Patrick Burke
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9780226768182
- eISBN:
- 9780226768359
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226768359.003.0004
- Subject:
- Music, History, American
On November 29, 1968, One Plus One (aka Sympathy for the Devil), a film starring the Rolling Stones and directed by French New Wave pioneer Jean-Luc Godard, received a contentious premiere at the ...
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On November 29, 1968, One Plus One (aka Sympathy for the Devil), a film starring the Rolling Stones and directed by French New Wave pioneer Jean-Luc Godard, received a contentious premiere at the London Film Festival. The film juxtaposes documentary footage of the Rolling Stones recording their album Beggars Banquet with staged scenes of black militants reading Black Power texts by Amiri Baraka and Eldridge Cleaver, in an implied critique of the Stones’ cultural appropriation of Black music. One Plus One is a critical, multilayered essay on the elusiveness of an authentic political stance, and it casts a cynical eye on rock’s revolutionary aspirations and interracial mimicry. In an indirect but provocative way, Godard suggests that historians and critics should approach rock, not as an unambiguous signifier of revolution, but rather as the elusive object of complex, often contradictory, representations of its political and cultural significance.Less
On November 29, 1968, One Plus One (aka Sympathy for the Devil), a film starring the Rolling Stones and directed by French New Wave pioneer Jean-Luc Godard, received a contentious premiere at the London Film Festival. The film juxtaposes documentary footage of the Rolling Stones recording their album Beggars Banquet with staged scenes of black militants reading Black Power texts by Amiri Baraka and Eldridge Cleaver, in an implied critique of the Stones’ cultural appropriation of Black music. One Plus One is a critical, multilayered essay on the elusiveness of an authentic political stance, and it casts a cynical eye on rock’s revolutionary aspirations and interracial mimicry. In an indirect but provocative way, Godard suggests that historians and critics should approach rock, not as an unambiguous signifier of revolution, but rather as the elusive object of complex, often contradictory, representations of its political and cultural significance.
Rodney A. Smolla
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781501749650
- eISBN:
- 9781501749674
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501749650.003.0015
- Subject:
- History, Cultural History
This chapter investigates the account in the Rolling Stone article of the alleged gang rape of “Jackie” at a University of Virginia (UVA) fraternity. It describes how the Rolling Stone story began to ...
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This chapter investigates the account in the Rolling Stone article of the alleged gang rape of “Jackie” at a University of Virginia (UVA) fraternity. It describes how the Rolling Stone story began to unravel as other news organizations began their own investigations of the alleged events and could not replicate Rolling Stone's findings. It also looks into the claims of Rolling Stone's reporter, Sabrina Erdely about Jackie's inconsistent account of the incident, stating that it was common among rape victims. The chapter talks about the missing identities of the alleged nine rapists and inexistent record of any social event on the night of the rape incident at the Phi Psi fraternity house. It highlights the Charlottesville Police Department's investigation that concluded that the events described in the Rolling Stone article was fabricated.Less
This chapter investigates the account in the Rolling Stone article of the alleged gang rape of “Jackie” at a University of Virginia (UVA) fraternity. It describes how the Rolling Stone story began to unravel as other news organizations began their own investigations of the alleged events and could not replicate Rolling Stone's findings. It also looks into the claims of Rolling Stone's reporter, Sabrina Erdely about Jackie's inconsistent account of the incident, stating that it was common among rape victims. The chapter talks about the missing identities of the alleged nine rapists and inexistent record of any social event on the night of the rape incident at the Phi Psi fraternity house. It highlights the Charlottesville Police Department's investigation that concluded that the events described in the Rolling Stone article was fabricated.
David E. James
- Published in print:
- 2016
- Published Online:
- December 2015
- ISBN:
- 9780199387595
- eISBN:
- 9780199387632
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199387595.003.0015
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century and Contemporary Literature
The Stone’s US tours in 1969 and 1972 confronted the anarchic social and political forces unleashed by the counterculture. In the first, Gimme Shelter (1970), Charlotte Zwerin edited Albert and David ...
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The Stone’s US tours in 1969 and 1972 confronted the anarchic social and political forces unleashed by the counterculture. In the first, Gimme Shelter (1970), Charlotte Zwerin edited Albert and David Maysles’s footage of the 1969 tour to make a parable of the Stones’ culpability: the film focused on the tragic free concert where the Hells Angels killed a black man. The next tour produced two documentaries. The first, Robert Frank’s Cocksucker Blues (1972), gave full expression to the drug taking, sexual promiscuity, and privilege of the Stones’ entourage that insulated them from any contact with their fans. The second, Ladies and Gentlemen the Rolling Stones (Rollin Binzer, 1974) contained only the spectacle of performance. It thus supplanted the “concert film,” which had joined the musicians with the fans in the same commonality, with the purely financial undertakings that would replace them: the filmed concert.Less
The Stone’s US tours in 1969 and 1972 confronted the anarchic social and political forces unleashed by the counterculture. In the first, Gimme Shelter (1970), Charlotte Zwerin edited Albert and David Maysles’s footage of the 1969 tour to make a parable of the Stones’ culpability: the film focused on the tragic free concert where the Hells Angels killed a black man. The next tour produced two documentaries. The first, Robert Frank’s Cocksucker Blues (1972), gave full expression to the drug taking, sexual promiscuity, and privilege of the Stones’ entourage that insulated them from any contact with their fans. The second, Ladies and Gentlemen the Rolling Stones (Rollin Binzer, 1974) contained only the spectacle of performance. It thus supplanted the “concert film,” which had joined the musicians with the fans in the same commonality, with the purely financial undertakings that would replace them: the filmed concert.
Timothy P. Storhoff
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781496830876
- eISBN:
- 9781496830920
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496830876.003.0006
- Subject:
- Music, Ethnomusicology, World Music
The final chapter focuses on official and unofficial cultural diplomacy efforts that have been organized to celebrate the United States and Cuba restoring diplomatic relations. Spring 2016 included a ...
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The final chapter focuses on official and unofficial cultural diplomacy efforts that have been organized to celebrate the United States and Cuba restoring diplomatic relations. Spring 2016 included a visit to Cuba by Barack Obama and free concerts by Major Lazer and the Rolling Stones in Havana. The following month, the President’s Committee on the Arts and Humanities led a delegation to Havana with various federal agencies represented. Unofficial musical diplomacy initiatives continued as well, such as a trip with Musicians Across the Straits, a program that brought performers from St. Augustine, Florida to Havana for a residency at the Fábrica de Arte Cubano.Less
The final chapter focuses on official and unofficial cultural diplomacy efforts that have been organized to celebrate the United States and Cuba restoring diplomatic relations. Spring 2016 included a visit to Cuba by Barack Obama and free concerts by Major Lazer and the Rolling Stones in Havana. The following month, the President’s Committee on the Arts and Humanities led a delegation to Havana with various federal agencies represented. Unofficial musical diplomacy initiatives continued as well, such as a trip with Musicians Across the Straits, a program that brought performers from St. Augustine, Florida to Havana for a residency at the Fábrica de Arte Cubano.
Des O’Rawe
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780719099663
- eISBN:
- 9781526104137
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099663.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter focuses on the work of Jean-Luc Godard during 1968, and examines his interest in the radical potential of a new alliance or cultural front involving cinema and other contemporary visual ...
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This chapter focuses on the work of Jean-Luc Godard during 1968, and examines his interest in the radical potential of a new alliance or cultural front involving cinema and other contemporary visual art forms. Godard's projects during this period – especially, his film maudit, One Plus One – are characterised by a series of investigations into, and subversions of, the conventions of the documentary, especially in relation to television journalism and news coverage, where an increasingly stylised form of reportage-realism articulated the mass media's antagonism towards the cause of the students, strikers, and activists.Less
This chapter focuses on the work of Jean-Luc Godard during 1968, and examines his interest in the radical potential of a new alliance or cultural front involving cinema and other contemporary visual art forms. Godard's projects during this period – especially, his film maudit, One Plus One – are characterised by a series of investigations into, and subversions of, the conventions of the documentary, especially in relation to television journalism and news coverage, where an increasingly stylised form of reportage-realism articulated the mass media's antagonism towards the cause of the students, strikers, and activists.
Landon Palmer
- Published in print:
- 2020
- Published Online:
- August 2020
- ISBN:
- 9780190888404
- eISBN:
- 9780190888442
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190888404.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies
The link between alternative film production and rock culture continued in the subgenre of the music festival documentary, which came into being through the direct cinema documentary movement. The ...
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The link between alternative film production and rock culture continued in the subgenre of the music festival documentary, which came into being through the direct cinema documentary movement. The transition from the recording studio to the live stage was a defining one for rock culture at the end of the 1960s, and the aesthetics of presenting dynamic concert performances—communicated widely by audio and moving image representations of concerts—displayed ideals of rock authenticity. Exploring four feature documentary projects organized around the countercultural space of the rock festival, my third chapter demonstrates how emergent means of nonfiction film production shaped the onscreen spectacle of a rock musician performing live onstage. Through concert documentaries, a rock star no longer had to go to the studio lot to appear onscreen; instead, their stage labor could be preserved and extended through new camera and sound recording technologies. However, while the technologies (and filmmakers’ philosophies) that informed direct cinema seemed to offer a uniquely uncompromised means for representing rock culture onscreen, the production histories of concert documentaries also reveal how rock stars’ control over their own representation was not distributed equally, ranging from the option of refusing to be filmed to the power to determine whether a film project even saw the light of day. Produced in the absence of major film studios, arrangements of power between filmmakers, rock stars, and festival organizers existed on a case-by-case basis, and rock stars operated on a spectrum between observed subjects and controlling gatekeepers of moving image depictions of their performances.Less
The link between alternative film production and rock culture continued in the subgenre of the music festival documentary, which came into being through the direct cinema documentary movement. The transition from the recording studio to the live stage was a defining one for rock culture at the end of the 1960s, and the aesthetics of presenting dynamic concert performances—communicated widely by audio and moving image representations of concerts—displayed ideals of rock authenticity. Exploring four feature documentary projects organized around the countercultural space of the rock festival, my third chapter demonstrates how emergent means of nonfiction film production shaped the onscreen spectacle of a rock musician performing live onstage. Through concert documentaries, a rock star no longer had to go to the studio lot to appear onscreen; instead, their stage labor could be preserved and extended through new camera and sound recording technologies. However, while the technologies (and filmmakers’ philosophies) that informed direct cinema seemed to offer a uniquely uncompromised means for representing rock culture onscreen, the production histories of concert documentaries also reveal how rock stars’ control over their own representation was not distributed equally, ranging from the option of refusing to be filmed to the power to determine whether a film project even saw the light of day. Produced in the absence of major film studios, arrangements of power between filmmakers, rock stars, and festival organizers existed on a case-by-case basis, and rock stars operated on a spectrum between observed subjects and controlling gatekeepers of moving image depictions of their performances.
Larry Starr
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9780252043956
- eISBN:
- 9780252052880
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043956.003.0001
- Subject:
- Music, Popular
Taking its cue from Bob Dylan’s own Nobel Prize lecture, in which he urges people to listen to his work, this chapter presents the basic case for Dylan as a performing musician. Unfounded assertions ...
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Taking its cue from Bob Dylan’s own Nobel Prize lecture, in which he urges people to listen to his work, this chapter presents the basic case for Dylan as a performing musician. Unfounded assertions that Dylan has a “bad” voice, that he “can’t really play” his instruments, or that his music by itself is “boring,” are debunked. His authentic achievements as a singer, instrumentalist, and composer are demonstrated through a consideration of his famous recording, “Like a Rolling Stone.”Less
Taking its cue from Bob Dylan’s own Nobel Prize lecture, in which he urges people to listen to his work, this chapter presents the basic case for Dylan as a performing musician. Unfounded assertions that Dylan has a “bad” voice, that he “can’t really play” his instruments, or that his music by itself is “boring,” are debunked. His authentic achievements as a singer, instrumentalist, and composer are demonstrated through a consideration of his famous recording, “Like a Rolling Stone.”
David E. James
- Published in print:
- 2016
- Published Online:
- December 2015
- ISBN:
- 9780199387595
- eISBN:
- 9780199387632
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199387595.003.0013
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century and Contemporary Literature
The antithesis of the Beatle’s naughty cheerfulness, the Rolling Stones exemplified the mature form of the musical and social delinquencies that had haunted early rock 'n' roll. They thus became the ...
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The antithesis of the Beatle’s naughty cheerfulness, the Rolling Stones exemplified the mature form of the musical and social delinquencies that had haunted early rock 'n' roll. They thus became the most powerful musical equivalent, not only for the counterculture’s vitality, but also for the disillusion and right-wing violence of the turn of the decade. Their combined musical and social significance attracted the most important avant-garde and documentary filmmakers of the time, including Peter Whitehead, Jean-Luc Godard, Albert and David Maysles, Donald Cammell and Nicolas Roeg, Kenneth Anger, and Robert Frank, many of whose films reproduced within their own form some equivalents of the Stones’ innovations. In place of the counterculture’s ethic of love, the Stones represented misogyny and violence, and early documentaries about them (e.g. Sympathy for the Devil, The Rolling Stones Rock and Roll Circus), featuring the chaos their concerts often aroused, were similarly controversial.Less
The antithesis of the Beatle’s naughty cheerfulness, the Rolling Stones exemplified the mature form of the musical and social delinquencies that had haunted early rock 'n' roll. They thus became the most powerful musical equivalent, not only for the counterculture’s vitality, but also for the disillusion and right-wing violence of the turn of the decade. Their combined musical and social significance attracted the most important avant-garde and documentary filmmakers of the time, including Peter Whitehead, Jean-Luc Godard, Albert and David Maysles, Donald Cammell and Nicolas Roeg, Kenneth Anger, and Robert Frank, many of whose films reproduced within their own form some equivalents of the Stones’ innovations. In place of the counterculture’s ethic of love, the Stones represented misogyny and violence, and early documentaries about them (e.g. Sympathy for the Devil, The Rolling Stones Rock and Roll Circus), featuring the chaos their concerts often aroused, were similarly controversial.
Ted Conover
- Published in print:
- 2011
- Published Online:
- November 2015
- ISBN:
- 9780231159319
- eISBN:
- 9780231500586
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231159319.003.0008
- Subject:
- Society and Culture, Media Studies
This essay reviews the book The True Adventures of the Rolling Stones (2000), by Stanley Booth. The True Adventures of the Rolling Stones is a detailed account of the rock band, which culminates with ...
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This essay reviews the book The True Adventures of the Rolling Stones (2000), by Stanley Booth. The True Adventures of the Rolling Stones is a detailed account of the rock band, which culminates with their final concert at Altamont Speedway in California. The Altamont concert ends in tragedy: as the Stones play the next night, the Hell's Angels, acting as security, will kill a black man and beat others. Altamont is considered by many to be the calamity that began the eclipse of the Age of Aquarius. One of the perils of participatory journalism is exposure to a subject's vices—drugs, in the case of the Rolling Stones. Drug use was part of the ethic of the times. If you take Booth's explanation at face value, his time with the Stones becomes a kind of parable about participatory journalism.Less
This essay reviews the book The True Adventures of the Rolling Stones (2000), by Stanley Booth. The True Adventures of the Rolling Stones is a detailed account of the rock band, which culminates with their final concert at Altamont Speedway in California. The Altamont concert ends in tragedy: as the Stones play the next night, the Hell's Angels, acting as security, will kill a black man and beat others. Altamont is considered by many to be the calamity that began the eclipse of the Age of Aquarius. One of the perils of participatory journalism is exposure to a subject's vices—drugs, in the case of the Rolling Stones. Drug use was part of the ethic of the times. If you take Booth's explanation at face value, his time with the Stones becomes a kind of parable about participatory journalism.
Mike Mattison and Ernest Suarez
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781496837271
- eISBN:
- 9781496837325
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496837271.003.0004
- Subject:
- Music, Popular
This chapter examines many sixties songwriters’ shift from reverential devotion to folk music as a marker of authenticity to emphasizing sensational, often shocking aspects of their public images and ...
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This chapter examines many sixties songwriters’ shift from reverential devotion to folk music as a marker of authenticity to emphasizing sensational, often shocking aspects of their public images and creative practices. Instead of portraying themselves as the descendants of Woody Guthrie, Bukka White, and Pete Seeger, artists returned to the theatrics of Chuck Berry, Little Richard, and Jerry Lee Lewis but retained the cerebral, self-consciously artistic emphasis that characterized songs and poetry in folk and Beat coffee houses. This combination unleashed Bob Dylan and others from songwriting conventions that ranged from the length of individual songs to how albums were conceptualized, recorded, and produced. This chapter examines how the “creative lies” the Beatles, the Rolling Stones, the Doors, and others cultivated helped turn them into larger—often more notorious—celebrities, and had a profound influence on the form and substance of their art.Less
This chapter examines many sixties songwriters’ shift from reverential devotion to folk music as a marker of authenticity to emphasizing sensational, often shocking aspects of their public images and creative practices. Instead of portraying themselves as the descendants of Woody Guthrie, Bukka White, and Pete Seeger, artists returned to the theatrics of Chuck Berry, Little Richard, and Jerry Lee Lewis but retained the cerebral, self-consciously artistic emphasis that characterized songs and poetry in folk and Beat coffee houses. This combination unleashed Bob Dylan and others from songwriting conventions that ranged from the length of individual songs to how albums were conceptualized, recorded, and produced. This chapter examines how the “creative lies” the Beatles, the Rolling Stones, the Doors, and others cultivated helped turn them into larger—often more notorious—celebrities, and had a profound influence on the form and substance of their art.
Steve Waksman
- Published in print:
- 2022
- Published Online:
- June 2022
- ISBN:
- 9780197570531
- eISBN:
- 9780197570579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197570531.003.0009
- Subject:
- Music, History, American
The economy that grew around arena and stadium concerts sought to impose a level of predictability upon the staging of large-attendance music events that was lacking in the festival economy as it ...
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The economy that grew around arena and stadium concerts sought to impose a level of predictability upon the staging of large-attendance music events that was lacking in the festival economy as it existed in the early 1970s. Arena rock was the cornerstone of a move to industrialize the production of live music that was unprecedented in its scope. This chapter seeks to understand how arena and stadium concerts worked, how such events were produced and how they exemplify a crucially important stage in the evolution of live music in the US. The sheer dollar amounts at stake in arena concerts of this era far surpassed anything that been generated before, one result of which was a particular set of entangling relationships within which promoters, artists, managers, agents, and other figures all negotiated to gain what they believed to be their fair share. If money was at the root of a charged mode of competitive enterprise, it also underpinned peculiar efforts to give the “people”—that is, the audience—a performance that somehow matched the value of a ticket price. Thus, the imperative to put on a “show” intensified throughout the 1970s and forward, which manifested in a whole other set of complex relationships between sound engineers, stage designers, and others who worked in collaboration with the artists to make concerts that were visually and sonically compelling but could also be transported and re-created at every stop along the way.Less
The economy that grew around arena and stadium concerts sought to impose a level of predictability upon the staging of large-attendance music events that was lacking in the festival economy as it existed in the early 1970s. Arena rock was the cornerstone of a move to industrialize the production of live music that was unprecedented in its scope. This chapter seeks to understand how arena and stadium concerts worked, how such events were produced and how they exemplify a crucially important stage in the evolution of live music in the US. The sheer dollar amounts at stake in arena concerts of this era far surpassed anything that been generated before, one result of which was a particular set of entangling relationships within which promoters, artists, managers, agents, and other figures all negotiated to gain what they believed to be their fair share. If money was at the root of a charged mode of competitive enterprise, it also underpinned peculiar efforts to give the “people”—that is, the audience—a performance that somehow matched the value of a ticket price. Thus, the imperative to put on a “show” intensified throughout the 1970s and forward, which manifested in a whole other set of complex relationships between sound engineers, stage designers, and others who worked in collaboration with the artists to make concerts that were visually and sonically compelling but could also be transported and re-created at every stop along the way.
Edward Macan
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780195098884
- eISBN:
- 9780199853236
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195098884.003.0009
- Subject:
- Music, Popular
This chapter addresses the critical reception of progressive rock. To address this topic adequately, though, a brief outline of the history of rock journalism is necessary. Prior to the mid-1960s, ...
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This chapter addresses the critical reception of progressive rock. To address this topic adequately, though, a brief outline of the history of rock journalism is necessary. Prior to the mid-1960s, pop music journals were essentially fanzines, issued under the auspices of record companies. However, the rise of the counterculture in the 1960s created a group of readers who frankly despised the values of the traditional entertainment industry. They wanted journals that would provide historical and cultural perspectives of the music that was covered, that would develop critical positions and standards, and that would tie the music in with the ideological struggles of the counterculture. As a result, the late 1960s witnessed the rise of an underground press devoted to psychedelic music and the hippie lifestyle, including American publications such as Rolling Stone (founded 1967), Crawdaddy, Creem, and Circus, and the British Zig-Zag.Less
This chapter addresses the critical reception of progressive rock. To address this topic adequately, though, a brief outline of the history of rock journalism is necessary. Prior to the mid-1960s, pop music journals were essentially fanzines, issued under the auspices of record companies. However, the rise of the counterculture in the 1960s created a group of readers who frankly despised the values of the traditional entertainment industry. They wanted journals that would provide historical and cultural perspectives of the music that was covered, that would develop critical positions and standards, and that would tie the music in with the ideological struggles of the counterculture. As a result, the late 1960s witnessed the rise of an underground press devoted to psychedelic music and the hippie lifestyle, including American publications such as Rolling Stone (founded 1967), Crawdaddy, Creem, and Circus, and the British Zig-Zag.
Nick Dawson
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813125381
- eISBN:
- 9780813135267
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813125381.003.0021
- Subject:
- Film, Television and Radio, Film
This chapter examines Hal Ashby's directorial job for the Let's Spend the Night Together, a live concert film documenting the 1981 North American tour of the rock band The Rolling Stones. It ...
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This chapter examines Hal Ashby's directorial job for the Let's Spend the Night Together, a live concert film documenting the 1981 North American tour of the rock band The Rolling Stones. It discusses the occupational hazards of this project for Ashby who overdosed before a show in Arizona. Though the film was completed it had limited box office success. This chapter also mentions Ashby's decision to edit the films Second Hand Hearts and Lookin' to Get Out himself.Less
This chapter examines Hal Ashby's directorial job for the Let's Spend the Night Together, a live concert film documenting the 1981 North American tour of the rock band The Rolling Stones. It discusses the occupational hazards of this project for Ashby who overdosed before a show in Arizona. Though the film was completed it had limited box office success. This chapter also mentions Ashby's decision to edit the films Second Hand Hearts and Lookin' to Get Out himself.
Roberta Freund Schwartz
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617032882
- eISBN:
- 9781617032899
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617032882.003.0008
- Subject:
- Music, Popular
This chapter examines the fusion of blues and rock in the 1960s heyday of what has variously been termed “blues rock,” “British blues,” or “R&B.” Describing the ways in which bands such as the ...
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This chapter examines the fusion of blues and rock in the 1960s heyday of what has variously been termed “blues rock,” “British blues,” or “R&B.” Describing the ways in which bands such as the Rolling Stones, the Yardbirds, and the Animals adopted style and lyrics from the recorded music of Chicago blues performances such as Broonzy and others, it demonstrates the revolutionary impact of the fusions that were the result of the British exposure to American blues.Less
This chapter examines the fusion of blues and rock in the 1960s heyday of what has variously been termed “blues rock,” “British blues,” or “R&B.” Describing the ways in which bands such as the Rolling Stones, the Yardbirds, and the Animals adopted style and lyrics from the recorded music of Chicago blues performances such as Broonzy and others, it demonstrates the revolutionary impact of the fusions that were the result of the British exposure to American blues.
John Milward
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9780252043918
- eISBN:
- 9780252052811
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043918.003.0012
- Subject:
- Music, Popular
This chapter recounts how, to promote the album GP (released in 1973), Gram Parsons assembled a band that he called the Fallen Angels. Phil Kaufman, whom Parsons had met through the Rolling Stones, ...
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This chapter recounts how, to promote the album GP (released in 1973), Gram Parsons assembled a band that he called the Fallen Angels. Phil Kaufman, whom Parsons had met through the Rolling Stones, was the tour's road manager. However, the tour's opening night in Colorado was a musical mess. The album did not crack the Top 200, but it attracted influential fans. When the band played Oliver's in Boston, a young writer approached Parsons with a poem that he thought might make a good song: “Return of the Grievous Angel.” Meanwhile, by the time Joni Mitchell returned to Los Angeles from British Columbia, David Geffen's Asylum Records had released hit albums by the Eagles, Jackson Browne, and Mitchell (For the Roses). Linda Ronstadt, the sweetheart of the Troubadour, followed her hit-making years with successful albums of pop standards and Mexican folk music.Less
This chapter recounts how, to promote the album GP (released in 1973), Gram Parsons assembled a band that he called the Fallen Angels. Phil Kaufman, whom Parsons had met through the Rolling Stones, was the tour's road manager. However, the tour's opening night in Colorado was a musical mess. The album did not crack the Top 200, but it attracted influential fans. When the band played Oliver's in Boston, a young writer approached Parsons with a poem that he thought might make a good song: “Return of the Grievous Angel.” Meanwhile, by the time Joni Mitchell returned to Los Angeles from British Columbia, David Geffen's Asylum Records had released hit albums by the Eagles, Jackson Browne, and Mitchell (For the Roses). Linda Ronstadt, the sweetheart of the Troubadour, followed her hit-making years with successful albums of pop standards and Mexican folk music.
Jas Obrecht
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781469647067
- eISBN:
- 9781469647081
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469647067.003.0001
- Subject:
- Music, Popular
This detailed account of James Marshall Hendrix’s life before he transformed into “Jimi” Hendrix covers his hardscrabble childhood in Seattle, his early musical inspirations, first instruments and ...
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This detailed account of James Marshall Hendrix’s life before he transformed into “Jimi” Hendrix covers his hardscrabble childhood in Seattle, his early musical inspirations, first instruments and bands, and stint in the U.S. Army. Following his discharge, Hendrix embarks on his professional career, playing the chitlin circuit and making his first recordings as a studio musician. He then lands in New York City, where he lives in abject poverty until his “discovery” by Linda Keith and Bryan “Chas” Chandler. Chandler sees him perform “Hey Joe” and Bob Dylan’s “Like a Rolling Stone” in a Greenwich Village club and arranges his passage to London. In a move that will come back to haunt him, Hendrix agrees to let Chandler and Michael Jeffery manage his career.Less
This detailed account of James Marshall Hendrix’s life before he transformed into “Jimi” Hendrix covers his hardscrabble childhood in Seattle, his early musical inspirations, first instruments and bands, and stint in the U.S. Army. Following his discharge, Hendrix embarks on his professional career, playing the chitlin circuit and making his first recordings as a studio musician. He then lands in New York City, where he lives in abject poverty until his “discovery” by Linda Keith and Bryan “Chas” Chandler. Chandler sees him perform “Hey Joe” and Bob Dylan’s “Like a Rolling Stone” in a Greenwich Village club and arranges his passage to London. In a move that will come back to haunt him, Hendrix agrees to let Chandler and Michael Jeffery manage his career.
Michael E. Mann
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231152556
- eISBN:
- 9780231526388
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231152556.003.0009
- Subject:
- Environmental Science, Climate
In this chapter, the author comments on the appearance of seventeen climate change deniers on the cover of Rolling Stone in January 2010—what the magazine calls its list of the planet's seventeen ...
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In this chapter, the author comments on the appearance of seventeen climate change deniers on the cover of Rolling Stone in January 2010—what the magazine calls its list of the planet's seventeen “worst enemies” that included James Inhofe, Marc Morano, and Fred Singer. He also mentions an article by Antonio Regalado, published on February 14, 2005, in the Wall Street Journal, which reported the latest attacks on the hockey stick by Stephen McIntyre. The article featured the likeness of McIntyre and that of the author on the front page. The author considers the assertions made by McIntyre against the hockey stick, the use of principal component analysis (PCA) by McIntyre and Ross McKitrick in their 2005 paper, and the rebuttals made by a number of groups to McIntyre and McKitrick. Finally, he discusses the use of the Internet by climate change deniers as a means for disseminating climate change disinformation.Less
In this chapter, the author comments on the appearance of seventeen climate change deniers on the cover of Rolling Stone in January 2010—what the magazine calls its list of the planet's seventeen “worst enemies” that included James Inhofe, Marc Morano, and Fred Singer. He also mentions an article by Antonio Regalado, published on February 14, 2005, in the Wall Street Journal, which reported the latest attacks on the hockey stick by Stephen McIntyre. The article featured the likeness of McIntyre and that of the author on the front page. The author considers the assertions made by McIntyre against the hockey stick, the use of principal component analysis (PCA) by McIntyre and Ross McKitrick in their 2005 paper, and the rebuttals made by a number of groups to McIntyre and McKitrick. Finally, he discusses the use of the Internet by climate change deniers as a means for disseminating climate change disinformation.
Jonathan Wright and Dawson Barrett
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9780252043802
- eISBN:
- 9780252052705
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043802.003.0013
- Subject:
- Music, Popular
This chapter examines the growing ambitions of the Peoria punk scene in the mid-1990s, including an “Alternative” music night at the city’s historic Madison Theater and a new record label and show ...
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This chapter examines the growing ambitions of the Peoria punk scene in the mid-1990s, including an “Alternative” music night at the city’s historic Madison Theater and a new record label and show promotion outfit called Naked Bums, which brought bands such as Hum and the Jesus Lizard to Peoria. While Hum went on to appear on MTV’s Beavis and Butthead, the Jesus Lizard’s Peoria show, a preview for the summer’s Lollapalooza tour, received national coverage in Rolling Stone.Less
This chapter examines the growing ambitions of the Peoria punk scene in the mid-1990s, including an “Alternative” music night at the city’s historic Madison Theater and a new record label and show promotion outfit called Naked Bums, which brought bands such as Hum and the Jesus Lizard to Peoria. While Hum went on to appear on MTV’s Beavis and Butthead, the Jesus Lizard’s Peoria show, a preview for the summer’s Lollapalooza tour, received national coverage in Rolling Stone.
George Cotkin
- Published in print:
- 2016
- Published Online:
- December 2015
- ISBN:
- 9780190218478
- eISBN:
- 9780190218508
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190218478.003.0016
- Subject:
- History, American History: 20th Century, Cultural History
Both John Coltrane and Bob Dylan followed their own musical desires, sometimes alienating their fans. In this year, both of them broke out of their older modes. For Coltrane, always experimental, he ...
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Both John Coltrane and Bob Dylan followed their own musical desires, sometimes alienating their fans. In this year, both of them broke out of their older modes. For Coltrane, always experimental, he took jazz into the realm of the transcendent, seeking spiritual liberation through his music, especially in the recording A Love Supreme. It was excessive in sound and length but brilliant in conception and feeling. Dylan, at the Newport Folk Festival, signaled his break with folk and his embrace of rock. The rock beat of “Like a Rolling Stone” shocked and delighted, while his recording of “Visions of Johanna” would brilliantly blend poetry and rock, in a recording of unusual length and emotion. All of this is discussed within the context of the Great Society and racial conflict in this year.Less
Both John Coltrane and Bob Dylan followed their own musical desires, sometimes alienating their fans. In this year, both of them broke out of their older modes. For Coltrane, always experimental, he took jazz into the realm of the transcendent, seeking spiritual liberation through his music, especially in the recording A Love Supreme. It was excessive in sound and length but brilliant in conception and feeling. Dylan, at the Newport Folk Festival, signaled his break with folk and his embrace of rock. The rock beat of “Like a Rolling Stone” shocked and delighted, while his recording of “Visions of Johanna” would brilliantly blend poetry and rock, in a recording of unusual length and emotion. All of this is discussed within the context of the Great Society and racial conflict in this year.
Jonathan Goldberg
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780823232215
- eISBN:
- 9780823241217
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823232215.003.0001
- Subject:
- Literature, European Literature
In November 1990, just a few months after the Iraqi invasion of Kuwait, and in the midst of U.S. preparations for war, an ad for a T-shirt appeared in Rolling Stone magazine. “Americans, Make a ...
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In November 1990, just a few months after the Iraqi invasion of Kuwait, and in the midst of U.S. preparations for war, an ad for a T-shirt appeared in Rolling Stone magazine. “Americans, Make a Statement”, the ad read; it displayed the image that “Americans” might sport: a U.S. flag appears in the background, partially obscured by a camel; superimposed on the camel's rump — obligingly turned to meet the viewer's gaze — is the face of the Iraqi leader, smiling, slightly open-mouthed, his head swathed in Arab headdress.Less
In November 1990, just a few months after the Iraqi invasion of Kuwait, and in the midst of U.S. preparations for war, an ad for a T-shirt appeared in Rolling Stone magazine. “Americans, Make a Statement”, the ad read; it displayed the image that “Americans” might sport: a U.S. flag appears in the background, partially obscured by a camel; superimposed on the camel's rump — obligingly turned to meet the viewer's gaze — is the face of the Iraqi leader, smiling, slightly open-mouthed, his head swathed in Arab headdress.