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john lennon tribute

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john lennon tribute
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IMAGE: MARY ALTAFFER/ASSOCIATED PRESS
Monday marks the 34th anniversary of the tragic death of John Lennon, killed outside his apartment building in New York at the age of 40.Lennon’s gift for songwriting was one of the many reasons that the music of the Beatles remains so influential across the entire music industry. And while The Fab Four’s original recordings are not available on Spotify yet — they took a long time to arrive on iTunes, too — there is a wealth of incredible Beatles covers that show just how big an influence Lennon and the group had on the entire music world.

In honor of Lennon, we assembled the best Beatles covers into a Music Monday playlist. So enjoy this playlist full of artists paying homage to the masters.

HIWAY AMERICA – ALL ABOUT HOBOS AND THE HOBO MUSEUM, BRITT, IA

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HIWAY AMERICA – ALL ABOUT HOBOS AND THE HOBO MUSEUM, BRITT, IA

Hobo’s Meditation by JIMMIE RODGERS (1932)

http://youtu.be/HQ_xj3aDjWU

DEDICATED TO DAVE CHRISTY 

Hobo, 1894

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Hard Times in America
In the period from 1893 to 1896 America suffered a severe economic meltdown that was surpassed in its tragic impact only by the Great Depression that followed four decades later. The causes were complex. They included a public panic to cash in paper currency for gold, a subsequent depletion in the country’s gold reserve and bankers calling in their loans to private industry as the value of the dollar continued to decline.
Members of Coxey’s Army on their way
to Washington, 1893

A domino effect resulted as major companies such as the Northern Pacific Railway, the Union Pacific Railroad, and the Atchison, Topeka and Santa Fe declared bankruptcy. An estimated 15,000 companies failed. The price of farm products plummeted, forcing many farmers to loose their farms and their livelihood. The crush of so many defaulted loans led some 500 banks to close their doors – taking their depositors’ life savings with them. Unemployment soared.

There was no government assistance. In Ohio, Jacob S. Coxey – owner of a failed business – decided to take matters into his own hands. In a move that foreshadowed the Bonus Army of 1932, he began a march on Washington in order to force the government to provide relief for the unemployed. As he made his way to the capital he was joined by what he proclaimed was an army of 100,000 destitute. However, when he entered the city he had a following of only 500. His plea fell on deaf ears as both the President and Congress refused to meet his demands. Coxey and his followers were subsequently arrested for trespassing.

The nation’s roads and railways were filled with the unemployed searching for a better life. They became hoboes, panhandling their way across the country in search of a job. Among them was eighteen-year-old Jack London, future author of Call of the Wild (1903).

“Thirty days, said his Honor, and called another hobo’s name.”

London described his experiences as a hobo in a book entitled The Road. We join his story as he arrives in Niagara Falls, NY aboard a freight train. Walking into town in search of food, he runs afoul of the law:

‘What hotel are you stopping at?’ he queried.“The town was asleep when I entered it. As I came along the quiet street, I saw three men coming toward me along the sidewalk. They were walking abreast. Hoboes, I decided, like myself, who had got up early. In this surmise I was not quite correct. . . The men on each side were hoboes all right, but the man in the middle wasn’t. . . At some word from the man in the centre, all three halted, and he of the centre addressed me. He was a ‘fly-cop’ and the two hoboes were his prisoners.

He had me. I wasn’t stopping at any hotel, and, since I did not know the name of a hotel in the place, I could not claim residence in any of them. Also, I was up too early in the morning. Everything was against me.

‘I just arrived,’ I said.

‘Well, you turn around and walk in front of me, and not too far in front. There’s somebody wants to see you.’

I was ‘pinched.’ I knew who wanted to see me. With that ‘fly-cop’ and the two hoboes at my heels, and under the direction of the former, I led the way to the city jail. There we were searched and our names registered. I have forgotten, now, under which name I was registered.

From the office we were led to the ‘Hobo’ and locked in. The ‘Hobo’ is that part of a prison where the minor offenders are confined together in a large iron cage. Since hoboes constitute the principal division of the minor offenders, the aforesaid iron cage is called the Hobo. Here we met several hoboes who had already been pinched that morning, and every little while the door was unlocked and two or three more were thrust in on us. At last, when we totaled sixteen, we were led upstairs into the courtroom. . .

In the court-room were the sixteen prisoners, the judge, and two bailiffs. The judge seemed to act as his own clerk. There were no witnesses. There were no citizens of Niagara Falls present to look on and see how justice was administered in their community. The judge glanced at the list of cases before him and called out a name. A hobo stood up. The judge glanced at a bailiff. ‘Vagrancy, your Honor,’ said the bailiff. ‘Thirty days,’ said his Honor. The hobo sat down, and the judge was calling another name and another hobo was rising to his feet.

The trial of that hobo had taken just about fifteen seconds. The trial of the next hobo came off with equal celerity. The bailiff said, ‘Vagrancy, your Honor,’ and his Honor said, ‘Thirty days.’ Thus it went like clockwork, fifteen seconds to a hobo and thirty days.

They are poor dumb cattle, I thought to myself. But wait till my turn comes; I’ll give his Honor a ‘spiel.’ Part way along in the performance, his Honor, moved by some whim, gave one of us an opportunity to speak. As chance would have it, this man was not a genuine hobo. He bore none of the ear- marks of the professional ‘stiff.’ Had he approached the rest of us, while waiting at a water-tank for a freight, we should have unhesitatingly classified him as a ‘gay-cat.’ Gay-cat is the synonym for tenderfoot in Hobo Land. This gay-cat was well along in years — somewhere around forty-five, I should judge. His shoulders were humped a trifle, and his face was seamed by weather-beat.

For many years, according to his story, he had driven team for some firm in (if I remember rightly) Lockport, New York. The firm had ceased to prosper, and finally, in the hard times of 1893, had gone out of business. He had been kept on to the last, though toward the last his work had been very irregular. He went on and explained at length his difficulties in getting work (when so many were out of work) during the succeeding months. In the end, deciding that he would find better opportunities for work on the Lakes, he had started for Buffalo. Of course he was ‘broke,’ and there he was. That was all.

‘Thirty days,’ said his Honor, and called another hobo’s name.

Said hobo got up. ‘Vagrancy, your Honor,’ said the bailiff, and his Honor said, ‘Thirty days.’ And so it went, fifteen seconds and thirty days to each hobo. The machine of justice was grinding smoothly. Most likely, considering how early it was in the morning, his Honor had not yet had his breakfast and was in a hurry.

But my American blood was up. Behind me were the many generations of my American ancestry. One of the kinds of liberty those ancestors of mine had fought and died for was the right of trial by jury. This was my heritage, stained sacred by their blood, and it devolved upon me to stand up for it. All right, I threatened to myself; just wait till he gets to me.

Jack London

He got to me. My name, whatever it was, was called, and I stood up. The bailiff said, ‘Vagrancy, your Honor,’ and I began to talk. But the judge began talking at the same time, and he said, ‘Thirty days.’ I started to protest, but at that moment his Honor was calling the name of the next hobo on the list. His Honor paused long enough to say to me, ‘Shut up!’ The bailiff forced me to sit down. And the next moment that next hobo had received thirty days and the succeeding hobo was just in process of getting his.

When we had all been disposed of, thirty days to each stiff, his Honor, just as he was about to dismiss us, suddenly turned to the teamster from Lockport — the one man he had allowed to talk.

‘Why did you quit your job?’ his Honor asked.

Now the teamster had already explained how his job had quit him, and the question took him aback.

‘Your Honor,’ he began confusedly, ‘isn’t that a funny question to ask?’

‘Thirty days more for quitting your job,’ said his Honor, and the court was closed. That was the outcome. The teamster got sixty days all together, while the rest of us got thirty days.

References:
London, Jack, The Road (1907).

How To Cite This Article:
“Hobo 1894: Hard Times in America”, EyeWitness to History, http://www.eyewitnesstohistory.com (2007).

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 Boxcar Willie Getty David Redfern 1989

BOXCAR WILLIE : Hank And The Hobo (train country song)

http://youtu.be/oh5hV2M22nk

Death of the American Hobo (Documentary)

http://youtu.be/LWHh9W5IeBo

THE HOBO MUSEUM

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Strangest Museums: Hobo Museum

Rachel Freundt
The Hobo Museum, Britt, IA
Housed in the former Chief Theater, the Hobo Museum celebrates the vagabond lifestyle, which happens to have a stringent code of ethics. It’s full of drifter memorabilia from the likes of Frisco Jack, Connecticut Slim, and Hard Rock Kid. Hobo crafts, art, photographs, and documentaries depicting the unorthodox way of life are also on display. It’s brought to you by the Hobo Foundation, which hosts an annual convention in town. hobo.com

What are Hobo Signs ?
Depression era symbols used by hoboes. In their travels for work, hoboes made marks with chalk, paint or coal on walls, sidewalks, fences and posts. The signs were meant to let others know what was ahead. (some call them the secrete language of the hoboes)

1. Good road to follow
2. Religious talk will get you a free meal
3. These people are rich (Silk hat and pile of gold)
4. Camp here
5. You may sleep in the hayloft here
6. Warning: Barking Dog
7. House is well-guarded
8. This is not a safe place
9. Good food available here, but you have to work for it
10. If you are sick, they’ll care for you here
11. This community is indifferent to a hobo’s presence
12. Authorities are alert: Be careful
13. Officer of the law lives here
14. Courthouse, precinct station
15. Jail
16. Free telephone (Bird)
17. Beware of four dogs
18. No use going this direction
19. Dangerous drinking water
20. Doubtful
21. A judge or magistrate lives here
22. Here. This is the place
23. A kind old lady (Cat)
24. Hit the road! Quick!
25. A beating awaits you here
26. A trolley stop
27. “Ok, alright”
28. This way
29. A gentleman lives here (Top Hat)
30. Police frown on hobos here (Handcuffs)
31. A man with a gun lives here
32. There is nothing to be gained here
33. The road is spoiled with other hobos and tramps
34. Good place to catch a train
35. Hold your tongue
36. A crime has been committed here. Not a safe place for strangers
37. Halt
38. Dangerous neighborhood
39. An ill-tempered man lives here
40. Be prepared to defend yourself
41. A doctor lives here. He won’t charge for his services
42. Keep quiet (Warns of day sleepers, babies)
43. The owner is in
44. The owner is out
45. There are thieves about
46. A dishonest person lives here
47. An easy mark, a sucker
48. Good place for hand out
49. There is alcohol in this town
50. Fresh water and a safe campsite

The hobo signs were copied out of a book called
“Hobo Signs by Stan Richards & Associates”

 

This is a rare example of tramp art in that I have found no references
in tramp art books to this wonderful pillow form.  Its rarity is further
exemplified by the materials used: cloth, heavy carpet-like fabric and a
stuffing of sawdust.  A great deal of time, skill and passion produced this
sturdy object.  It has the classic pyramidic shape repeated with precision in
row after row of a deep red heavy fabric on the top.  The edges where the top
meets the bottom are notched similar to tramp art woodcarvings. The bottom
exposes a smooth fabric that probably covers the entire object and displays a
light rust color.  The dimensions are 9″ x 9″ square and 4.5″ high, in the
middle. The pillow weighs just under two pounds – 1lb. 15 oz.

The following is a beautiful example of bottle art

done by Carl Worner at some time in the early 1900s.
see more at  http://sdjones.net/FolkArt/worner.html

 

The following are some examples of beautiful old
time wood carving.  Notice the intricate detail and the skillful carving of the
balls in cages and chain links.

 

   Next are some great carvings by our modern day
artist “The Tanner City Kid”.  Note that the chain links are fully functioning
links as in a steel chain and the balls in the cages are loose movable objects
that are carved from the interior wood during the hollowing out process.  I
think you’ll agree with me that Tanner’s work is as skillful as any of the old
timers.

COOL PEOPLE -JANIS JOPLIN- Tony Winner Will Play Janis Joplin in Upcoming Biopic

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COOL PEOPLE -JANIS JOPLIN- Tony Winner Will Play Janis Joplin in Upcoming Biopic

Janis Joplin

Janis Joplin – Ball And Chain (Amazing Performance at Monterey)

With Big Brother and the Holding Company, she performed the song at the Monterey Pop Festival in 1967 to an enthusiastic audience and critical reception. The first performance on June 17 was not filmed, so the band was persuaded to perform the song again on the next day. This shorter version

http://youtu.be/Bld_-7gzJ-o

Janis Joplin – Piece Of My Heart

http://youtu.be/7uG2gYE5KOs

 

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Singer (1943–1970)

Bio

Janis Joplin – Mini Biography (TV-14; 02:53) Breaking new ground for women in rock music, Janis Joplin rose to fame in the late 1960s and was known for her powerful, blues-inspired vocals

Synopsis

 

Born on January 19, 1943, in Port Arthur, Texas, Janis Joplin developed a love of music at an early age, but her career didn’t take off until she joined the band Big Brother and the Holding Company in 1966. Their 1968 album, Cheap Thrills, was a huge hit. However, friction between Joplin and the band prompted her to part ways with Big Brother soon after. Known for her powerful, blues-inspired vocals, Joplin released her first solo effort, I Got Dem Ol’ Kozmic Blues Again Mama!, in 1969. The album received mixed reviews, but her second project, Pearl (1971), released after Joplin’s death, was a huge success. The singer died of an accidental overdose on October 4, 1970, at age 27.
Janis Lyn Joplin was born on January 19, 1943, in Port Arthur, Texas. Breaking new ground for women in rock music, Joplin rose to fame in the late 1960s and became known for her powerful, blues-inspired vocals. She grew up in a small Texas town known for its connections to the oil industry with a skyline and dotted with oil tanks and refineries. For years, Joplin struggled to escape from this confining community, and spent even longer to trying to overcome her memories of her difficult years there.Developing a love for music at an early age, Joplin sang in her church choir as a child and showed some promise as a performer. She was an only child until the age of 6, when her sister, Laura, was born. Four years later, her brother, Michael, arrived. Joplin was a good student and fairly popular until around the age of 14, when some side effects of puberty started to kick in. She got acne and gained some weight.At Thomas Jefferson High School, Joplin began to rebel. She eschewed the popular girls’ fashions of the late 1950s, often choosing to wear men’s shirts and tights, or short skirts. Joplin, who liked to stand out from the crowd, became the target of some teasing as well as a popular subject in the school’s rumor mill. She was called a “pig” by some, while others said that she was sexually promiscuous.Joplin eventually developed a group of guy friends who shared her interest in music and the Beat Generation, which rejected the standard norms and emphasized creative expression (Jack Kerouac and Allen Ginsberg were two of the Beat movement’s leading figures).

Early Musical Interests

Musically, Janis Joplin and her friends gravitated toward blues and jazz, admiring such artists as Lead Belly. Joplin was also inspired by legendary blues vocalists Bessie Smith, MaRainey andOdetta, an early leading figure in the folk music movement. The group frequented local working-class bars in the nearby town of Vinton, Louisiana. By her senior year of high school, Joplin had developed a reputation as a ballsy, tough-talking girl who like to drink and be outrageous.After graduating from high school, Joplin enrolled at Lamar State College of Technology in the neighboring town of Beaumont, Texas. There, she devoted more time to hanging out and drinking with friends than to her studies. At the end of her first semester at Lamar, Joplin left the school. She went on to attend Port Arthur College, where she took some secretarial courses, before moving to Los Angeles in the summer of 1961. This first effort to break away from wasn’t a success, however, and Joplin thus returned to Port Arthur for a time.In the summer of 1962, Joplin fled to the University of Texas at Austin, where she studied art. In Austin, Joplin began performing at folksings—casual musical gatherings where anyone can perform—on campus and atThreadgill’s, a gas station turned bar, with the Waller Creek Boys, a musical trio with whom she was friends. With her forceful, gutsy singing style, Joplin amazed many audience members. She was unlike any other white female vocalist at the time (folk icons like Joan Baez and Judy Collins were known for their gentle sound).In January 1963, Joplin ditched school to check out the emerging music scene in San Francisco with friend Chet Helms. But this stint out west, like her first, proved to be unsuccessful, as Joplin struggled to make it as a singer in the Bay Area. She played some gigs, including a side-stage performance at the 1963 Monterey Folk Festival—but her career didn’t gain much traction. Joplin then spent some time in New York City, where she hoped to have better luck getting her career off the ground, but her drinking and drug use (she’d begun regularly using speed, or amphetamine, among other drugs) there proved to be detrimental to her musical aspirations. In 1965, she left San Francisco and returned home in an effort to get herself together again.

Back in Texas, Joplin took a break from her music and her hard-partying lifestyle, and dressed conservatively, putting her long, often messy hair into a bun and doing everything else she could to appear straight-laced. But the conventional life was not for her, and her desire to pursue her musical dreams wouldn’t remain submerged for long.

Joplin slowly returned to performing, and in May 1966, was recruited by friend Travis Rivers to audition for a new psychedelic rock band based in San Francisco, Big Brother and the Holding Company. At the time, the group was managed by another longtime friend of Joplin’s, Chet Helms. Big Brother, whose members included James Gurley, Dave Getz, Peter Albin and Sam Andrew, was part of the burgeoning San Francisco music scene of the late 1960s; among the other bands involved in this scene were the Grateful Dead.Big Brother

Joplin blew the band away during her audition, and was quickly offered membership into the group. In her early days with Big Brother, she sang only a few songs and played the tambourine in the background. But it wasn’t long before Joplin assumed a bigger role in the band, as Big Brother developed quite a following in the Bay Area. Their appearance at the now legendary Monterey Pop Festival in 1967—specifically their version of “Ball and Chain” (originally made famous by R&B legend Big Mama Thornton) brought the group further acclaim. Most of the praise, however, focused on Joplin’s incredible vocals. Fueled by heroin, amphetamines and the bourbon she drank straight from the bottle during gigs, Joplin’s unrestrained sexual style and raw, gutsy sound mesmerized audiences—and all of this attention caused some tension between Joplin and her bandmates.After hearing Joplin at Monterey, Columbia Records President Clive Davis wanted to sign the band. Albert Grossman, who already managed Bob Dylan, the Band, and Peter, Paul & Mary, later signed on as the band’s manager, and was able to get them out of another record deal they’d signed earlier with Mainstream Records.While their recordings for Mainstream never found much of an audience, Big Brother’s first album for Columbia, Cheap Thrills (1968), was a huge hit. While the album was wildly successful—quickly becoming a certified gold record with songs like “Piece of My Heart” and “Summertime”—creating it had been a challenging process, causing even more problems between Joplin and band’s other members. (The album was produced by John Simon, who’d had the band do take after take in an attempt to create a technically perfect sound.)Cheap Thrills helped solidify Joplin’s reputation as a unique, dynamic, bluesy rock singer. Despite Big Brother’s continued success, Joplin was becoming frustrated with group, feeling that she was being held back professionally.

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Solo Career

Joplin struggled with her decision to leave Big Brother, as her bandmates had been like a family to her, but she eventually decided to part ways with the group. She played with Big Brother for the last time in December 1968.

Following a historic performance at Woodstock (August 1969), Joplin released her first solo effort, I Got Dem Ol’ Kozmic Blues Again Mama!, in September 1969, with Kozmic Blues Band. Some of the project’s most memorable songs were “Try (Just a Little Bit Harder)” and “To Love Somebody,” a cover of a Bee Gees tune. But Kozmic Blues received mixed reviews, with some media outlets criticizing Joplin personally. Feeling uniquely pressured to prove herself as a female solo artist in a male-dominated industry, the criticism caused distress for Joplin. “That was a pretty heavy time for me,” she later said in an interview with Howard Smith of The Village Voice. “It was really important, you know, whether people were going to accept me or not.” (Joplin’s interview with Smith was her last; it took place on September 30, 1970, just four days before her death.) Outside of music, Joplin appeared to be struggling with alcohol and drugs, including an addiction to heroin.

Joplin’s next album would be her most successful, but, tragically, also her last. She recorded Pearl with the Full Tilt Boogie Band and wrote two of its songs, the powerful, rocking “Move Over” and “Mercedes Benz,” a gospel-styled send-up of consumerism.Tragic Death and Legacy

Following a long struggle with substance abuse, Joplin died from an accidental heroin overdose on October 4, 1970, at a hotel in Hollywood’s Landmark Hotel. Completed by Joplin’s producer, Pearl was released in 1971 and quickly became a hit. The single “Me and Bobby McGee,” written by Kris Kristofferson, a former love of Joplin’s, reached the top of the charts.Despite her untimely death, Janis Joplin’s songs continue to attract new fans and inspire performers. Numerous collections of her songs have been released over the years, including In Concert (1971) and Box of Pearls(1999). In recognition of her significant accomplishments, Joplin was posthumously inducted into the Rock and Roll Hall of Fame in 1995, and honored with a Recording Academy Lifetime Achievement Award at the Grammy Awards in 2005.Dubbed the “first lady of rock ‘n’ roll,” Joplin has been the subject of several books and documentaries, including Love, Janis (1992), written by sister Laura Joplin. That book was adapted into a play of the same title.

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Tony Winner Will Play Janis Joplin in Upcoming Biopic
Nina Arianda set to portray the singer, with Sean Durkin directing

BY ROLLING STONE

An upcoming Janis Joplin biopic has found its star: Tony award-winning actress Nina Arianda will appear as the singer in the Sean Durkin-directed Joplin, Deadline reports.

According to producer Peter Newman, who’s been trying to put together a Joplin flick along with his partners for the past 12 years, Arianda will sing all of Joplin’s music. That’s no easy task, especially trying to capture Joplin’s signature grit, but Newman says he’s confident in his star’s talents.

“I’ve never in my life seen an actress walk on a stage and convey the duality of vulnerability with overheated sexuality, which is what Janis was all about,” Newman told Deadline.

While this isn’t Arianda’s first foray into film – she’s held supporting roles in Midnight -n Paris, Tower Heist and others – it will be her first major starring role. The actress won acclaim and a Tony for best actress in a play for her turn in the Broadway show Venus in Fur. Meanwhile, director Durkin broke out last year with his film Martha Marcy May Marlene, which garnered plenty of praise at festivals and landed him the Best Director honor at Sundance.

Joplin will focus on the last six months of the Texas-born musician’s career, though it will also include flashbacks to her early career. The film has exclusive rights to use 21 of Joplin’s best known tracks.

While there have been other attempts to produce a Joplin biopic, especially as Newman’s sat on the back-burner, the producer had scored Joplin’s crucial song and life rights as well as the arrangements by backing band Big Brother and the Holding Company. Newman also holds the rights to the collection of letters Love, Janis and Piece of My Heart, the book written by Rolling Stone reporter David Dalton, who traveled with Joplin during the six months before the heroin overdose that killed her in 1970.

Read more: http://www.rollingstone.com/music/news/tony-winner-will-play-janis-joplin-in-upcoming-biopic-20120710#ixzz3K6cF1LwT
Follow us: @rollingstone on Twitter | RollingStone on Facebook

Nina Arianda set to portray the singer, with Sean Durkin directing

nina arianda janis joplin
D Dipasupil/Getty Images; GAB Archive/Redferns
Nina Arianda to star as Janis Joplin in upcoming biopic
BY | July 10, 2012

An upcoming Janis Joplin biopic has found its star: Tony award-winning actress Nina Arianda will appear as the singer in the Sean Durkin-directed Joplin, Deadline reports.

According to producer Peter Newman, who’s been trying to put together a Joplin flick along with his partners for the past 12 years, Arianda will sing all of Joplin’s music. That’s no easy task, especially trying to capture Joplin’s signature grit, but Newman says he’s confident in his star’s talents.

“I’ve never in my life seen an actress walk on a stage and convey the duality of vulnerability with overheated sexuality, which is what Janis was all about,” Newman told Deadline.

While this isn’t Arianda’s first foray into film – she’s held supporting roles in Midnight -n Paris, Tower Heist and others – it will be her first major starring role. The actress won acclaim and a Tony for best actress in a play for her turn in the Broadway show Venus in Fur. Meanwhile, director Durkin broke out last year with his film Martha Marcy May Marlene, which garnered plenty of praise at festivals and landed him the Best Director honor at Sundance.

Joplin will focus on the last six months of the Texas-born musician’s career, though it will also include flashbacks to her early career. The film has exclusive rights to use 21 of Joplin’s best known tracks.

While there have been other attempts to produce a Joplin biopic, especially as Newman’s sat on the back-burner, the producer had scored Joplin’s crucial song and life rights as well as the arrangements by backing band Big Brother and the Holding Company. Newman also holds the rights to the collection of letters Love, Janis and Piece of My Heart, the book written by Rolling Stone reporter David Dalton, who traveled with Joplin during the six months before the heroin overdose that killed her in 1970.

Read more: http://www.rollingstone.com/music/news/tony-winner-will-play-janis-joplin-in-upcoming-biopic-20120710#ixzz3K6cF1LwT
Follow us: @rollingstone on Twitter | RollingStone on Facebook

COOL PEOPLE -Bob Dylan Plays Concert for One Insanely Lucky Superfan

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COOL PEOPLE -Bob Dylan Plays Concert for One Insanely Lucky Superfan

Bob Dylan Plays Concert for One Insanely Lucky Superfan

“I was smiling so much it was like I was on ecstasy,” says Fredrik Wikingsson. “My jaw hurt for hours”

Bob Dylan and Fredrik Wikingsson
Simon Rudholm
Fredrik Wikingsson at the Philadelphia Academy of Music watching Bob Dylan in concert.

BY | November 24, 2014

Yesterday afternoon around 3:00 p.m. 41-year-old Bob Dylan superfan Fredrik Wikingsson walked into the Philadelphia  Academy  of music took a seat in the second row and prepared to watch his hero play a concert just for him. “At this point I still thought I was about to get Punk’d,” he says. “I thought some asshole would walk onstage and just laugh at me. I just couldn’t fathom that Dylan would actually do this.”

RELATEDBob Dylan, circa 1969.

8 Things We Learned Diving Into Bob Dylan’s ‘Basement Tapes’

This wasn’t Punk’d, and within 10 minutes of Wikingsson taking his seat, the lights dimmed and Dylan took the stage alongside his touring band. Playing to an audience of one, they abandoned their usual repertoire and played Buddy Holly’s “Heartbeat,” Fats Domino’s “Blueberry Hill,” Chuck Willis’ “It’s Too Late (She’s Gone)” and a blues jam that Wikingsson  has been unable to identify. “I was smiling so much it was like I was on ecstasy,” he says. “My jaw hurt for hours afterwards because I couldn’t stop smiling.”

The incredible concert was part of an ongoing Swedish film series Experiment Ensam (Experiment Alone), where people experience things completely alone that are usually reserved for large crowds. Past films focused on lone people at comedy clubs or karaoke bars. The filmmakers thought a lot bigger for this one and made arrangements with Dylan’s camp for the private show, paying him an undisclosed amount of money. “I have no idea how much it was,” says Wikingsson. “But it was probably more than he gets for a normal gig.”

Wikingsson’s friend Anders Helgeson is the director of Experiment Ensam, and when he told him about the Dylan concept he begged to be the subject. “I had an endless series of meetings where I managed to convince people my extreme fandom made me the best candidate for the enviable task,” he says. “I’m very passive and I always picture myself as the guy that wouldn’t be able to save himself on a sinking ship. I’d just lay down and die. I have no real ability to grab the moment, but when I heard about this I thought, ‘For once, I have to stop everything in my life and go for something.'”

The day before the show, Wikingsson, a popular TV personality who lives in Stockholm, walked around New York’s Greenwich Village with a camera crew and visited famous Dylan landmarks. On show day, he found himself so nervous he wasn’t able to eat. “I was a fucking wreck,” he says. “Part of me was thinking, ‘Maybe this won’t happen and it’ll be for the best. I don’t want to impose on Mr. Dylan. I don’t want him to stand there and be grouchy, just hating it.'”

When he walked into the theater, he had the surreal experience of being able to pick any seat in the house. He went with a seat in the middle of the second row. “I thought the first row might freak him out,” Wikingsson says. “I was like a guy picking the next-to-most expensive bottle of wine in a restaurant, which is a very Swedish thing to do. I figured the second row would be ideal. Malcolm Gladwell would probably have all sorts of theories about this.”

The light dimmed 10 incredibly anxious minutes after he walked in. “It was completely dark and empty,” Wikingsson says. “Then a guy walks onstage and started talking to the lighting guy. Turns out it was Dylan and he nodded at me. There wasn’t any ceremony at all. He just started talking to his bassist and drummer about how they were going to start the first song.”

Dylan’s set list has been remarkably rigid over the past year, centering largely around songs released in the past 15 years. Covers are extremely rare, so Wikingsson was delighted when the show began with “Heartbeat.” “I liked Buddy Holly before I liked Dylan,” he says. “I felt like Christmas morning.”

He broke out into applause when the song finished. “Nobody took notice of me,” he says. “I figured that maybe it just sounded phony or weird. During the second song, ‘Blueberry Hill,’ I realized I had to say something. It was just too weird. I screamed out, ‘You guys sound great!’ That caused Dylan to burst out laughing. Now, I have two kids and their births were great, but him laughing onstage at some lousy fucking comment of mine was unbelievable.”

At the end of “It’s Too Late (She’s Gone)” Dylan performed a harmonica solo. “I always detest people that automatically holler and applaud every time he breaks out the harmonica,” says Wikingsson. “But I found myself almost weeping when he played the solo. He could have just ended the song without the solo, he wanted it to be great.”

The show wrapped up with a blues song. “It’s still a big mystery to me,” says Wikingsson. “This will probably be a embarrassing for me because it might be a well-known blues song. I’m sure when I get the tapes I can figure out what it was. When the show ended Dylan said, ‘Swing by anytime.’ He was highlighting the fact this was a weird thing that will never happen again. It was just so fucking great.”

Dylan played a public show that night, but Wikingsson decided to not go. “It would be weird and nothing could top this,” he says. “To be honest, I went to a karaoke bar with the production guys and sang my throat out. I selected all Dylan songs, but they just had these crappy Byrds versions.”

Wikingsson’s private Dylan show was filmed by eight cameras, and a 15-minute documentary of the event will hit YouTube on December 15th. “Fans might detest the fact that I’m sitting there,” he says. “But it’s going to be really cool and great looking. The sound was just incredible.”

He’s also going to talk at great length about the experience on his popular English language podcast,  Philadelphia Academy of music

Now that the whole experience is behind him, Wikingsson has one final dream: “I want Dylan to release an official Columbia EP of the concert called Songs for Fredrick.”

Read more: http://www.rollingstone.com/music/news/bob-dylan-plays-concert-for-one-insanely-lucky-superfan-20141124#ixzz3K5YoIrfc
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BEATNIK HIWAY – HAIGHT ASHBURY IN THE 60’S-A VIBRANT HIPPIE HISTORY- AND TODAY’S KIDS

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BEATNIK HIWAY – HAIGHT ASHBURY IN THE 60’S-A VIBRANT HIPPIE HISTORY- AND TODAY’S KIDS

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“San Francisco (Be Sure to Wear Flowers in Your Hair)” is a song, written by John Phillips of The Mamas & the Papas, and sung by Scott McKenzie. It was written and released in June 1967 to promote the Monterey Pop Festival

http://youtu.be/bch1_Ep5M1s

ERIC BURDON & THE ANIMALS-“SAN FRANCISCAN NIGHTS”

 http://youtu.be/g2JwiusEyPQ

“San Francisco (Be Sure to Wear Flowers in Your Hair)” is a song, written by John Phillips of The Mamas & the Papas, and sung by Scott McKenzie. It was written and released in June 1967 to promote the Monterey Pop Festival.

http://youtu.be/bch1_Ep5M1s

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dave and myself in San Francisco

Posted: 10/15/2012 2:20 pm EDT Updated: 10/16/2012 2:21 pm EDT
HAIGHT ASHBURY 1960S
  A stroll down Haight Street today will undoubtedly evoke a certain 1960s nostalgia.

Live guitar music still warbles from street corners, tie-dyed t-shirts are hawked by the handful, the smell of pot permanently wafts, colorful peace signs adorn windows of businesses like the Red Victorian Bed & Breakfast — institutions better suited to an earlier time.

(SCROLL DOWN FOR PHOTOS)

But said nostalgia is often overshadowed by the sad realities of a neighborhood that has long since evolved from the remnants of a revolution: the wayward teenagers, the tourist traps, the vagabonds, the $6 corporate ice cream cones sold at precisely San Francisco’s most famous intersection.

During its heyday, which culminated in 1967’s infamous Summer of Love, young dreamers converged in the Haight by the thousands. Historians deem the neighborhood the birthplace of the hippie movement, marked by peaceful protests and psychedelic experimentation. The era’s greatest luminaries, from Jerry Garcia to Allen Ginsberg to Jimi Hendrix, all lived nearby.

Then the movement waned, and the area began to decay along with it. “By the fall of 1967, Haight-Ashbury was nearly abandoned, trashed, and laden with drugs and homeless people,” blogger Jon Newman wrote in his essay Death of the Hippie Subculture. “With the Haight in ruins and most of its residents gone, it was simply unable to operate as a hub for music, poetry and art.”

Of course, the Haight still has a certain appeal. There’s no better jazz-and-pizza combo in the city than at Club Deluxe, Amoeba Music offers a truly epic collection, a parklet just popped up in front of Haight Street Market and the 12-piece band that assembles in front of American Apparel on Sunday mornings always move crowds to dance in the street.

Yet we can’t help but heave a sigh while pushing past gaggles of gawking tourists or stepping over the man sleeping on the sidewalk at noon. While a stroll down Haight Street today certainly evokes nostalgia, it also makes us yearn for a place that was once the epicenter of peace and love and youth in revolt, a place we never had the chance to experience ourselves but will be forever engrained in San Francisco’s complex, progressive history.

A History Of Hippies

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 This collection is part of a new HuffPost SF partnership with the San Francisco Public Library’s History Center, “Tales From The City,” which features various images from throughout the city’s past. Visit the San Francisco History Center in person to view original photographic prints and negatives as well as tour other relics from SF’s earlier days.

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This is a short documentary about the Haight Street kids living in San Francisco.

http://youtu.be/sIHa8QyU2Ok

COOL PEOPLE – The Grateful Dead

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Grateful Dead – Dick’s Picks Vol 25 – New Haven, CT 5-10-78

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http://youtu.be/rwUhu184tbI

The Grateful Dead turn 50 next year and to celebrate the occasion, they’ll release a career-spanning documentary directed by Amir Bar-Lev, who also had a hand in 2010′s The Tillman Story and 2007′s My Kid Could Paint That. Most notably, the film will be executive produced by Martin Scorsese. The film will contain never-before-seen footage of performances and new interviews with surviving members Mickey Hart, Bill Kreutzmann, Phil Lesh, and Bob Weir. “Millions of stories have been told about the Grateful Dead over the years. With our 50th Anniversary coming up, we thought it might just be time to tell one ourselves and Amir is the perfect guy to help us do it,” the band said in a statement. “Needless to say, we are humbled to be collaborating with Martin Scorsese. From The Last Waltz to George Harrison: Living In The Material World, from Bob Dylan to the Rolling Stones, he has made some of the greatest music documentaries ever with some of our favorite artists and we are honored to have him involved. The 50th will be another monumental milestone to celebrate with our fans and we cannot wait to share this film with them.” No details about the film’s release schedule have been revealed so far.

Grateful Dead Jerry Garcia Hippie Interview

http://youtu.be/eYxbJzyVzaY

The Counterculture

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The Counterculture

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photo Janis Joplin and Big Brother and The Holding Company, Lagunitas, California, 1967. Joplin’s gritty, full-throttle blues-rock style offered a new, liberating image for women in the world of rock music.

Unconventional appearance, music, drugs, communitarian experiments, and sexual liberation were hallmarks of the sixties counterculture, most of whose members were white, middle-class young Americans. To some Americans, these attributes reflected American ideals of free speech, equality, and pursuit of happiness. Other people saw the counterculture as self-indulgent, pointlessly rebellious, unpatriotic, and destructive of America’s moral order.

Authorities banned the psychedelic drug LSD, restricted political gatherings, and tried to enforce bans on what they considered obscenity in books, music, theater, and other media. Parents argued with their children and worried about their safety. Some adults accepted elements of the counterculture, while others became estranged from sons and daughters.

In 1967 Lisa and Tom Law moved to San Francisco, joining thousands of young people flocking to the Haight-Ashbury district. The counterculture lifestyle integrated many of the ideals and indulgences of the time: peace, love, harmony, music, mysticism, and religions outside the Judeo-Christian tradition. Meditation, yoga, and psychedelic drugs were embraced as routes to expanding one’s consciousness.


 

photo The “Freak-Out” show, Los Angeles, 1965. Rock music, colorful light shows, performance artists, and mind-altering drugs characterized the psychedelic dance parties of the sixties held in large halls in Los Angeles and San Francisco.

 

photo A concert in the Panhandle, Golden Gate Park, San Francisco, 1967

 

photo The Haight-Ashbury section of San Francisco, 1967. Students, hippies, musicians, and artists gravitated toward the community’s inexpensive housing and festive atmosphere.

 

 

photo Hell’s Angels motorcycle club members, the Panhandle in Golden Gate Park, San Francisco, 1967. While some people admired the Hell’s Angels’ audacious style, its members had an uneven and sometimes violent relationship with people in the counterculture.

 

photo Musician in the Panhandle, San Francisco, 1967

 

photo “Summer of Love,” the Panhandle, San Francisco, 1967

 

photo San Francisco, 1967

 

photo Easter Sunday Love-In, Malibu Canyon, California, 1968. This was a celebration of the counterculture movement.

 

photo Suzuki-Roshi, a Buddhist teacher, at the Human Be-In, Golden Gate Park, San Francisco, January 14, 1967. Also known as “A Gathering of the Tribes,” the Human Be-In was an effort to promote positive interactions among different groups in society.

 

photo Poet Allen Ginsberg, Human Be-In festival, Golden Gate Park, San Francisco, 1967. Ginsberg, known for his poem Howl, lived and symbolized the bohemian ideals of the Beat Generation of the 1950s and embraced the counterculture of the sixties.

 

It [the counterculture] was an attempt to rebel against the values our parents had pushed on us. We were trying to get back to touching and relating and living.

-Lisa Law, 1985

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photo Monterey International Pop Festival, Monterey, California, 1967. Monterey Pop was one of the first large outdoor rock festivals in the 1960s. Lisa and Tom Law sheltered people who were having difficult psychedelic drug experiences in their “Trip Tent.”

 

photo Timothy Leary, the Harvard-trained psychologist who coined the phrase “Turn On, Tune In, Drop Out,” at the Human Be-In, San Francisco, 1967

Social Activism and the Counterculture

photo Musician Judy Collins performing at anti-Vietnam War rally, Kezar Stadium, San Francisco, 1967

In the 1960s, Lisa Law and thousands of other Americans were moved by the Vietnam War, racial injustice, fear of nuclear annihilation, and the rampant materialism of capitalist society. Many were inspired by leaders such as John F. Kennedy and Martin Luther King Jr. Small groups staged sit-ins at schools, local lunch counters, and other public facilities. Masses gathered in the nation’s cities to protest what they saw as America’s shortcomings.

Many members of the counterculture saw their own lives as ways to express political and social beliefs. Personal appearance, song lyrics, and the arts were some of the methods used to make both individual and communal statements. Though the specifics of the debates were new, arguments for personal freedom, free speech, and political reform go back to the foundations of American society and the arguments of 19th-century social reformers and founders of new communities.


photo Artist Liberation Front meeting, San Francisco, 1967. This group of artists presented alternatives to “official” art in the form of street fairs that featured live music, mimes, puppet shows, and participatory painting.

 

photo Victor Maymudes, Bob Dylan’s road manager, with a mandala, a symbol of life, Monterey International Pop Festival, 1967. Maymudes carried this mandala made from burnt doll parts to protest the U.S. dropping of napalm in Vietnam.

 

photo Coretta Scott King, anti-Vietnam War rally, Kezar Stadium, San Francisco, 1967

 

photo Paul Krassner (center), editor of the underground publication The Realist, and Harvey Kornspan (far right), a member of the Diggers, the Panhandle, San Francisco, 1967. The Diggers were political activists and performers who distributed free food and clothing and staged theatrical events in the streets of San Francisco.

 

photo Tony Price playing the atomic gongs, El Rancho, New Mexico, 1970. Price made musical instruments out of materials salvaged from the U.S. atomic bomb research facility at Los Alamos, New Mexico.

 

photo Black Panthers, anti-Vietnam War rally, Kezar Stadium, San Francisco, 1967. The newly formed Black Panther Party, frustrated with the status quo, called attention to the purportedly disproportionate numbers of black men bearing the burden of combat in the Vietnam War.

 

photo “General Hershey Bar,” San Francisco, 1967. Antiwar demonstrators used street theater and satire to make political commentary. Gen. Lewis B. Hershey headed the Selective Service (Draft Board) in the Vietnam era.

 

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Communal Living

photo New Buffalo Commune, Arroyo Hondo, New Mexico, 1967

 


Some children of the sixties counterculture dropped out and left the cities for the countryside to experiment with utopian lifestyles. Away from urban problems and suburban sameness, they built new lives structured around shared political goals, organic farming, community service, and the longing to live simply with one’s peers.

The Laws lived in several groups of poets, musicians, artists, and idealists. These communities experimented with redefining family structure, the relationship between work and leisure, and the role of their community in the world. Their degrees of success varied, however. Many men and women struggled to balance personal and political freedom with individual responsibilities and commitments, and to develop the farming and building skills needed to sustain the community.


 

photo Caravan, including Lisa and Tom Law’s bus “Silver,” en route to Love-In protest at Los Alamos atomic proving grounds, New Mexico, 1968

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photo Horse trainer Tommy Masters teaching Prince to harness, Truchas, New Mexico, 1970

 

photo Building the communal house at the New Buffalo Commune, Arroyo Hondo, New Mexico, 1968. The Laws traveled to New Mexico to have their first child at a facility that practiced natural childbirth. They helped build the New Buffalo commune and decided to move to New Mexico to live among a group of friends.

 

photo Rick Klein and Steve, Jenna, and Carol Hinton, New Buffalo Commune, 1967. Rick Klein and other benefactors sometimes bought the land and founded communes, enabling members to implement their ideals.

 

photo Ben Marcus and Little Joe Gomez of the Peyote Church, Taos Pueblo, New Mexico, 1967. New Buffalo Commune members interpreted the ways of nearby American Indians to model a new life of self-sufficiency and tribal community.

 

photo Lisa Law writing birth announcements and breast-feeding newborn daughter Dhana Pilar, Embudo, New Mexico, 1967. Lisa Law and Steve Hinton made the cradleboard. Photograph by Tom Law

 

photo Miles Hinton, New Buffalo Commune, 1967

 

photo Hog Farm Commune members and friends, Spence Hot Springs, Jemez Mountains, New Mexico, 1967

 

photo Musician, New Buffalo Commune, Arroyo Hondo, New Mexico, 1967

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photo Ken Kesey, aboard his bus “Further,” Aspen Meadows, New Mexico, 1969. Author of One Flew Over the Cuckoo’s Nest, Kesey and his troupe, the Merry Pranksters, celebrated both spontaneous street theater to engage a mainstream audience and the use of psychedelic drugs.

 

photo Indian Sikh Yogi Bhajan teaching Kundalini yoga class, summer solstice, Tesuque Reservation, New Mexico, 1969. As part of a spiritual reawakening, some members of the counterculture rejected drug use in favor of mind and spiritual expansion through yoga, meditation, and chanting.

 

We stopped smoking marijuana and started getting high on breathing. Enough of being potheads. Now we could be healthy, happy and holy.

-Lisa Law, 1987

 

photo Hog Farm leader Wavy Gravy, Llano, New Mexico, 1969. Spontaneity, playfulness, and openness were cherished elements of commune life.

 

photo Commune members Laura and Paul Foster’s wedding at the Hog Farm’s summer solstice celebration, Aspen Meadows, New Mexico, 1968

 

photo Barry, Patty, and Ever McGuire with Don and Cindy Gallard watching the sunset, New Mexico, 1967. Barry McGuire, formerly of the New Christy Minstrels, recorded the hit protest song “Eve of Destruction.”

 

photo Pilar Law and yoga altar at New Buffalo Commune, 1969

 

Fifteen of us lived together, one room per family, and a kitchen and a communal room. I can’t say that I enjoyed that kind of living. It always seemed that women ended up doing a lot more chores than the men. The men played music, smoked the herb, chopped wood and repaired vehicles. The lack of privacy was a test.

-Lisa Law, 1987

 

photo Lisa and Tom Law with children Solar Sat and Dhana Pilar on Law farm, Truchas, New Mexico, 1970. Seeking more independence and privacy, the Laws moved into their own house, farmed, and raised animals.

 

photo Planting first garden on Law farm, Truchas, New Mexico, 1970

 

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Organizing Woodstock

photo Hog Farm members in free kitchen, Woodstock, 1969

The Woodstock Music and Art Fair made history. It was, depending on one’s point of view, four days of generosity, peace, great music, liberation, and expanding consciousness, or four days of self-indulgence, noise, promiscuity, and illegal drug use.

In 1969, Lisa Law and eighty-five experienced commune organizers were asked to assist with the medical tents, security, food services, stage activities, and information booths at a music festival near Woodstock, a little town in upstate New York. Seven months pregnant, with a toddler in hand, Law managed to take photographs of the festival, help run a free kitchen, and film an hour of home movies. She captured images of an event that remains one of the most powerful symbols of the decade.

Woodstock enabled thousands of middle-class young people to experience the communal spirit. For the first time, these young people felt empowered by their numbers. Politicians and manufacturers in the music and clothing industries took note of the potential of a growing youth market.


photo Hog Farmers arrival at John F. Kennedy Airport en route to the Woodstock Music and Art Fair, Woodstock, New York, 1969. The Laws and others in the counterculture saw music festivals as “purveyors of consciousness and peace.”

 

photo The musical group Quill on stage, Woodstock, 1969

 

photo Woodstock Music and Art Fair, Woodstock, New York, 1969

Afterword

photo Dennis Hopper, director and co-star of the film Easy Rider, New Mexico, 1970. The New Buffalo Commune served as a model for Hollywood depictions of communal living.

 


Just as increasing numbers of people were coming to the communes looking for answers, the Laws’ final back-to-the-land experiment at Truchas, New Mexico, was faltering. In 1976, Lisa Law moved to Santa Fe, where she eventually made her living as a photographer.

The counterculture movement, greeted with enormous publicity and popular interest, contributed to changes in American culture. A willingness to challenge authority, greater social tolerance, the sense that politics is personal, environmental awareness, and changes in attitudes about gender roles, marriage, and child rearing are legacies of the era.

Today Lisa Law lives by the Rio Grande in northern New Mexico in a solar-powered house. Her tepee is pitched beside her organic garden. Law continues to use her camera to document social issues, including efforts to end nuclear arms testing, the struggles of the young and elderly of New Mexico, and issues of Native American sovereignty.


 

photo Janis Joplin and Tommy Masters at Law farm, Truchas, New Mexico, 1970. In 1970, Joplin and fellow musician Jimi Hendrix died of drug and alcohol abuse.

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Your Top 40s Songs of the Sixties Decade

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Your Top 40s Songs of the Sixties Decade 

according to your vote

  60s decade Top 40 Music CountdownThe votes are in and your votes have been counted. Which song is the number one song of the decade according to your vote? Did your songs you voted on make these top 40? You can now listen to the most popular songs that our visitors enjoy the most. Where were you when these songs were being played on the radio for the very first time? What are your memories when that special song or songs are played? Well now is the time to grab your favorite beverage and your favorite partner and listen as we once again go back to the 60s to listen to the greatest music ever recorded. Neal Stevens plays these songs you voted as your favorites from the 60s decade. Enjoy listening to this great music excursion back to the 60s as they are counted down according to how you voted.

Click Here to play the greatest music ever recorded.

The Tiny island on the Thames that once held The Rolling Stones, David Bowie, and the UK’s Largest Hippie Commune

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The Tiny island on the Thames that once held The Rolling Stones, David

Bowie, and the UK’s Largest Hippie Commune

By

21ST AUG, 2014

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Eel Pie Landscape 3

Let’s take a walk along the towpath by the Thames, breathing in the heady scent of summer. See that island in the middle? That’s where we’re headed. And I’ve got a map, so I know it’s there!

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Map of Island

Past the gently bobbing riverboats moored at Twickenham,

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Until we reach a single footbridge.

Over the bridge 2

Here we go…

Private Island Sign

And we’re in!

Welcome to the exclusive and elusive Eel Pie Island, former site to the now legendary Eel Pie Island Hotel and one of London’s best kept secrets. It’s tiny expanse is home to just 120 residents, but don’t be fooled by its size- this little island holds an extraordinary history and quirky character all its own.

A postcard showing the Eel Pie Hotel c. 1900

Tucked away from the hustle and bustle of the city, it’s rumoured that King Henry VIII used the island during the 1500′s as a courting ground for his many mistresses, and from 1830 onwards its beautiful three-storey Eel Pie Island Hotel made it a popular leisure resort for holidaymakers. The island got its unusual name from the tasty eel pies that were sold by its residents to passing river traders. Although this specialty died out, the name remained.

A photograph from 1952

The footbridge was built in 1957, until then visitors had to pull themselves across the water by rope and paddle boat

But things really took off during the 50′s and 60′s, when the hotel’s old, elegant 19th century ballroom and dusty bar played host to numerous gigs and raves, gradually transforming Eel Pie Island into a buzzing and eclectic music venue.

Pink Floyd

It began to attract a flood of up-and-coming but as yet unknown bands who went on to become some of the biggest names in rock and roll history. Music legends who graced its shores include Pink Floyd, Black Sabbath, David Bowie and of course, The Rolling Stones.

The Rolling Stones

The Rolling Stones Ad

Oh for the time when The Stones were a weekly fixture! Below, a young Mick Jagger plays a gig on the island with his unknown band in 1963.

With bands like these playing almost every week, it’s easy to see why many claim Eel Pie Island launched the UK’s first underground music scene. Gigs were infamously raucous and the liqueur (amongst other things) flowed freely. Crowded, loud, smoky, sweaty, and flooded with free spirits and new music lovers from all over the world, it was an escapist’s paradise and the perfect place to leave the daily grind behind.

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Interestingly, the owner of the hotel and founder of the Eelpiland Club, Arthur Chisnell, often used profits from the club to help a number of hard-up teenagers who attended the gigs to get a better start in life. An avid social researcher and philanthropist, Arthur was also a bit of a bohemian at heart and had a wicked sense of humour. Check out these Eel Pie Island ‘passports’ that were issued to jivers in the 50′s and 60′s.

Passport 1

Passport 2

But when the club failed to raise the £200,000 required for much-needed repairs it was forced to close, and the hotel was eventually occupied by a group of anarchists. The island quickly grew into an oasis for society’s waifs and strays, becoming the UK’s largest hippie commune by 1970.

Eel Pie Hotel c. 1970

Hippy gathering on the banks of Eel Pie Island c. 1970

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Eel Pie Hotel c. 1970 2

Although the authorities deemed the hotel ‘uninhabitable’, they admitted that the hippies and the children on the island appeared to be ‘healthy and well cared for’.

Hippie Group

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But when a mysterious fire destroyed the famous hotel in 1970, it was abandoned, left derelict, and eventually demolished in favour of a new block of flats, much to the islanders’ dismay.

The abandoned hotel

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The hippies and hotel may be gone, but Eel Pie Island has lost none of its bohemian flair. Today it’s home to a colourful array of inventors, artists, craftsmen and boat builders, who decorate their houses, studios and little alleyways with Alice in Wonderland charm.

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Front steps

Adornments range from the enchanting to bizarre, and you can find pretty much anything in their gardens…

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True to its heritage, a number of these beautiful old boatyards are still in use.

Boat House 1

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Although the footbridge is only open to the public twice a year for the summer and Christmas markets, these are special occasions- a chance for people to browse the arts and crafts on display,

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Craft 1

Meander through the islanders’ quaint and quirky lanes,

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And meet some of the artists who live there.

Sheba Cassini

Lee Campbell

I get the feeling there’s more to this secretive island than meets the eye. Unexplored paths and secret gardens beckon…

But we’ll have to leave that for another day. The light is fading, and twinkling lights guide the way. Back we turn, past the artists’ houses,

Artist's Studio Night 1

Back over the bridge,

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And with one last glance over our shoulders, we leave the Eel Pie isle behind and head towards the gathering dusk.

Landscape Night 1

A book has been published on the history of Eel Pie Island that includes many interviews, images and anecdotes from those who spent time there. It’s available for purchase here.

You can also take a look at this short documentary from 1967, which shows footage of the Eel Pie Island Hotel and details how the club helped several who attended gigs there.

All photos via Flickr

Who Are All Those People In Sgt Peppers Lonely Hearts Club Band

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Who Are All Those People In Sgt Peppers Lonely Hearts Club Band

posted by ricky smith, Spacious Planet, May 08, 2012

The album art from Sgt Peppers Lonely Hearts Club Band by The Beatles is one of themost popular album covers in music history.
beatles sgt pepper
The cover is a collage of more than 60 famous people. Most of the people selected for the collage were requested by The Beatles. For example, George Harrison requested the three Hindu gurus who appear in the collage.
Lennon requested Adolf Hitler, Mahatma Gandhi and Jesus Christ. However, Jesus and Hitler were rejected because the record label feared a public backlash. The record label was nervous because of the controversy over the US Butcher Cover a year earlier. Mahatma Gandhi was excluded because EMI was worried about a negative reaction in India.EMI needed the permission of all living persons in the collage, creating a nightmare for their legal department. All the celebrities in the collage gave their permission. Only one person, Leo Gorcey was removed from the collage because he demanded a payment of $400.

The following is the complete list of all the people on the cover of Sgt Peppers Lonely Hearts Club Band:

Top Row- from left to right
Yukteswar Giri – Hindu guru
sri yukteswar giri

Aleister Crowley – Magician
aleister crowley

Mae West – Actress
mae west

Lenny Bruce – Comedian
lenny bruce

Karlheinz Stockhausen – German Composer
karlheinz stockhausen

W. C. Fields – Comedian
wc fields

Carl Jung – Psychologist
carl jung

Edgar Allan Poe – Writer and Poet
edgar allan poe

Fred Astaire – Actor
fred astaire

The Vargas Girl – Fictional Pin-up Girl
the vargas girl

Richard Merkin – Artist
richard merkin

Huntz Hall – Actor
huntz hall

Simon Rodia- Designer
simon rodia

Bob Dylan – Musician
bob dylan

Second Row
Aubrey Beardsley- Illustrator
aubrey beardsley

Sir Robert Peel- 19th Century British Prime Minister
sir robert peel

Aldous Huxley – Writer
aldous huxley

Dylan Thomas – Poet
dylan thomas

Terry Southern – Writer
terry southern

Dion – Singer
dion

Tony Curtis – Actor
tony curtis

Wallace Berman – Artist
wallace berman

Tommy Handley – Comedian
tom mix

Marilyn Monroe – Actress
marilyn monroe

William S. Burroughs – Writer
william s burroughs

Mahavatar Babaji – Hindu Guru
sri mahavatar babaji

Stan Laurel – Comedian
stan laurel

Richard Lindner – Artist
richard lindner

Oliver Hardy- Comedian
oliver hardy

Karl Marx- Political Philosopher
karl marx

H. G. Wells – Writer
hg wells

Paramahansa Yogananda- Hindu Guru
sri paramahansa yogananda

Sigmund Freud – Psychiatrist
sigmund freud

Second Row
Stuart Sutcliffe- Musician / Former Beatle
stuart sutcliffe

Max Miller- Comedian
max miller

A Petty Girl – A Series of Cartoon Pin-up Girls by Artist George Petty
a second petty girl appears in the front row
the petty girl

Marlon Brando – Actor
marlon brando

Tom Mix – Actor
tom mix

Oscar Wilde- writer
oscar wilde

Tyrone Power- Actor
tyrone power

Larry Bell- Artist
larry bell

David Livingstone – Missionary
david livingstone

Johnny Weissmuller- Actor
johnny weissmuller

Stephen Crane – Writer
stephen crane

Issy Bonn – Comedian
issy bonn

George Bernard Shaw – Playwright
george bernard shaw

H. C. Westermann – Sculptor
hc westermann

Albert Stubbins- English Football Player
albert stubbins

Sri Lahiri Mahasaya – Guru
lahiri mahasaya

Lewis Carroll – Writer
lewis carroll

T. E. Lawrence- The Historical Lawrence of Arabia
te lawrence

Front Row
Sonny Liston- Boxer
sonny liston

Shirley Temple (appears three times on the cover)
shirley temple

Albert Einstein – Physicist
albert einstein

The Beatles (John Lennon, Ringo Starr, Paul McCartney and
George Harrison) all appear twice – once as wax models.
the beatles

Bobby Breen – Musician
bobby breen

Marlene Dietrich – Actress
marlene dietrich

Diana Dors – Actress
diana dors

A few additional facts about the Sgt Pepper Album Art:

  • Two figures in the cover photo are hairdresser’s wax dummies.
  • It was the first UK album to have the lyrics printed on the inside cover.
  • There was a long running urban legend that the green plants in the photo are cannabis.