“Some­body told me you peo­ple are crazy, but I’m  not so sure about that. You seem to be all right to me.” — Lux Inte­ri­or

In the late 1970s and ear­ly 1980s, “San Fran­cis­co was a much more con­ser­v­a­tive place,” says Colum­bia University’s Lin­coln Mitchell in the doc­u­men­tary above, We Were There to Be There. The new film chron­i­cles the leg­endary 1978 appear­ance of psy­chobil­ly punks The Cramps and SF-based art-rock­ers The Mutants at the Napa State Hos­pi­tal, an his­toric psy­chi­atric facil­i­ty in the famous wine-grow­ing area. At the time, Cal­i­for­ni­a’s for­mer gov­er­nor Ronald Rea­gan was con­tend­ing for the pres­i­den­cy after slash­ing social ser­vices at the state lev­el.

There were few polit­i­cal sym­pa­thies in the area for those con­fined to Napa State, as the new doc­u­men­tary above by Mike Plante and Jason Willis shows. Pro­duced by Field of Vision, the film “explores the events that led to CBGB main­stays the Cramps dri­ving over 3,000 miles to per­form,” notes Rolling Stone’s Claire Shaf­fer. We Were There to Be There begins with this cru­cial socio-polit­i­cal con­text, remem­ber­ing the show as “both a land­mark moment for punk rock and for the per­cep­tion of men­tal health care with­in U.S. pop­u­lar cul­ture.”

The doc also explores how the per­for­mances could have made such an impact, when they were “seen by almost no one,” as Phil Bar­ber writes at Vice: “about a dozen devot­ed punkers who drove up with the bands from San Fran­cis­co, and per­haps 100 or 200 patients.” Indeed, the show’s mem­o­ry only sur­vived thanks to “about 20 min­utes of footage of The Cramps’ set shot by a small oper­a­tion called Tar­get Video,” a col­lec­tive formed the pre­vi­ous year by video artist Joe Rees and col­lab­o­ra­tors Jill Hoff­man, Jack­ie Sharp, and Sam Edwards.

The show came about through Howie Klein, a fix­ture of the San Fran­cis­co punk scene who wrote for local zines and booked the club Mabuhay Gar­dens before becom­ing pres­i­dent of Reprise Records. Napa State’s new direc­tor Bart Swain had been stag­ing con­certs for the res­i­dents. Klein promised to send an ear­ly new wave band but sent The Mutants and The Cramps instead, to Swain’s ini­tial dis­may. (He was sure he would be fired after the show.)

Released in 1984, the edit­ed Tar­get release opens with a shot of an atom­ic blast and doesn’t let up. “Maybe you’ve seen the video. If so, you haven’t for­got­ten it,” writes Bar­ber: “The black-and-white images are dis­tort­ed and poor­ly lit. The audio is rough. It’s a trans­fix­ing spec­ta­cle. The Cramps make no attempt to paci­fy their men­tal­ly ill admir­ers. Nor do they wink at some inside joke. They just rip.”

Tar­get Video toured the U.S. and Europe, screen­ing its polit­i­cal­ly-charged punk con­cert films for eager young kids in the Reagan/Thatcher era, who saw a very dif­fer­ent approach to treat­ing peo­ple suf­fer­ing from men­tal ill­ness in the footage from Napa State. The doc­u­men­tary includes inter­views with the Mutants, whose per­for­mance did­n’t make it on film, and fix­tures of the San Fran­cis­co scene like Vicky Vale, pub­lish­er of RE/Search, who pro­vide crit­i­cal com­men­tary on the event.

Despite its rep­u­ta­tion as a bizarre nov­el­ty gig, the show came off as con­trolled chaos — just like any oth­er Cramps gig. “It was a beau­ti­ful, beau­ti­ful thing,” says Jill Hoff­man-Kow­al of Tar­get Video. “What we did for those peo­ple, it was lib­er­at­ing. They had so much fun. They pre­tend­ed they were singing, they were jump­ing on stage. It was a cou­ple hours of total free­dom. They did­n’t judge the band, and the band did­n’t judge them.”

We Were There to Be There will be added to our col­lec­tion of Free Online Doc­u­men­taries, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

via Aeon

Relat­ed Con­tent:

The Cramps Play a Men­tal Hos­pi­tal in Napa, Cal­i­for­nia in 1978: The Punk­est of Punk Con­certs

Down­load 50+ Issues of Leg­endary West Coast Punk Music Zines from the 1970–80s: Dam­age, Slash & No Mag

Sun Ra Plays a Music Ther­a­py Gig at a Men­tal Hos­pi­tal; Inspires Patient to Talk for the First Time in Years

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Pete Town­shend played one. Jim­my Page famous­ly bran­dished one. John McLaugh­lin basi­cal­ly start­ed his own post-Miles Davis jazz group based around one. But the dou­ble-neck gui­tar played by Don Felder on The Eagles “Hotel Cal­i­for­nia” may be the best known to all the chil­dren of the 1970s. The white gui­tar went on dis­play in 2019 for the exhi­bi­tion “Play It Loud” at New York’s Met­ro­pol­i­tan Muse­um of Art, which also fea­tured such his­tor­i­cal instru­ments as the hum­ble Mar­tin acoustic that Elvis Pres­ley played on the Sun Ses­sions, to Eddie Van Halen’s Franken­stein gui­tar. (And in a bit of DADA sculp­ture, the Met also dis­played the remains of a drum set that Kei­th Moon destroyed dur­ing a live gig.)

As part of the exhibit’s pro­mo­tion­al tour, Don Felder, long since out of the Eagles and with a law­suit behind him, picked up the gui­tar for a few min­utes on CBS This Morn­ing and played both the intro acoustic pick­ing part and the famous solo from “Hotel Cal­i­for­nia.’ Even though he isn’t mic’d up, you can still hear him singing along. He gives a cheek­i­ly sat­is­fied laugh at the end.

“Hotel Cal­i­for­nia”, the music at least, is all Don Felder. It began life as one of many demos and sketch­es he’d record while liv­ing in a Mal­ibu rental and look­ing after his one-year-old daugh­ter. This one was giv­en the short­hand title “Mex­i­can Reg­gae” as it com­bined a lit­tle bit of each. Don Hen­ley and Glenn Frey spot­ted its poten­tial imme­di­ate­ly, and wrote some of their best lyrics, both very spe­cif­ic (“Her mind is Tiffany twist­ed” is about Henley’s jew­el­ry design­er ex-girl­friend) and universal—-California, the state of mind, the fame machine, is the Isle of the Lotus Eaters, seduc­tive and destruc­tive.

The demo and the stu­dio record­ing did not use the Gib­son EDS-1275, but Felder pur­chased the gui­tar to use on tour.

Felder told The Sound NZ:

“When I got to the sound­stage to rehearse how we were going to go out and play the ‘Hotel Cal­i­for­nia’ tour, I said, ‘How am I going to play all these gui­tars with dif­fer­ent sounds?’ So I sent a gui­tar tech out to a music store and said, ‘Just buy a dou­ble neck with a 12-string and a six-string on it, I’ll see if I can make it work. So he brought it back, he brought back this white gui­tar, and I said, ‘Why did you get a white one? Why did­n’t you get a black one or a red one? Why so girly look­ing?’. He said, ‘That’s all they had.’ So I took a drill, drilled a hole at the top of it, wired it, so it was real­ly two sep­a­rate gui­tars,”

“Girly” or not—-sigh, Mr. Felder, sighhh—-that gui­tar still sounds pret­ty damn good.

Relat­ed Con­tent:

What the Eagles’ “Hotel Cal­i­for­nia” Real­ly Means

The Hor­rors of Bull Island, “the Worst Music Fes­ti­val of All Time” (1972)

Watch The Band Play “The Weight,” “Up On Crip­ple Creek” and More in Rare 1970 Con­cert Footage

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

Euro­vi­sion, the flashy orig­i­nal song con­test that cap­ti­vates Euro­peans, tends to get round­ly mocked in the U.S., where we choose our stars by hav­ing them sing oth­er people’s songs on TV in ridicu­lous cos­tumes. Nonethe­less, Amer­i­cans have fall­en in love with many a con­test win­ner, and that’s no more true than in the case of ABBA, the Swedish pop-dis­co jug­ger­naut who broke through to inter­na­tion­al star­dom when they won in 1974 with “Water­loo,” cho­sen twice as the great­est song in the competition’s his­to­ry.

The two cou­ples — Agnetha Fält­skog and Björn Ulvaus; Ben­ny Ander­s­son and Anni-Frid Lyn­gstad — first formed as Fes­t­folket (“Par­ty Peo­ple”) in 1970, and Ulvaus and Ander­s­son began sub­mit­ting songs to Swedish nation­al con­test Melod­ifes­ti­valen. In 1973, they sub­mit­ted “Ring Ring,” final­ly placed third, then released an album called Ring Ring as Björn & Ben­ny, Agnetha & Fri­da. They had tak­en on a new glam rock look and sound, and the album was a hit in parts of Europe and South Africa, but didn’t break the UK and US charts.

It was time for anoth­er name change, an ana­gram formed from the first let­ters of their first names. (They were oblig­ed to ask per­mis­sion from a local fish can­nery called Abba, who agreed on con­di­tion the band didn’t make the can­ners “feel ashamed for what you’re doing.”) The name, pro­duc­er Stig Ander­son thought, would trans­late inter­na­tion­al­ly, and the band would sing in Eng­lish for their next sin­gle, the song that would launch their rapid ascent into seem­ing­ly eter­nal rel­e­vance.

How did “Water­loo” not only break ABBA into star­dom but also “rein­vent pop music” as we know it? As the Poly­phon­ic video at the top explains, it did far more than raise the bar for every Euro­vi­sion per­for­mance since. ABBA brought glam, glit­ter, and the­atri­cal bom­bast into pop, using Phil Spector’s “wall of sound” stu­dio tech­niques to coax an enor­mous, envelop­ing sound from their vocal har­monies, gui­tars, pianos, horns, drums, etc., and tak­ing heavy inspi­ra­tion from Eng­lish band Wizzard’s song “See My Baby Jive,” while “pulling back on the rock” and lean­ing into clean­er, more dance-floor-friend­ly pro­duc­tion.

ABBA wise­ly put Agnetha and Anni-Frid’s vocal har­monies in the cen­ter, and they took a decid­ed­ly quirky turn from glam rock’s love of sleazy come-ons and songs about aliens. Orig­i­nal­ly called “Hon­ey Pie,” the band’s break­out hit became “Water­loo” when Stig Ander­son turned it into an odd ref­er­ence to Napoleon’s sur­ren­der, “such a nov­el con­ceit for a song that it’s hard to for­get.” ABBA con­tin­ued this tra­di­tion in short sto­ry-songs like “Fer­nan­do,” first writ­ten with dif­fer­ent lyrics in Swedish for Lyn­gstad, then rewrit­ten in Eng­lish by Ulvaeus as a tale about two old cam­paign­ers from the Mex­i­can-Amer­i­can War.

Smart song­writ­ing, catchy hooks, impec­ca­ble vocal har­monies, and flashy beau­ty — once the world saw and heard ABBA, few could resist them. But it took their unique­ly the­atri­cal (at the time) Euro­vi­sion per­for­mance to break them out, as Ulvaeus says. “We knew that the Euro­vi­sion Song Con­test was the only route for a Swedish group to make it out­side Swe­den.” The win was huge, but the con­test was a means to an end. True val­i­da­tion came with hit after hit, as ABBA proved them­selves indis­pens­able to wed­ding dance floors every­where and “com­plete­ly trans­formed what it meant to be a pop star.” See their orig­i­nal Euro­vi­sion per­for­mance of “Water­loo” just above.

Relat­ed Con­tent:

Lis­ten to ABBA’s “Danc­ing Queen” Played on a 1914 Fair­ground Organ

When ABBA Wrote Music for the Cold War-Themed Musi­cal, Chess: “One of the Best Rock Scores Ever Pro­duced for the The­atre” (1984)

This Man Flew to Japan to Sing ABBA’s “Mam­ma Mia” in a Big Cold Riv­er

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Two fam­i­lies have been cred­it­ed with mak­ing the great­est vio­lins of the clas­si­cal peri­od: the Stradi­vari and the Guarneri. The first luthiers with those names were trained in the work­shops of the Amati fam­i­ly, whose patri­arch, Andrea, found­ed a lega­cy in Cre­mona in the mid 1500s when he gave the vio­lin the form we know today, invent­ing f‑holes and per­fect­ing the gen­er­al shape and size of the instru­ment and oth­ers in its fam­i­ly.

But there’s far more to the sto­ry of the vio­lin than its famous Ital­ian mak­er names sug­gest, though these still stand for the height of qual­i­ty and pres­tige. Vio­lin-mak­ing cen­ters arose else­where in Europe soon after the Stradi­vari and Guarneri set up shop. In France, the town of Mire­court became “syn­ony­mous with French vio­lins and the craft,” notes Corilon vio­lins.

From 1732 on, French Mire­court crafts­men fol­lowed the strict rules of their guild to uphold their high stan­dards, and appren­tices trained there were in demand far beyond the con­fines of the town. They fre­quent­ly went on to found their own stu­dios in oth­er cities, espe­cial­ly Paris. Some­times they lat­er returned to Mire­court after sev­er­al years of suc­cess else­where. As a result the local art of mak­ing French vio­lins had a strong effect on the out­side world, whilst at the same time incor­po­rat­ing oth­er influ­ences. 

Famous Mire­court mak­ers includ­ed Nico­las Lupot, called “the French Stradi­var­ius.” The pri­ma­ry influ­ence came from Cre­mona, but “impor­tant tech­ni­cal insights were adapt­ed from Ger­man vio­lin mak­ing.”

The city entered a new phase when Didi­er Nico­las became the first to man­u­fac­ture vio­lins seri­al­ly in Mire­court at the turn of the 19th cen­tu­ry. His fac­to­ry “employed some 600 peo­ple, mak­ing his busi­ness the first large-scale oper­a­tion of its kind in the tra­di­tion-rich town in north­ern Frances Vos­ges moun­tains,” and inau­gu­rat­ing an indus­tri­al peri­od that would last until the late 1960s.

The post-indus­tri­al late-20th cen­tu­ry saw the col­lapse of Mire­court’s great vio­lin-mak­ing com­pa­nies, but not the end of the city’s fame as France’s vio­lin-mak­ing cen­ter, thanks in great part to Nico­las’ found­ing of L’É­cole Nationale de Lutherie, “where excel­lent mas­ters and vio­lin mak­ers keep the time-hon­ored art alive and dynam­ic.” The city’s “guild her­itage” lives on in the work of con­tem­po­rary mak­ers like Dominique Nicosia.

A mas­ter luthi­er and instruc­tor at the school in Mire­court, Nicosia shows us in the video at the top the time-hon­ored tech­niques employed in the mak­ing of vio­lins in France for hun­dreds of years, using met­al tools he also makes him­self. Watch the tra­di­tion come alive, learn more about the famous vio­lin-mak­ing city, which remains the bow-mak­ing cap­i­tal of the world here, and see Nicosia pass his skills and knowl­edge to a new gen­er­a­tion in the video above from L’É­cole Nationale de Lutherie.

Relat­ed Con­tent:

Why Vio­lins Have F‑Holes: The Sci­ence & His­to­ry of a Remark­able Renais­sance Design

Watch the World’s Old­est Vio­lin in Action: Mar­co Rizzi Per­forms Schumann’s Sonata No. 2 on a 1566 Amati Vio­lin

Behold the “3Dvarius,” the World’s First 3‑D Print­ed Vio­lin

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.