The Rolling Stones First Played 50 Years Ago; Watch Them Explode Into Fame Shortly Thereafter

Just four days ago, the Rolling Stones cel­e­brat­ed the fifti­eth anniver­sary of their first con­cert, which hap­pened on July 12, 1962 at Lon­don’s Mar­quee club. Arti­cles have quot­ed lead singer Mick Jag­ger as describ­ing the crowd that evening as the kind of audi­ence they’d expect­ed as a band: “col­lege stu­dents hav­ing a night out,” an “art-school kind of crowd” who “weren’t par­tic­u­lar­ly demon­stra­tive, but they appre­ci­at­ed and enjoyed the set.” But the Stones’ demo­graph­ic would soon both shift and expand dra­mat­i­cal­ly: “A few months lat­er we were play­ing in front of 11 year olds who were scream­ing at us.” You can wit­ness this very phe­nom­e­non in the 1964 news­reel above; per­haps all of the kids lined up out­side the the­ater aren’t quite that young, but we’re def­i­nite­ly not look­ing at a col­le­giate crowd. Still, what this full house (“in fact,” the nar­ra­tor says, “it could have been filled ten times over”) lacks in matu­ri­ty, they make up for in raw enthu­si­asm.

This short film comes from British Pathé, then known as Pathé News, a pro­duc­er of news­reels from the very ear­ly twen­ti­eth cen­tu­ry right up to the sev­en­ties. They cap­tured the Stones per­form­ing in 1964, after they had already racked up a con­sid­er­able degree of fame, espe­cial­ly in their own coun­try. The show itself takes place in Kingston upon Hull, a medi­um-sided city in the north­east of Eng­land. Sum­mon­ing the sur­pris­ing sense of fun that mid-six­ties Eng­lish media some­times could when cov­er­ing pop­u­lar cul­ture, this news­reel, called Rolling Stones Gath­er Moss, opens with Jag­ger, Kei­th Richards, Bri­an Jones, Char­lie Watts, and Bill Wyman try­ing to hitch a ride along­side the grassy road to the venue. “Lit­tle do they know, they’re hav­ing their legs pulled,” the announc­er says of the unhesi­tat­ing motorists, “because these appar­ent hitch­hik­ers, so bland­ly ignored, are five of the most famous young men in show busi­ness, the Rolling Stones. Some of these motorists will be kick­ing them­selves when they learn they missed the chance of a life­time of get­ting to know them.” But the his­tor­i­cal moment remains cap­tured on film, as do count­less oth­ers, among the 90,000 clips in Pathé’s online archive.

Relat­ed con­tent:

The Rolling Stones Sing Jin­gle for Rice Krispies Com­mer­cial (1964)

Jean-Luc Godard Films The Rolling Stones Record­ing “Sym­pa­thy for the Dev­il” (1968)

The Rolling Stones Jam With Their Idol, Mud­dy Waters

John Lennon and The Rolling Stones Sing Bud­dy Hol­ly

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Beethoven’s “Ode to Joy” Movingly Flashmobbed in Spain

Flash­mob per­for­mances haven’t been a fresh con­cept for some time. And they’ve been some­what tak­en over by cor­po­ra­tions dur­ing recent years. But that does­n’t stop view­ers from enjoy­ing the per­for­mances, whether in per­son or on the web. Take this recent exam­ple orches­trat­ed by the finan­cial­ly-chal­lenged Span­ish bank, Ban­co Sabadell.

Ear­li­er this sum­mer, the bank brought togeth­er 100 musi­cians and singers from the Orches­tra Sim­fon­i­ca del Valles,Amics de l’Opera de Sabadell,Coral Belles Arts, and Cor Lieder Cam­era to per­form the anthem of the Euro­pean Union — Beethoven’s “Ode to Joy” from his Sym­pho­ny No. 9. It all hap­pens in the Plaça de Sant Roc in Sabadell, Spain, a lit­tle north of Barcelona. Per­haps this will put a smile on your face. Maybe you’ll even shed a tear. One way or anoth­er, make sure you turn up your speak­ers.…

For more flash­mob clas­si­cal per­for­mances see:

Copen­hagen Phil­har­mon­ic Plays Ravel’s Bolero at Train Sta­tion

Copen­hagen Phil­har­mon­ic Plays Grieg’s Peer Gynt in the Sub­way

Opera in the Fruit & Veg­gie Mar­ket

by | Permalink | Make a Comment ( 40 ) |

Woody Guthrie at 100: Celebrate His Amazing Life with a BBC Film

Sat­ur­day marks the 100th anniver­sary of the birth of Woody Guthrie, the great­ly influ­en­tial folk singer whose music was insep­a­ra­ble from the hard cir­cum­stances of his life and his deep sense of social jus­tice.

“A folk song is what’s wrong and how to fix it,” Guthrie once said, “or it could be who’s hun­gry and where their mouth is or who’s out of work and where the job is or who’s broke and where the mon­ey is or who’s car­ry­ing a gun and where the peace is.”

To help mark the mile­stone we bring you rare footage, above, of Guthrie singing “The Ranger’s Com­mand” in 1945. The clip is from the 1988 BBC Are­na doc­u­men­tary, Woody Guthrie, which can be seen in its entire­ty below. The film is a vivid por­trait of the singer, with rare audio record­ings of Guthrie speak­ing, along with inter­views with Alan Lomax, Jack Elliot, Pete Seeger, Arlo Guthrie and oth­ers. As BBC Are­na edi­tor Antho­ny Wall writes of the film’s sub­ject:

“This land is your land”, sang Woody Guthrie, his mis­sion to reclaim the true Amer­i­ca from the lawyers and politi­cians and thugs and return it to the peo­ple. He said he was just try­ing ‘to tell peo­ple what they already know’. Orig­i­nal­ly from a com­fort­ably-off fam­i­ly in Okla­homa, he took to the road and rails to chron­i­cle in song the depres­sion and dust­bowl. A fab­u­lous exam­ple of Amer­i­can self-inven­tion, ‘Guthrie came with the dust and he went with the wind’

For more on the Woody Guthrie Cen­ten­ni­al, vis­it Woody100.com. The Web site fea­tures a biog­ra­phy with pho­tographs and oth­er mate­ri­als, a “song of the day,” and a 2012 cal­en­dar of events. This week­end there are sev­er­al big events in New York, includ­ing a birth­day par­ty Sat­ur­day on Coney Island, with appear­ances by Bil­ly Bragg, Steve Ear­le and Guthrie’s daugh­ter, Nora, along with a free screen­ing the film “Bound For Glo­ry” on the beach. On Sun­day, Arlo Guthrie and oth­ers in the Guthrie fam­i­ly will give a free con­cert in Cen­tral Park.

And for more Guthrie resources, go to:

  • SoundPortraits.org to down­load audio of Alan Lomax’s 1940 inter­view with Guthrie, along with a tran­script of the con­ver­sa­tion.
  • CulturalEquity.org, host of the Alan Lomax Archives, for sev­er­al short but inter­est­ing takes of Guthrie singing polit­i­cal songs in 1948, includ­ing “If Dewey Gets Elect­ed” and “The Road is Rocky.”
  • NPR.org for a 40-minute radio pro­gram, “Fresh Air Cel­e­brates Woody Guthrie at 100.” Ter­ry Gross inter­views Guthrie biog­ra­ph­er Ed Cray and Smith­son­ian Folk­ways archivist Jeff Place, who co-pro­duced the new box set Woody at 100.
  • DemocracyNow.org for a one-hour tele­vi­sion spe­cial, “On Woody Guthrie’s Cen­ten­ni­al, Cel­e­brat­ing the Life, Pol­i­tics & Music of the ‘Dust Bowl Trou­ba­dour.’ ” Hosts Amy Good­man and Juan Gon­za­lez inter­view Woody’s daugh­ter Nora Guthrie, author of the new book, My Name is New York: Ram­blin’ Around Woody Guthrie’s Town, and his grand­daugh­ter Anna Canoni, along with musi­cian Steve Ear­le. The show also fea­tures rare audio record­ings of Guthrie speak­ing.

Relat­ed Con­tent:

Pete Seeger: To Hear Your Ban­jo Play

The Alan Lomax Sound Archive Now Online: Fea­tures 17,000 Record­ings

Henry Rollins Remembers the Life-Changing Decision That Brought Him From Häagen-Dazs to Black Flag

Metafil­ter recent­ly fea­tured this Big Think clip of Hen­ry Rollins telling the sto­ry of his most life-chang­ing deci­sion. This choice, of course, was the one that brought him to the front of punk rock band Black Flag. Before he made it, he could call him­self only a col­lege dropout assis­tant-man­ag­ing a Wash­ing­ton, D.C. Häa­gen-Dazs. In 1981, after catch­ing one of Black Flag’s New York shows — dur­ing which he hap­pened to climb onstage and sing a song with them — he decid­ed to try out to become the group’s actu­al singer. When Rollins ditched the ice cream game for the day (a for­feit, he recalls, of no more than $21) to audi­tion, Black Flag went from his favorite band to his band. Think­ing back, he real­izes he had lit­tle to lose: if he did­n’t give it a shot, he’d find him­self look­ing down the bar­rel of a long, hard exis­tence on his feet, answer­ing to cus­tomers all day, every day. If he gave it a shot and did­n’t make it, he’d at worst feel humil­i­at­ed, but, as he puts it, “humil­i­a­tion and young peo­ple kind of go togeth­er.”

“I don’t have tal­ent,” Rollins insists. “I have tenac­i­ty. I have dis­ci­pline. There was no choice for me but to work real­ly hard.” You may recall him mak­ing a sim­i­lar point in his pre­vi­ous Big Think video we fea­tured, in which he rec­om­mend­ed going at one’s pur­suits with a “monas­tic obses­sion.” But this time, he adds a note of fear. He talks about com­ing to under­stand that, with­out rely­ing on his four pil­lars of “appli­ca­tion, dis­ci­pline, focus, rep­e­ti­tion,” an enti­ty he calls “the Amer­i­ca” would have got­ten the bet­ter of him. This term seems to refer to the con­stant threat of crush­ing medi­oc­rity he feels in the Unit­ed States. “Every moment I am alive is because I have not been mur­dered by the Amer­i­ca,” he says in anoth­er inter­view. “The tasks I set out for myself are what I do to beat the per­fect point­less­ness of life.” Even if you don’t con­ceive of your own sit­u­a­tion quite so grim­ly, Rollins offers a per­spec­tive worth con­sid­er­ing. Per­haps his recruit­ment into Black Flag strikes you as a lucky break; he cer­tain­ly con­sid­ers it one. But as Bri­an Eno, anoth­er cul­tur­al fig­ure as well known for his point of view as his music, once said, “Luck is being ready.”

Relat­ed con­tent:

Hen­ry Rollins Tells Young Peo­ple to Avoid Resent­ment and to Pur­sue Suc­cess with a “Monas­tic Obses­sion”

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Tom Waits and David Letterman: An American Television Tradition

Whether or not you lis­ten to his music, you have to appre­ci­ate the fact that a singer like Tom Waits has enjoyed decades of fame. When I first heard a song of his — “Inno­cent When You Dream” over the end cred­its of Wayne Wang’s Smoke — I assumed the voice I was hear­ing could­n’t pos­si­bly have come from a human being. Or if it did, maybe it came from a human being imi­tat­ing the man­ner of some sort of crag­gy, immor­tal mon­ster, processed through sev­er­al dis­tor­tion box­es. But no, I was hear­ing the sound of purest Waits, one of the few per­form­ers who deliv­ers an entire per­son­al­i­ty — whether his own or one he’s invent­ed — when deliv­er­ing a sin­gle line. You’ll find evi­dence of his cap­ti­va­tion fac­tor above, in a per­for­mance of “Choco­late Jesus,” a song inspired by lit­er­al­ly that, on Late Show with David Let­ter­man. Per­haps you won’t feel it, but you can’t argue with its view count on YouTube — 5.3 mil­lion and ris­ing.

Waits has made some­thing of a tra­di­tion of vis­it­ing Let­ter­man’s show, or maybe Let­ter­man has made a tra­di­tion of invit­ing him. Music jour­nal­ists often slap the word “reclu­sive” in front of his name, but Waits does make his media appear­ances, the best of which he makes on Let­ter­man’s show. You’ll find many such seg­ments on Youtube, includ­ing ones from 1983, 1986198719882002, 2004, and this year. In 1986, Let­ter­man intro­duced Waits as “prob­a­bly the only guest we’ve had on this pro­gram who was born in the back of a taxi,” which I assume still holds true. Just above, we’ve embed­ded his 1983 Christ­mas­time sit-down, which Waits’ fans seem to regard with spe­cial fond­ness, and in which Let­ter­man first learns this choice fact. Beyond that, Waits sings two songs and dis­cuss­es his var­i­ous unortho­dox res­i­dences (motel, trail­er, car), the use of brake drums as per­cus­sive drums on his then-lat­est album, and how he inter­vened when a school­boy was sus­pend­ed for bring­ing one of Waits’ records to show-and-tell. In Waits, we have the prime liv­ing exem­plar of a cer­tain par­tic­u­lar­ly Amer­i­can style of per­form­ing and song­writ­ing, and in Let­ter­man, we have the prime liv­ing exem­plar of a cer­tain par­tic­u­lar­ly Amer­i­can style of simul­ta­ne­ous­ly sil­ly and self-aware humor. What luck for the coun­try that these two can get togeth­er as often as they do.

Relat­ed con­tent:

Tom Waits Fish­ing with John Lurie: ‘Like Wait­ing for Godot on Water’

A Brief His­to­ry of John Baldessari, Nar­rat­ed by Tom Waits

Tom Waits Reads Charles Bukows­ki

Tom Waits Makes Com­ic Appear­ance on Fer­n­wood Tonight (1977)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

An Abridged History of Western Music: “What a Wonderful World” Sung in 16 Different Styles

Joe Sabia, Michael Thurber and Matt McCorkle teamed up to form cdza, a group ded­i­cat­ed to cre­at­ing “musi­cal video exper­i­ments.” They start­ed with a His­to­ry Of Lyrics That Aren’t Lyrics and A His­to­ry of Whistling. Now, nine months into their project, they’re up to their Opus No. 7 — An Abridged His­to­ry of West­ern Music in 16 Gen­res. In a fun three min­utes, they tease apart Louis Arm­strong’s chest­nut, What a Won­der­ful World, pre­sent­ing it in var­i­ous West­ern styles of music. Gre­go­ri­an Chant. Baroque. Blue­grass. Reg­gae. Rap. Punk. The list goes on. Enjoy.

via Boing Boing

Relat­ed Con­tent:

David Atten­bor­ough Reads “What a Won­der­ful World” in a Mov­ing Video

Lis­ten­ing to Music. Yale Course added to our col­lec­tion 500 Free Cours­es Online

The Open Gold­berg Vari­a­tions: J.S. Bach’s Mas­ter­piece Free to Down­load

New­ly Dis­cov­ered Piece by Mozart Per­formed on His Own Fortepi­ano

by | Permalink | Make a Comment ( 1 ) |

Johnny Cash: Singer, Outlaw, and, Briefly, Television Host

John­ny Cash needs no intro­duc­tion. But unless you hap­pened to be watch­ing ABC between June 1969 and March 1971, The John­ny Cash Show might. Cash added one more chap­ter to his leg­en­dar­i­ly sto­ried career by host­ing 58 episodes of the musi­cal vari­ety show from the Ryman Audi­to­ri­um in Nashville, then the home of the Grand Ole Opry. You might expect from such a set­up noth­ing but coun­try music, and Cash and his pro­duc­ers did indeed make a point of intro­duc­ing the gen­re’s stars to all of Amer­i­ca as well as high­light­ing its skilled but low-pro­file per­form­ers who would­n’t oth­er­wise have received nation­al expo­sure. But many John­ny Cash Show broad­casts reached well beyond Cash’s own pre­sump­tive base, mak­ing non-coun­try lumi­nar­ies acces­si­ble to coun­try lis­ten­ers as much as the oth­er way around. Above you’ll find a pop­u­lar video of Joni Mitchell singing “Both Sides, Now” on the pro­gram; Bob Dylan and Neil Young also made appear­ances rep­re­sent­ing the next gen­er­a­tion of singer-song­writ­ers.

But Cash also rou­tine­ly shared the stage with his elders, most notably Louis Arm­strong in a broad­cast that fea­tured Arm­strong singing “Crys­tal Chan­de­liers” and “Ram­blin’ Rose” and both of them per­form­ing “Blue Yodel #9.” He also joined in when he brought on Pete Seeger, which demon­strates an impres­sive col­lab­o­ra­tive range. I did­n’t expect to see poet Shel Sil­ver­stein turn up on the show, but then I’d for­got­ten that he wrote “A Boy Named Sue,” one of Cash’s best-known songs, not to men­tion the less­er-known “25 Min­utes to Go,” which each of them record­ed indi­vid­u­al­ly on their own albums. Alas, despite its sur­pris­ing cul­tur­al reach, The John­ny Cash Show could­n’t sur­vive the caprice of net­works eager to cap­ture a younger demo­graph­ic; it got the axe, along­side the likes of Green Acres, The Bev­er­ly Hill­bil­lies, and Hee-Haw in the so-called “rur­al purge” of the ear­ly sev­en­ties.

Relat­ed con­tent:

The 1969 Bob Dylan-John­ny Cash Ses­sions: Twelve Rare Record­ings

John­ny Cash Remem­bered with 1,000+ Draw­ings

Den­nis Hop­per Reads Rud­yard Kipling on John­ny Cash Show

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Isaac Asimov: “I Am Crazy, Absolutely Nuts, About our National Anthem” (1991)

The Star-Span­gled Ban­ner became the nation­al anthem of the Unit­ed States in 1931, thanks to Her­bert Hoover. And, ever since, the anthem has had its detrac­tors. The Kennedy Cen­ter acknowl­edges on its web­site:

Some Amer­i­cans com­plain that it cel­e­brates war and should be reserved for mil­i­tary cer­e­monies. Oth­ers sim­ply grum­ble that it is too hard to sing with a range that is out of reach for the aver­age vocal­ist [any­one remem­ber Carl Lewis giv­ing it a try?]. Sug­gest­ed replace­ments have includ­ed “Amer­i­ca the Beau­ti­ful,” “God Bless Amer­i­ca,” and “This Land is Your Land.”

And don’t for­get that singers, ama­teur and pro­fes­sion­als alike, often have dif­fi­cul­ty remem­ber­ing the com­pli­cat­ed lyrics. Yes, The Star-Span­gled Ban­ner has its crit­ics. But the great Isaac Asi­mov wasn’t one of them. In 1991, Asi­mov wrote a short piece called “All Four Stan­zas” that staked out his posi­tion from the very start. It began:

I have a weakness–I am crazy, absolute­ly nuts, about our nation­al anthem.

The words are dif­fi­cult and the tune is almost impos­si­ble, but fre­quent­ly when I’m tak­ing a show­er I sing it with as much pow­er and emo­tion as I can. It shakes me up every time.

I was once asked to speak at a lun­cheon. Tak­ing my life in my hands, I announced I was going to sing our nation­al anthem–all four stan­zas.

This was greet­ed with loud groans. One man closed the door to the kitchen, where the noise of dish­es and cut­lery was loud and dis­tract­ing. “Thanks, Herb,” I said.

“That’s all right,” he said. “It was at the request of the kitchen staff.”

I explained the back­ground of the anthem and then sang all four stan­zas.

Let me tell you, those peo­ple had nev­er heard it before–or had nev­er real­ly lis­tened. I got a stand­ing ova­tion. But it was not me; it was the anthem….

So now let me tell you how it came to be writ­ten.

And, with that, he takes you back to The War of 1812, which start­ed 200 years ago. It’s large­ly a for­got­ten war. But it did leave us with our most endur­ing song.  Per­haps you’ll find your­self singing it in the show­er today too.

by | Permalink | Make a Comment ( 1 ) |

« Go BackMore in this category... »
Quantcast