of the Sunset Strip" provides us with a kaleidoscopic view of the L.A. music scene from the mid 1960's to the present. Rodney's life becomes the forum for reliving all those exciting moments in which this parade of beautiful and talented people came to define the culture and eras of which they were a part. The film has an almost "Zelig" quality to it, as Rodney is photographed standing next to virtually every important rock artist to come down the pike in the last four decades.

I must admit that, even after watching "Mayor of the Sunset Strip," I still don't claim to understand how Rodney achieved everything that he did, and maybe no film could ever really capture that magic alignment of elements that made it possible for a shy, insecure young boy from a broken family - yet a boy with dreams and an abiding love of rock 'n roll - to play such a crucial part in music history. I guess you had to actually be there to really understand it.

My own experience with Rodney Bingenheimer is an extremely modest one. I once stood behind him while waiting to board a flight from San Jose to Burbank. Few people in the crowd seemed to know who he was, but an attractive young girl, obviously interested in pursuing a career in music, approached him and politely engaged him in conversation. Rodney, despite the fact that he could have simply ignored her advances and begged for privacy, instead turned his full attention to what it was she was saying, smiled demurely at her compliments, and offered her an opportunity to perform for him when they got back to L.A. It's that Rodney Bingenheimer who comes through in the film.