Posts Tagged ‘country’
“If you tried to give rock and roll another name, you might call it ‘Chuck Berry'”*…
Alex Abramovich with a dispatch on the headwaters of rock and roll…
‘There are ten thousand freedoms,’ the late Joshua Clover once said, ‘but rock freedom is definitely set – in the first instance – in a car, when it’s late outside. It can be ecstatic, it can be boring, it can be adjectiveless freedom, but you have reached escape velocity, faster miles an hour, you have no particular place to go, and you have the radio on.’
Chuck Berry’s ‘Maybellene’ recently turned seventy. Recorded on 21 May 1955 in a studio on the South Side of Chicago, it tells the story of a man chasing his girlfriend down the highway. He’s in a Ford V8, she’s driving a Cadillac. She’s cheating, the car’s overheating, he’s trying to catch her before she gets away for good. ‘Maybellene’ isn’t Chuck Berry’s best song but it was his first single. Without it there’d be no Bob Dylan. No rock and roll as we know it. It’s a miracle.
There’s a story about the song, too….
Read on: “Escape Velocity” (archived link), from @lrb.co.uk.
* John Lennon
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As we roll over, we might send tuneful brithday greetings to Steve Young, a musical pioneer who followed Berry (the first singer-songwriter in the new era of popular music, Roy Orbison suggested)… and took a different path; he was born on this date in 1942. A singer, songwriter, and guitarist, known for his song “Seven Bridges Road” (on Young’s albums Rock Salt & Nails & Seven Bridges Road, but probably best known in the version by The Eagles). He was a pioneer of the country rock, Americana, and alternative country sounds– a vital force behind the outlaw movement.
Oh, and in 1979 this was also “‘The Night Disco Died’ — Or Didn’t.”
“Resistance to the organized mass can be effected only by the man who is as well organized in his individuality as the mass itself”*…
Thomas R. Wells on something to remember in these times of international conflict…
As any map will show you, the world is divided by political borders into spaces called countries. People and things can live in, come from, or go to these places.
But countries are not any more than that.
Firstly and most obviously, countries are merely a social construction. They are collectively produced fictions (like money, or religions) rather than mind-independent objects (like stones). Being fictional does not mean that countries do not matter, but it does mean that they only exist so long as enough people agree to act as if they do.
Secondly and more significantly, countries are places not agents. Places on a map cannot have interests or goals or take actions to achieve them. To think otherwise is to confuse the properties of one kind of thing with another. This category error infects not only general talk, but also much otherwise careful journalism and even academic analysis. For example, the influential Realistschool of international relations is founded on the axiom that countries do (or ought to) act only in their national interest. This trades on two category errors: that countries (rather than governments) can act and that they have interests. The result is confusing and unfalsifiable nonsense about buffer zones, access to resources and so forth that is about as helpful for understanding, predicting, and managing conflicts as an astrological map.
What lies behind this error is the eliding of spaces on a map with the organisations that rule them. Organisations are collective agents like armies or corporations in which groups of human individuals are converted into a hierarchically coordinated and powerful actor in their own right. Unlike countries, organisations are a kind of collectively produced fiction about which it does make sense to attribute interests and which can actually do things, often very significant things. What we call governments are a particular kind of organisation, one that has achieved the power to make and enforce rules over the inhabitants of a country, for example by hurting those who dare to disagree with it and by preventing outsiders from entering. In Max Weber’s famous definition, it “successfully claims a monopoly of the legitimate use of violence”. This power is called sovereignty and it is an attribute of governments, not countries.
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People live in countries and are ruled over by governments. It is important to keep each of these three elements distinct and clear so that we can prevent the relentless category errors that confuse public discussion of international affairs. In particular, we should pay more credence to actual people and less to the organisations who claim to be their legitimate representatives merely because they have the power to hurt them. There are many tyrannical governments in this world. Their leaders may declare that they act in the name of the populations and territories they rule but they remain the ones responsible, the ones who should be held to account…
Being careful in how how we apportion blame in these fraught geopolitical times: “There Is No Such Thing As Countries,” from @Philos_Beard in @3QD. Eminently worth reading in full.
* Carl Jung
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As we steer clear of stereotypes, we recall that it was on this date in 1602 that Vereenigde Oost-Indische Compagnie (VOC, or The Dutch East India Company, as it’s known in the Anglophone world) was born. Generally considered the world’s first trans-national corporation and the first publicly to issue stocks and bonds (and the first company to be ever actually listed on an official stock exchange), it began with a 21-year monopoly on the Dutch spice trade. The VOC also prefigured the mega-corporation of today in that it had quasi-governmental powers, including the ability to wage war, imprison and execute convicts, negotiate treaties, strike its own coins, and establish colonies. Considered by many to be the greatest corporation in history, the VOC eclipsed all of its rivals in international trade (and many nations in power) for almost 200 years.
“I’m Your Puppet”*…
What have you been doing during the COVID-19 Lockdown?
Binging on boxsets? Drinking too much? Self-medicating? Finding all your good clothes have shrunk from lack of wear?
All of the above?
George Miller spent his time lockdown making a set of beautiful marionettes featuring some of the biggest stars of rock ‘n’ roll, country, and R&B.
Miller is a Glasgow-based artist, singer, musician and iconic pop figure who’s better known as the front man to the legendary Kaisers and more recently the New Piccadillys…
Over the past few months, he would post a photograph of his latest marionette in progress. Sculpting heads of rock stars like Little Richard, Jerry Lee Lewis, Chuck Berry and Buddy Holly or country greats like Johnny Cash. They were beautiful, fabulous models, which were then dressed by Ursula Cleary and placed in boxes designed by Chris Taylor…
From the ever-illuminating Dangerous Minds, “Your favorite rock ‘n’ roll, country and R&B legends as marionettes.”
* song written by Dan Penn and Spooner Oldham; most famously recorded by James & Bobby Purify
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As we pull the string, we might recall that it was on this date in 1933 that the first singing telegram was delivered. On that day, a fan sent Hollywood singing star Rudy Vallee a birthday greeting by telegram. George P. Oslin, the Western Union public relations director, decided this would be a good opportunity to make telegrams, which had been associated with deaths and other tragic news, into something more popular. He asked a Western Union operator, Lucille Lipps, to sing the message over the telephone… et viola!
The initial response within the company was not-so-positive; Oslin recalled that he “was angrily informed I was making a laughingstock of the company.” But the service caught on. As relatively few telegram recipients had telephones in the 1930s, most telegrams, including singing telegrams, were first delivered in person. As the phone caught on, delivery shifted there– but demand for telegrams began to drop. Western Union suspended the service in 1974, though it survives as a novelty provided by independent companies.
“It is more important to click with people than to click the shutter”*…
Jimi Hendrix lighting his guitar on fire at Monterey Pop Festival, in Monterey, California, in 1967
Few photographers have had a life and career as historic as Jim Marshall. His pictures not only capture some of the most influential artists of the 20th century but also established a new level of intimacy in the relationship between entertainers and the photojournalists documenting them.
Some of the most iconic pictures ever made of artists like Jimi Hendrix, Janis Joplin, the Beatles, and Bob Dylan, to name a few, were captured through Marshall’s camera lens. His ability to level these larger-than-life musicians as normal human beings, coupled with his uncanny knack to find himself at the right place at the right time, established him as one of the era’s most sought-after music photographers. Whether it was the legendary Miles Davis or simply the neighborhood children playing stickball in the street, Marshall was able to capture the moment with striking humanity.
Marshall died in 2010 at the age of 74, leaving his entire archive of millions of photographs and negatives to his personal assistant of many years, Amelia Davis. This year, a new documentary about his life and the accompanying book, Jim Marshall: Show Me the Picture, chronicle the photographer’s journey through some of the most influential cultural events of the 20th century…
Johnny Cash “giving one to the warden” at San Quentin State Prison in San Quenton, California, in 1969
The Grateful Dead’s last free concert on Haight Street, in San Francisco, before they moved to Marin County, 1968
An interview with Davis– and more of Marshall’s marvelous work– at “23 Of The Most Influential Pictures From Music History.” Even more of Marshall’s work at Marshall’s official website.
Vaguely related: facing rising San Francisco rent, the world’s largest collection of punk records and Maximum Rocknroll, the anti-establishment music magazine that safeguards it, must find a new home: “Eight tons of punk.”
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As we bask in backstage access, we might recall that it was on this date in 1956 that Bill Haley tied Ruby Murray’s record (set in 1955) when he scored five songs in the UK Top 30: “See You Later, Alligator” (#19), “Razzle Dazzle” (#17), “Rock Around The Clock” (#13), “The Saints Rock ‘n’ Roll” (#11), and “Rockin’ Through The Rye” (#4).
“Who I am on stage is very, very different to who I am in real life”*…
Beyoncé’s father (pictured above with his daughter at the 2004 Grammy Awards) can make you a star…
It is 10am, and the lights in Houston’s Hobby Center theater dim to black.
“Mathew Knowles was born on January 9, 1951,” a voice booms over the sound system. “Excelling at education and sports,” it continues, he went on to become the “No 1 salesman in the world at Xerox”.
The 75 people in the audience, who have spent up to $320 for a day-long “bootcamp” with Knowles – titled “The entertainment industry: how do I get in?”– might well be wondering what they have paid for.
A video begins to play. We see a series of images of Beyoncé and hear some of her most famous songs. Now we know why we are here. This is a seminar with Beyoncé’s dad. Her former manager.
This is the man who created Destiny’s Child. The man who, according to the voiceover, “took a risk that changed history”. The man who also managed his other daughter Solange. The man whose new book, The DNA of Achievers, is available for purchase in the lobby for $19.95 plus shipping and handling, a price which includes the opportunity to have your photo taken with him at the end of the day…
Partake of the secrets of success at “Can Beyoncé’s dad make me a star? Inside a one-day fame ‘bootcamp’.”
* Beyoncé Knowles
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As we reach inside ourselves to make contact with the passion that will propel us, we might recall that it was on this date in 1962 that the Country Music Festival in Nashville kicked off its annual celebration of the form, at which Patsy Cline was named “Queen of Country Music.” Cline, a stalwart of the early 1960s Nashville sound known for such now-standards as “Crazy” and “I Fall to Pieces,” was one of the first Country artists to cross-over, and was one of the most influential, successful and acclaimed vocalists of the 20th century. The following year (at the age of 30) she died in the crash of of manager’s private plane.
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