The Scream Explained: What’s Really Happening in Edvard Munch’s World-Famous Painting
The Scream is not screaming. “One of the famous in the images of art,” Edvard Munch’s most widely seen painting “has become, for us, a universal symbol of angst and anxiety.” Munch painted it in 1893, when “Europe was at the birth of the modern era, and the image reflects the anxieties that troubled the world.” However many fin-de-siècle Europeans felt like screaming for one reason or another, the central figure of The Scream isn’t one of them: “rather, it is holding its hands over its ears, to block out the scream.” So gallerist and Youtuber James Payne reveals on the latest episode of his series Great Art Explained, which doesn’t just examine Munch’s iconic work of art, but places it in the context of his career and his time.
During most of Munch’s life, “European cities were going through truly exceptional changes. Industrialization and economic shifts brought fear, obsessions, diseases, political unrest, and radicalism. Questions were being raised about society, and the changing role of man within it: about our psyche, our social responsibilities, and most radical of all, about the existence of God.” It was hardly the most suitable time or place for the mentally troubled, but then, Munch seems to have possessed more psychological fortitude than he let the public know. A savvy self-promoter, he understood the value of living like someone whose terrible perceptions keep him on the brink of total breakdown.
But then, Munch never did have it easy. “His mother and his sister both died of tuberculosis. His father and grandfather suffered from depression, and another sister, Laura, from pneumonia. His only brother would later die of pneumonia.” He found solace in art, a pursuit strongly opposed by his religious father, and eventually joined the bohemian world, a milieu that encouraged him to let his inner world shape his aesthetic. Drawing inspiration from the French Impressionists and the drama of August Strindberg, Munch eventually found his way to starting a cycle of paintings called The Frieze of Life.
It was during his work on The Frieze of Life that, according to a diary entry of January 22nd, 1892, Munch found himself walking along a fjord. “I felt tired and ill. I stopped and looked out over the fjord — the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The color shrieked.” The fjord was on the way back from the asylum to which his beloved younger sister had recently been confined; Payne imagines that her “screams of terror must have haunted him as he walked away.” From these grim origins, The Scream emerged to become an oft-referenced and highly relatable image — even to those who see in it nothing more than their own frustration at receiving too much e‑mail.
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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
Read More...R.I.P. Vangelis: The Composer Who Created the Future Noir Soundtrack for Blade Runner Dies at 79
It would be difficult to overstate the prominence, in the late twentieth century, of the theme from Hugh Hudson’s Chariots of Fire. Most anyone under the age of 60 will have heard it many times as parody before ever seeing it in its original, Academy Award-winning context. Unfortunately, encountering the piece in nearly every humorous slow-motion running scene for two or three decades straight has a way of dampening its impact. But back in 1981, to score a nineteen-twenties period drama with brand-new digital synthesizers marked a brazen departure from convention, as well as the beginning of a trend of musical anachronism in cinema (which would manifest even in the likes of Dirty Dancing).
The Chariots of Fire theme has surely returned to many of our playlists after the death this week of its composer, Vangelis. Even before that film, he’d collaborated with Hudson on documentaries and commercials; immediately thereafter, he found himself in great demand as a composer for features.
The very next year, in fact, saw Vangelis crafting a score that has, perhaps, remained even more respected over time than the one he did for Chariots of Fire. Set in the far-flung year of 2019, Ridley Scott’s Blade Runner needed a high-tech sound that also reflected its “future noir” sensibility. This neatly suited Vangelis’ proven ability to combine cutting-edge electronic instruments with traditional acoustic ones in a highly evocative fashion.
Blade Runner’s formidable influence owes primarily to its visuals, to the “look and feel” of its imagined future. But I defy fans of the film to remember any of its most striking images — the infernal skyline of 2019 Los Angeles, the cars flying between video-illuminated skyscrapers, Deckard’s first meeting with Rachael — without also hearing Vangelis’ music in their heads. Though it took audiences decades to catch up with Blade Runner, it’s now more or less settled that each element of the film complements all the others in creating a dystopian vision still, in many ways, unsurpassable. Vangelis’ own experiences across genres and technologies, which you can learn more about in the documentary Vangelis and the Journey to Ithaka, placed him ideally to imbue that vision with musical life.
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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
Read More...Jean-Paul Sartre & Albert Camus: Their Friendship and the Bitter Feud That Ended It
At the end of World War II, as Europe lay in ruins, so too did its “intellectual landscape,” notes the Living Philosophy video above. In the midst of this “intellectual crater” a number of great thinkers debated “the blueprint for the future.” Feminist philosopher and novelist Simone de Beauvoir put it bluntly: “We were to provide the postwar era with its ideology.” Two names — De Beauvoir’s partner Jean-Paul Sartre and his friend Albert Camus — came to define that ideology in the philosophy broadly known as Existentialism.
The two first met in Paris in 1943 during the Nazi occupation. They were already “deeply acquainted” with one another’s work and shared a mutual respect and admiration as critics and reviewers of each other and as fellow resistance members. Both “intellectual giants” were targeted by the FBI, and both would go on to win the Nobel Prize in Literature (though Sartre rejected his). Their fame would continue into the postwar years, despite Camus’ retreat from philosophical writing after the publication of The Rebel.
While we’ve previously brought you stories of their friendship, and its bitter end, the video above digs deeper into the Sartre-Camus rivalry, with critical historical context for their thinking. Their initial falling out took place over The Rebel, which championed an ethical individualism and critiqued the morality of revolutionary violence. Instead of exploring suicide, as he had done in The Myth of Sisyphus, here Camus explores the problem of murder, concluding that — outside of extreme circumstances like a Nazi invasion — violent political means do not justify their ends.
The book provoked Sartre, a doctrinaire Marxist, who had issued what Camus considered feeble defenses for Joseph Stalin’s purges and gulags. A series of scathing reviews and angry ripostes followed. The personal tone of these attacks chilled what little warmth remained between them. When the Algerian war for independence erupted a few years later, the staunchly anti-colonialist Sartre took the side of Algeria’s National Liberation Front (FLN), excusing acts of violence against civilians and rival factions as justified by French oppression. Such events “were beyond justification in the mind of Camus.”
While Sartre belittled Camus as “a crook,” the “acuteness of the situation was all the stronger for Camus since Algeria was his homeland. He could not see it in the ideological warped black and white of Sartre’s circle or the conservative French government.” The statement might sum up all of Camus’ thought. As Sartre finally conceded in a posthumous tribute; he “represented in our time the latest example of that long line of moralistes whose works constitute perhaps the most original element in French letters.… he reaffirmed… against the Machiavellians and against the Idol of realism, the existence of the moral issue,” in all its complex ambiguity and uncertainty.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...Meet the Variophone, the Early Soviet Synthesizer that Made Music with a Film Projector (1932)
The early days of electronic instruments lacked commonly accepted ideas about what an electronic instrument was, much less how it should be used. No one associated electronics with techno or new wave or hip hop or pop, given that none of these existed. Every sound made by experiments in synthesis in the early 20th century was by its nature experimental, and most electronic instruments were one of a kind. It did not even seem obvious that electronic instruments had to be machines that were purpose built for sound.
In 1930, at the very dawn of sound on film, Evgeny Sholpo invented the Variophone — or “Automated Paper Sound with soundtracks in both transversal and intensive form.” It was, in simpler terms, a photoelectric audio synthesizer that made use of a film projector and spinning cardboard discs with sound waves cut into them in various patterns. When amplified, the device could turn the patterns into sounds. It also created “abstract spiral animation,” notes Boing Boing. Both “were way ahead of their time.”
If you’re thinking such a machine might be used to make film soundtracks, it was. But it was also “a continuation of research that Sholpo had been conducting since the 1910s,” the blog Beyond the Coda writes, “when he was working on performerless music.”
Sholpo wanted a device that would replace musicians and allow composers to turn complex musical ideas into recorded sounds themselves. He was aided in the endeavor by Georgy Rimsky-Korsakov (grandson of Russian composer Nikolai Rimsky-Korsakov), who helped him build the prototype at Lenfilm Studios in 1931.
The two produced their first film soundtrack for the propaganda film The Year 1905 in Bourgeoisie Satire, in 1931, and then the following year created “a synthesized soundtrack for A Symphony of Peace and many other soundtracks for films and cartoons throughout the thirties,” notes 120 Years of Electronic Music. The Variophone was destroyed during the Siege of Leningrad, but Sholpo built two more, continuing to record soundtracks through the forties. Unlike the first monophonic analogue synthesizers built a couple of decades later, the Variophone could create and replicate polyphonic compositions, since tones could be layered atop each other, as in multitrack recording.
You can hear several examples of the Variophone here, and see it synched to animation — both from its own sound waves and from hand-drawn films like “The Dance of the Crow,” below. What does it sound like? The tones and timbres vary somewhat among recordings. There’s clearly been some degradation in quality over time, and the technology of recording sound on film was only in its infancy at the time, in any case. But, in certain moments, the Variophone can sound like the early Moog that Wendy Carlos used to synthesize classical music and record film scores almost 40 years after Sholpo patented his machine.
via Boing Boing
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...David Cronenberg Visits a Video Store & Talks About His Favorite Movies
The excitement over Crimes of the Future, set to premiere next week at the Cannes Film Festival, suggests that David Cronenberg retains a strong fan base more than half a century into his filmmaking career. But many of us who consider ourselves part of that fan base didn’t discover his work in the theater, much less at Cannes. Rather, we found it at the video store, ideally one that devoted a section specifically to his work — or at least to his signature genre of “body horror,” which his films would in any case have dominated. Fitting, then, that the new Cronenberg interview above takes place among shelves packed with, if not the VHS tapes and Laserdiscs we grew up with, then at least DVDs and Blu-Rays.
This video comes from Konbini, a French Youtube channel whose Video Club series has brought such auteurs as Claire Denis, Hirokazu Kore-eda, and Terry Gilliam into the hallowed halls of Paris’ JM Vidéo.
“They have 50,000 movies, I think,” says the interviewer. “That’s too many,” replies Cronenberg, “so you need to give me a few.” The director of Videodrome, The Fly, and Crash turns out to have no trouble spotting and discussing movies of interest, and the list of his picks from the stock at JM Vidéo is as follows:
- Federico Fellini, La Strada (“the beginning of my entrancement with moviemaking”)
- Ingmar Bergman, The Hour of the Wolf (“a beautiful movie; very much a nightmare”)
- Roger Vadim, And God Created Woman (Brigitte Bardot “was incredibly sexual, beautiful — I was totally in love with her”)
- Jean-Pierre and Luc Dardenne, Rosetta (which the Cronenberg-led 1999 Cannes jury selected in “the fastest vote for the Palme d’Or ever in the history of Cannes”)
- Ridley Scott, Alien (some of whose elements “are exactly like my very low-budget film Shivers”)
- Paul Verhoeven, Total Recall (a project for which he wrote twelve screenplay drafts, rejected for being “the Philip K. Dick version” rather than “Raiders of the Lost Ark go to Mars”)
- Ken Russell, Altered States (which “combined a strange group of people who, normally, you wouldn’t think would make a science-fiction movie”)
- Abdellatif Kechiche, Blue Is the Warmest Color (“a beautiful, sexy, interesting, intense movie with young actresses who are really very good, and giving everything,” including Crimes of the Future’s own Léa Seydoux)
- Olivier Assayas, Personal Shopper (“one of the movies that convinced me to ask Kristen Stewart to be in Crimes of the Future”)
- Matthieu Kassovitz, La Haine (his introduction to the “fantastic emotional depth” and “intellect” of Vincent Cassel)
- Julia Ducournau, Titane (a “very dangerous” genre picture that nevertheless won a Palme d’Or)
- Richard Marquand, Return of the Jedi (when asked to direct it, he said, “ ‘Well, I don’t usually direct other people’s material,’ and they said, ‘Goodbye‘”)
- Brandon Cronenberg, Possessor (“my son’s movie,” the product of “a struggle that reminded me of all the difficulties I ever had making a movie”)
- Ed Emshwiller, Relativity (the kind of film that showed him “you didn’t have to go to film school, which I never did, you didn’t have to work in the film industry, you could make a movie yourself just because you wanted to make a movie”)
- Kathryn Bigelow, Strange Days (“one of the movies that convinced me I should work with Ralph Fiennes”)
- Nicolas Roeg, Don’t Look Now (“a very, very strong movie, very strange, very much about death, but at first you’re not aware that that’s really the subject matter”)
As not just a film fan but a filmmaker, Cronenberg has plenty of related stories to tell about his own professional experiences in cinema. Not all of them have to do with the pictures that inspired him when he was coming of age in the nineteen-fifties and nineteen-sixties. In fact, even as he approaches his ninth decade, he clearly continues to find new ideas and collaborators in the work of emerging directors. Perhaps that’s one reason he seems uncannily undiminished here, much like this survivor of a video store whose shelves he browses. Vive JM Vidéo, et vive Cronenberg.
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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
Read More...Hans Zimmer Was in the First-Ever Video Aired on MTV, The Buggles’ “Video Killed the Radio Star”
More than four decades after its release, The Buggles’ “Video Killed the Radio Star” is usually credited with more pop-cultural importance than musical influence. Perhaps that befits the song whose video was the first-ever aired on MTV. But if you listen closely to the song itself in The Buggles’ recording (as opposed to the concurrently produced version by Bruce Woolley and the Camera Club, which also has its champions), you’ll hear an unexpected degree of both compositional and instrumental complexity. You’ll also have a sense of a fairly wide variety of inspirations, one that Buggles co-founder Trevor Horn has since described as including not just other music but literature as well.
“I’d read J. G. Ballard and had this vision of the future where record companies would have computers in the basement and manufacture artists,” said Horn in a 2018 Guardian interview. “I’d heard Kraftwerk’s The Man-Machine and video was coming. You could feel things changing.” The Buggles, Horn and collaborator Geoff Downes employed all the technology they could marshal. And by his reckoning, “Video Killed the Radio Star” would take 26 players to re-create live. Paying proper homage to Kraftwerk requires not just using machinery, but getting at least a little Teutonic; hence, perhaps, the brief appearance of Hans Zimmer at 2:50 in the song’s video.
“‘Hey, I like this idea of combining visuals and music,” Zimmer recently recalled having thought at the time. “This is going to be where I want to go.” And so he did: today, of course, we know Zimmer as perhaps the most famous film composer alive, sought after by some of the preeminent filmmakers of our time. He and Horn would actually collaborate again in the early nineteen-nineties on the soundtrack to Barry Levinson’s Toys (whose other contributors included no less an eighties video icon than Thomas Dolby, who’d played keyboards on the Bruce Woolley “Video Killed the Radio Star”). By that time Horn had put performing behind him and turned super-producer for artists like Yes, Seal, and the Pet Shop Boys. The Buggles burnt out quickly, but one doubts that Horn or Zimmer lose much sleep over it today.
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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
Read More...What’s It Like Drumming For Prince?: Drummer Hannah Welton Describes the Genius of His Musicianship
Testimonials to Prince’s mind-blowing musicianship flooded the media after his death, from celebrated stars and not-so-famous musicians who played in the artist’s backing bands over the decades. In the former category, we have Prince’s own musical hero, Stevie Wonder — no slouch as a multi-instrumentalist — whose Songs in the Key of Life stood as a “perfect album” for the Purple One. Wonder describes their jam sessions as “amazing” for the variety of people and cultures Prince could bring together, and for the incredible range of his talent.
“He could play classical music if he wanted to,” said Wonder, in tears after Prince’s death. “He could play jazz if he wanted to, he could play country if he wanted to. He played rock, you know, he played blues. He played pop. He played everything.…” He played all 27 instruments on his debut album, from electric guitar, bass, and piano to “mini-Moog, poly-Moog, Arp string ensemble, Arp Pro Soloist, Oberheim four-voice, clavinet, drums, syndrums, water drums, slapsticks, bongos, congas, finger cymbals, wind chimes, orchestral bells, woodblocks, brush trap, tree bell, hand claps and finger snaps.”
He did all of this with little to no formal training, teaching himself to compose in nearly any idiom and to switch up genres and styles with ease. In short, Prince was a “genius,” says drummer Hannah Welton in the Drumeo video above. Welton joined the New Power Generation in 2012, then helped form his new backing band, 3rdeyegirl. In the video above, the hard-working drummer makes it clear that she does not use this word frivolously. “I don’t know that I ever heard an off note,” she says. “Piano, guitar, drums, nobody touched any of those instruments the way that he did.”
Welton also talks about what she learned from Prince — after their first meeting when he asked her to play ping pong. “One thing,” she says, is that “the space between the notes is just a funky as the notes themselves.” In the hour-long lesson, Welton shows off her own drum skills in songs like “Women’s Intuition” (which she wrote with her husband Joshua Welton, one of Prince’s producers) and talks more about her time with the untouchable musician, including how he recruited her after seeing her on YouTube and what it’s like to have a “drum-off/bass-off” with him. As for whether she ever beat Prince in ping pong, you’ll have to watch to find out.…
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...The Animated Map of Quantum Computing: A Visual Introduction to the Future of Computing
If you listen to the hype surrounding quantum computing, you might think the near future shown in Alex Garland’s sci-fi series Devs is upon us — that we have computers complex enough to recreate time and space and reconstruct the human mind. Far from it. At this still-early stage, quantum computers promise much more than they can deliver, but the technology is “poised,” writes IBM “to transform the way you work in research.” The company does have — as do most other other big makers of what are now called “classical computers” — a “roadmap” for implementing quantum computing and a lot of cool new technology (such as the quantum runtime environment Quiskit) built around the qubit, the quantum computer version of the classical bit.
The computer bit, as we know, is a binary entity: either 1 or 0 and nothing in-between. The qubit, on the other hand, mimics quantum phenomena by remaining in a state of superposition of all possible states between 1 and 0 until users interact with it, like a spinning coin that only lands on one face if it’s physically engaged. And like quantum particles, qubits can become entangled with each other. Thus, “Quantum computers work exceptionally well for modeling other quantum systems,” writes Microsoft, “because they use quantum phenomena in their computation.” The possibilities are thrilling, and a little unsettling, but no one’s modeling the universe, or even a part of it, just quite yet.
“Use cases are largely experimental and hypothetical at this early stage,” McKinsey Digital writes in a report for businesses, while also noting that usable quantum systems may be on the market as early as 2030. If the roadmaps serve, that’s just around the corner, especially given how quickly quantum computers have evolved in relation to their (exponentially slower) classical forebears. “From the first idea of a quantum computer in 1980 [an idea attributed to Nobel prize-winning physicist Richard Feynman] to today, there has been a huge growth in the quantum computing industry, especially in the last ten years,” says Dominic Walliman in the video above, “with dozens of companies and startups spending hundreds of millions of dollars in a race to build the world’s best quantum computers.”
Walliman offers not only a (non-hyped) map of the possible future, but also a map of quantum computing’s past. He promises to clear up misconceptions we might have about the “different kinds of quantum computing, how they work, and why so many people are investing in the quantum computing industry.” We’ve previously seen Walliman’s Domain of Science channel do the same for such huge fields of scientific study as physics, chemistry, math, and classical computer science. Here, he presents cutting-edge science on the cusp of realization, explaining three essential ideas — superposition, entanglement, and interference — that govern quantum computing. The primary difference between quantum and classical computing from the point of view of non-specialists is algorithmic speed: while classical computers could theoretically perform the same complex functions as their quantum cousins, they would take ages to do so, or would halt and fizzle out in the attempt.
Will quantum computers be able to simulate nature down to the subatomic level in the future? McKinsey cautions, “experts are still debating the most foundational topics for the field.” Despite the industry’s rapid growth, “it’s not yet clear,” Walliman says, “which approach” among the many he surveys “will win out in the long run.” But if the roadmaps serve, we may not have to wait long to find out.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...An Architect Breaks Down the Design Details of Wes Anderson’s The Grand Budapest Hotel
Wes Anderson’s The Grand Budapest Hotel features many notable players: Willem Dafoe, Tilda Swinton, F. Murray Abraham, and presiding above all, Ralph Fiennes as celebrated concierge Monsieur Gustave H. But it is Gustave’s domain, the titular alpine health resort, that figures most prominently in the film, transcending place, time, and political regime. Such an establishment could only exist within Anderson’s cinematic imagination, which dictates the manner in which he introduces it to his viewers. “It’s obviously a model,” says architect Michael Wyetzner in the video above. “It’s fake” — an adjective that, when applied to a Wes Anderson production, can only be a compliment.
Wyetzner surely means it that way, given how much interest he shows through the video in the details of the Grand Budapest Hotel as constructed and revealed, one set at a time, by Anderson and his collaborators. Envisioned as a kind of “French chateau growing out of the mountain,” the building incorporates a mansard roof, a “rusticated base” with the look of an ancient aqueduct, and Art Nouveau canopies of the kind still seen at the entrances of the Paris Métro.
Wyetzner explains the overall image as “one of those sanatoriums you would see in the mountains of Europe up until the nineteen-thirties” but designed by the Secessionists, who intended to “unify architecture, painting, and the decorative arts.”
The atrium, the circular reception desk, the elaborately mullioned windows, the palette of pinks and reds: these features underscore the titular grandeur of the titular hotel. (They also, like the symmetry of so much of its construction, remind us whose movie we’re watching.) But before long, everything changes: the hotel finds itself in the Soviet nineteen-sixties, topped with antennae, paint burnt orange and avocado green, outfitted with plastic laminate and illuminated ceilings. “Soviet architecture has this reputation for being very drab, and very sad, almost,” says Wyetzner, and the “updated” Grand Budapest Hotel reflects this. But the Soviets were also “one of the originators of modernism,” a movement whose stern optimism comes through in the film’s set designs — as, faintly but persistently, does the fin de siècle elegance of the ever-more-distant past.
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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
Read More...The Rolling Stones Play a Gig in Communist Warsaw and a Riot Ensues (1967)
My Name is called Disturbance.… – “Street Fighting Man”
More than two decades before German band the Scorpions blew their allegedly CIA-penned “Wind of Change” over the end of the Cold War; before the “hard rock Woodstock” in Moscow; before Bruce Springsteen rocked East Berlin and rang the “Chimes of Freedom,” another band took the stage behind the Iron Curtain: one not particularly well-known at the time for making geopolitical statements.
In 1967, the Rolling Stones recorded and released Between the Buttons and major hits “Ruby Tuesday” and “Let’s Spend the Night Together.” They tried to compete with the Beatles with stabs at psychedelia on Their Satanic Majesties Request. They didn’t record what is sometimes considered their most political song, “Street Fighting Man,” for another two years, and that song — with its options of street fighting or singing for a rock and roll band — has never been mistaken for a peace anthem.
It wasn’t peace the band courted in their original plan to play Moscow. “They started toying with the idea of performing in Moscow and becoming the most controversial rock band to play on the other side of the Iron Curtain,” writes Wojciech Oleksiak at Culture.pl. “Both the Soviet Union and the UK denied their requests. How is it, Oleksiak asks, “that in 1967 — the middle of the Cold War — Mick, Keith, Brian, Bill, and Charlie came to Poland and performed in Warsaw, at a huge hall known for being traditionally used for the Communist Party’s plenary congresses?” You’ll find the answer in the video at the top from Bandsplaining.
Just above, see footage of the concert itself, culled from newsreel footage and TV broadcasts. The uploader has done us the kindness of putting timestamps in the video for the three songs shown here:
00:00 — Paint It Black
00:43 — 19th Nervous Breakdown
01:06 — (I Can’t Get No) Satisfaction
The Stones were “by no means the first western group to play in communist Poland,” writes Polish musician and journalist Paweł Brodowsky, who was in the audience. “By that time I had already seen The Animals, The Hollies, Lulu, and Cliff Richard and the Shadows.” It didn’t hurt that Władysław Jakubowski, the deputy director of Pagart — “a state-owned concert agency,” writes Sam Kemp at Far Out — “had some sympathy for Poland’s young music fans” (just as Gorbachev would in the time of glasnost). None of the other acts caused anything like the chaos that would ensue when the Stones came to Warsaw.
Bands allowed into the country came from a list of names Jakubowski collected from young Polish journalists. How Jakubowski achieved the required permissions from his higher-ups is something of a mystery, Oleksiek writes. Why the deputy director let the Stones into the country even more so. Their reputation for destruction preceded them: “He must have heard about The Rolling Stones’ wrecking of the Olympia, the most famous concert hall in Paris. He was a close friend of Bruno Coquatrix, its director.” At any rate, the Warsaw concert turned into a riot. The band could not be blamed, entirely.
Hearing about the Stones’ arrival, thousands of young fans lined up for tickets. “What most of them didn’t know,” Kemp writes, “was that the bulk of them had already been reserved for communist party members and their families.” The hall was also packed beyond capacity, “with fans hanging off the edge of balconies.” Police fought to keep fans away from the stage and the seated crowds of dour bureaucrats. Richards and Jagger antagonized the cops with obscenities, making ticketless fans who’d breached the doors even more rabid.
Outside, as you can see in the short Polish documentary above, a full-blown riot with tear gas and dogs had broken out. This was a time when riots seemed to break out everywhere. (Mick Jagger has cited the Paris uprisings of 1968 as a source for “Street Fighting Man.”) But at the end of the sixties, few other bands could boast not only of playing the communist Eastern Bloc, but of inspiring mayhem from the stage on both sides of the Cold War lines.
And yet, this is not the end of the story. The Stones returned to Warsaw over fifty years later, in 2018, this time with a pointed political statement made at the behest of Lech Wałęsa, in opposition to a rule limiting the age of judges to 65. “I am too old to be a judge but not too old to sing,” Jagger shouted in Polish from the stage. He then launched into the band’s first song on the setlist. And, yes, it was my favorite and maybe yours too: “Street Fighting Man.”
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
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Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.
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Open Culture editor Dan Colman scours the web for the best educational media. He finds the free courses and audio books you need, the language lessons & movies you want, and plenty of enlightenment in between.
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