FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 284 Rolling Stones “Street Fighting Man” (Featured artist is Abigail DeVille )


Street Fighting Man By Rage against the machine

Image result for rolling stones street fighting man

The young generation in the 1960’s was searching for an alternative to the materialism of their parents and they wanted to revolt, but where could they turn? It was an age of Personal Peace and Affluence. Francis Schaeffer had a ministry to college students during this time and he knew what they were dealing with. The Rolling Stones and Beatles were two of the key bands that Schaeffer wrote about often.

How Should We Then Live – Episode 9 – The Age of Personal Peace & Affluence

Published on Aug 6, 2015

Francis Shaeffer


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Street Fightin’ Man
Ev’rywhere I hear the sound
Of marching charging feet, boy
‘Cause summer’s here and the time is right
For fighting in the street, boy
Well now, what can a poor boy do
Except to sing for a rock n’ roll band?
‘Cause in sleepy London town
There’s just no place for a street fighting man, no
Hey think the time is right
For a palace revolution
But where I live the game
To play is compromise solution
Well now, what can a poor boy do
Except to sing for a rock n’ roll band?
‘Cause in sleepy London town
There’s just no place for a street fighting man, no. Get down.
Hey so my name is called Disturbance
I’ll shout and scream
I’ll kill the king, I’ll rail at all his servants
Well, what can a poor boy do
Except to sing for a rock n’ roll band?
‘Cause in sleepy London town
There’s just no place for a street fighting man, no
Get down
Songwriters: Keith Richards / Mick Jagger

The Rolling Stones – Street Fighting Man

Street Fighting Man. The Rolling Stones Live 1969 (Full Song)

Uploaded on Nov 10, 2010

Taken from the the Stones last tour of the 60’s and just prior to Altamont. This performance when released in the movie included footage of a DJ voiceover as well as behind the scenes at Altamont. In this version there is edited in different footage with partial overdub audio to make a complete performance. Hope you enjoy it.

  • Category   Aldous Huxley belowImage result for aldous huxley

Francis A. Schaeffer  wrote something about the ROLLING STONES:
At about the same time as the Berkeley Free Speech Move- 
ment came a heavy participation in drugs. The beats had not 
been deeply into drugs the way the hippies were. But soon 
after 1964 the drug scene became the hallmark of young 
The philosophic basis for the drug scene came from Aldous 
Huxley's concept that, since, for the rationalist, reason is not 
taking us anywhere, we should look for a final experience, one 
that can be produced "on call," one that we do not need to 
wait for. The drug scene, in other words, was at first an ideol- 
ogy, an ideology that had very practical consequences. Some of 
us at L'Abri have cried over the young people who have blown 
their minds. But many of them thought, like Alan Watts, Gary 
Snyder, Alan Ginsberg and Timothy Leary, that if you could 
simply turn everyone on, there would be an answer to man's 
longings. It wasn't just the far-out freaks who suggested that 
you could put drugs in the drinking water and turn on a whole 
city so that the "pigs" and the kids would all have flowers in 
their hair. In those days it really was an optimistic ideological 

So two things have to be said here. FIRST, the young people's 
analysis of culture was right, and, SECOND, they really thought 
they had an answer to the problem. Up through Woodstock 
BEING THE IDEOLOGICAL ANSWER. The desire for community and 
togetherness that was the impetus for Woodstock was not wrong, of course. God has made us in his own image, and he 
means for us to be in a strong horizontal relationship with each 
other. While Christianity appeals and applies to the individual, 
it is not individualistic. God means for us to have community. 
There are really two orthodoxies: an orthodoxy of doctrine 
and an orthodoxy of community, and both go together. So the 
longing for community in Woodstock was right. But the path 
was wrong. 

to use the expression of Rolling Stone magazine. The FIRST 
occurred at Altamont, California, where the ROLLING STONES put 
on a festival and hired the Hell's Angels (for several barrels of 
beer) to police the grounds. Instead, the Hell's Angels killed 
people without any cause, and it was a bad scene indeed. But 
people thought maybe this was a fluke, maybe it was just 

On the Isle of Wight, 450,000 people assembled, and it was 
totally ugly. A number of people from L'Abri were there, and I 
know a man closely associated with the rock world who knows 
the organizer of this festival. Everyone agrees that the situation 
was just plain hideous. 

DRUGS ALL THE TIME. And what the eventual outcome will be is 
certainly unpredictable. I know that in many places, California 
for example, drugs are down through the high schools and on 
into the heads of ten- and eleven-year-olds. But drugs are not 
considered a philosophic expression anymore; among the very 
young they are just a peer group thing. It's like permissive 
sexuality. You have to sleep with a certain number of boys or 
you're not in; you have to take a certain kind of drug or you're 

Street Fighting Man

From Wikipedia, the free encyclopedia
“Street Fighting Man”
Single by The Rolling Stones
from the album Beggars Banquet
B-side No Expectations
Released August 1968
Format 7-inch single
Recorded April–May 1968
Length 3:09
Label London
Songwriter(s) Jagger/Richards
Producer(s) Jimmy Miller
The Rolling Stones singles chronology
Jumpin’ Jack Flash
Street Fighting Man
Honky Tonk Women
Audio sample
Alternative covers
French single picture sleeve

French single picture sleeve

Street Fighting Man” is a song by English rock band the Rolling Stones featured on their 1968 album Beggars Banquet. Called the band’s “most political song”,[4] Rolling Stone ranked the song number 301 on its list of the 500 Greatest Songs of All Time.


Originally titled and recorded as “Did Everyone Pay Their Dues?”, containing the same music but very different lyrics, “Street Fighting Man” is known as one of Mick Jagger and Keith Richards‘ most politically inclined works to date. Jagger allegedly wrote it about Tariq Ali after he attended a 1968 anti-war rally at London‘s US embassy, during which mounted police attempted to control a crowd of 25,000.[5][6] He also found inspiration in the rising violence among student rioters on Paris‘s Left Bank,[7] the precursor to a period of civil unrest in May 1968.

On the writing, Jagger said in a 1995 interview with Jann Wenner in Rolling Stone,

Yeah, it was a direct inspiration, because by contrast, London was very quiet…It was a very strange time in France. But not only in France but also in America, because of the Vietnam War and these endless disruptions … I thought it was a very good thing at the time. There was all this violence going on. I mean, they almost toppled the government in France; de Gaulle went into this complete funk, as he had in the past, and he went and sort of locked himself in his house in the country. And so the government was almost inactive. And the French riot police were amazing.[8]

The song opens with a strummed acoustic riff. In his review, Richie Unterberger says of the song, “…it’s a great track, gripping the listener immediately with its sudden, springy guitar chords and thundering, offbeat drums. That unsettling, urgent guitar rhythm is the mainstay of the verses. Mick Jagger’s typically half-buried lyrics seem at casual listening like a call to revolution.”[9]

Everywhere I hear the sound of marching, charging feet, boy
‘Cause summer’s here and the time is right for fighting in the street, boy

Hey! think the time is right for a palace revolution, but where I live the game to play is compromise solution
Hey, said my name is called Disturbance;, I’ll shout and scream, I’ll kill the King, I’ll rail at all his servants

Well now what can a poor boy do, Except to sing for a rock & roll band?
Cause in sleepy London Town there’s just no place for a street fighting man, no

Unterberger continues, “Perhaps they were saying they wished they could be on the front lines, but were not in the right place at the right time; perhaps they were saying, as John Lennon did in the Beatles‘ “Revolution“, that they didn’t want to be involved in violent confrontation. Or perhaps they were even declaring indifference to the tumult.”[9] Other writers’ interpretations varied. In 1976, Roy Carr assessed it as a “great summer street-corner rock anthem on the same echelon as ‘Summer in the City‘, ‘Summertime Blues‘, and ‘Dancing in the Street‘.”[7] In 1979, Dave Marsh wrote that it was the keynote of Beggars Banquet, “with its teasing admonition to do something and its refusal to admit that doing it will make any difference; as usual, the Stones were more correct, if also more faithless, philosophers than any of their peers.”[10]


Recording on “Street Fighting Man” took place at Olympic Sound Studios from April until May 1968. With Jagger on lead vocals and both he and Richards on backing, Brian Jones performs the song’s distinctive sitar and also tamboura. Richards plays the song’s acoustic guitars as well as bass, the latter being the only electric instrument on the track. Charlie Watts performs drums while Nicky Hopkins performs the song’s piano which is most distinctly heard during the outro. Shehnai is performed on the track by Dave Mason. On the earlier, unreleased “Did Everybody Pay Their Dues” version, Rick Grech played a very prominent electric viola.[11]

Watts said in 2003,

“Street Fighting Man” was recorded on Keith’s cassette with a 1930s toy drum kit called a London Jazz Kit Set, which I bought in an antiques shop, and which I’ve still got at home. It came in a little suitcase, and there were wire brackets you put the drums in; they were like small tambourines with no jangles… The snare drum was fantastic because it had a really thin skin with a snare right underneath, but only two strands of gut… Keith loved playing with the early cassette machines because they would overload, and when they overload they sounded fantastic, although you weren’t meant to do that. We usually played in one of the bedrooms on tour. Keith would be sitting on a cushion playing a guitar and the tiny kit was a way of getting close to him. The drums were really loud compared to the acoustic guitar and the pitch of them would go right through the sound. You’d always have a great backbeat.[12]

On the recording process itself, Richards remembered,

The basic track of that was done on a mono cassette with very distorted overrecording, on a Phillips with no limiters. Brian is playing sitar, it twangs away. He’s holding notes that wouldn’t come through if you had a board, you wouldn’t be able to fit it in. But on a cassette if you just move the people, it does. Cut in the studio and then put on a tape. Started putting percussion and bass on it. That was really an electronic track, up in the realms.[13]

Bruce Springsteen would comment in 1985, after including “Street Fighting Man” in the encores of some of his Born in the U.S.A. Tour shows: “That one line, ‘What can a poor boy do but sing in a rock and roll band?’ is one of the greatest rock and roll lines of all time. … [The song] has that edge-of-the-cliff thing when you hit it. And it’s funny; it’s got humour to it.”[14]

Jagger continues in the Rolling Stone interview when asked about the song’s resonance thirty years on; “I don’t know if it [has any]. I don’t know whether we should really play it. I was persuaded to put it [on Voodoo Lounge Tour] because it seemed to fit in, but I’m not sure if it really has any resonance for the present day. I don’t really like it that much.”[8] Despite this, the song has been performed on a majority of the Stones’ tours since its introduction to their canon of work.[11]

On the song, Richards said, only a few years after recording the track in a 1971 Rolling Stone interview with Robert Greenfield, that the song had been “interpreted thousands of different ways”. He mentioned how Jagger went to the Grosvenor Square demonstrations in London and was even charged by the police, yet he ultimately claims, “it really is ambiguous as a song.”[13]


The Rolling Stones[15]

Additional musicians


Released as Beggars Banquets lead single in August 1968 in the US, “Street Fighting Man” was popular on release but was kept out of the Top 40 (reaching number 48) of the US charts in response to many radio stations’ refusal to play the song based on what were perceived as subversive lyrics.[16] This attitude would be reinforced as the song was released within a week of the riots at the 1968 Democratic National Convention in Chicago.[9]

Because of the 1968 National Democratic Convention and the possibility of the song inciting further violence, Chicago radio stations refused to play the song. This was much to the delight of Mick, who stated: “I’m rather pleased to hear they have banned (the song). The last time they banned one of our records in America, it sold a million.”[17] Mick said he was told they thought the record was subversive, to which he snapped: “Of course it’s subversive! It’s stupid to think you can start a revolution with a record. I wish you could.”[18]

While many of the US London picture sleeves are rare and collectable, the sleeve for this single is particularly scarce and is considered their most valuable.

Keith weighed into the debate when he said that the fact a couple of radio stations in Chicago banned the record “just goes to show how paranoid they are”. At the same time they were still requested to do live appearances and Keith said: “If you really want us to cause trouble, we could do a few stage appearances. We are more subversive when we go on stage.”[18]

The single’s B-side was album-mate “No Expectations“. For reasons unknown, the single did not see a release in the United Kingdom until 1971 (backed with “Surprise, Surprise“, previously unreleased in the UK).

The US single’s version of the song, released in mono with an additional vocal overdub on the choruses, is different from the Beggars Banquet album’s stereo version.

The album version of the song has been included on the compilations albums Through the Past, Darkly (Big Hits Vol. 2), Hot Rocks 1964-1971, 30 Greatest Hits, Singles Collection: The London Years (album version on 1989 edition; US single version on 2002 remaster), Forty Licks, and GRRR! A staple at Rolling Stones live shows since the band’s American Tour of 1969, concert recordings of the song have been captured and released for the live albums Get Yer Ya-Ya’s Out! (recorded 1969, released 1970), Stripped (1995; rereleased on Totally Stripped in 2016), Live Licks (recorded 2003, released 2004), and Sweet Summer Sun: Hyde Park Live (2013).


Chart (1968) Peak
Austria (Ö3 Austria Top 40)[19] 7
Belgium (Ultratop 50 Flanders)[20] 13
Canada Top Singles (RPM)[21] 32
Germany (Official German Charts)[22] 7
Netherlands (Single Top 100)[23] 5
Switzerland (Schweizer Hitparade)[24] 4
US Billboard Hot 100[25] 48
Chart (1971) Peak
UK Singles (Official Charts Company)[26] 21


“Street Fighting Man” has been covered by many artists. Rod Stewart covered it on the debut solo album An Old Raincoat Won’t Ever Let You Down. Oasis recorded a version that was released as the B-side to their 1998 single “All Around the World“. The song can be found on the fourth and last studio album by Rage Against the Machine, titled Renegades. It appears on Mötley Crüe‘s Red, White & Crüe album as well as the Ramones‘ 2002 re-release of Too Tough to Die. The band Prima Donna performed a live cover early in their career. The band Lake Trout recorded the song for their album Not Them, You. The band Tesla also covered this song on their covers album Real to Reel which can be found on the rare disk 2 track number 5. (You needed to attend a concert during the Reel to Reel tour to obtain this disk.)[citation needed]

Guitarist Pete Townshend of The Who has claimed that the staccato beat–rhythm structure of “Street Fighting Man” is the inspiration for “I’m Free” on Tommy.[27]

Dave Perkins & Lynn Nichols covered the song in their side project “Passafist”.

In 2009, the Australian rock band Sick Puppies used the first 15 seconds of Rage Against The Machine’s version for their single “Street Fighter (War)”.

Radio personalities Opie and Anthony use Rage Against the Machine’s version as part of the opening theme for their show.

The song plays over the end credits of the film V for Vendetta (2006).

It appears during the documentary Sicko (2007) and is also used in the film State of Grace (1990).

Wes Anderson used the track in his 2009 stop-motion animated film Fantastic Mr. Fox.

The song is referenced by Chris Farley in the movie Dirty Work (1998).

The Buffalo Sabres of the National Hockey League have used the song as their unofficial theme song, taking the ice at home games as the song plays in the First Niagara Center.

The title line of the song is sung by fictional character Jack T. Chance in the first issue of Green Lantern Corps Quarterly (1992; DC Comics).[28]

The song was played on Criminal Minds season 5 episode, “The Fight”.

The song is featured in the 2013 movie White House Down and it was played during the credits.

The song was played during the closing scene of the fourth-season finale of Southland.


    1. Jump up^ Milward, John (2013). Crossroads: How the Blues Shaped Rock ‘n’ Roll (and Rock Saved the Blues). Northeastern. p. 128. ISBN 978-1555537449.
    1. Jump up^ Willis, Ellen (2011). Out of the Vinyl Deeps: Ellen Willis on Rock Music. University of Minnesota Press. p. 80. ISBN 978-0816672837.
    1. Jump up^ Schaffner, Nicholas (1982). The British Invasion: From the First Wave to the New Wave. Mcgraw-Hill. p. 77. ISBN 978-0070550896.
    1. Jump up^ “News”. Rolling Stone. Retrieved 2016-10-02.
    1. Jump up^ Azania, Malcolm. “Tariq Ali: The time is right for a palace revolution”. Vue Weekly. 2008(accessed 14 November 2008).
    1. Jump up^ “Street Fighting Man”. Rolling Stone. 2004 (accessed 22 July 2007).
    1. ^ Jump up to:a b Roy Carr, The Rolling Stones: An Illustrated Record, Harmony Books, 1976. ISBN 0-517-52641-7. p. 55.
    1. ^ Jump up to:a b Wenner, Jann. “Jagger Remembers”. Rolling Stone. Retrieved 22 July 2007.
    1. ^ Jump up to:a b c Unterberger, Richie. “Street Fighting Man”. allmusic. Retrieved 22 July 2006.
    1. Jump up^ Rolling Stone Record Guide, Rolling Stone Press, 1979. ISBN 0-394-73535-8.
    1. ^ Jump up to:a b Ian McPherson. “Street Fighting Man”. Retrieved 2016-10-02.
    1. Jump up^ ISBN 0-8118-4060-3 According to The Rolling Stones. Chronicle Books. 2003.
    1. ^ Jump up to:a b Greenfield, Robert. “Keith Richards – Interview”. Rolling Stone (magazine) 19 August 1971.
    1. Jump up^ Marsh, Dave. Glory Days: Bruce Springsteen in the 1980s. Pantheon Books, 1987. ISBN 0-394-54668-7. pp. 229-230.
    1. Jump up^ Ian McPherson. “Street Fighting Man”. Retrieved 2016-10-02.
    1. Jump up^ Paytress, Mark (2003). The Rolling Stones: Off the Record. Omnibus Press. p. 153. ISBN 0-7119-8869-2.
    1. Jump up^ The Rolling Stones – Off The Record by Mark Paytress, Omnibus Press, 2005, page 153. ISBN 1-84449-641-4
    1. ^ Jump up to:a b The Rolling Stones – Off The Record by Mark Paytress, Omnibus Press, 2005, page 153. ISBN 1-84449-641-4
    1. Jump up^ – The Rolling Stones – Street Fighting Man” (in German). Ö3 Austria Top 40. Retrieved 17 June 2016.
    1. Jump up^ – The Rolling Stones – Street Fighting Man” (in Dutch). Ultratop 50. Retrieved 17 June 2016.
    1. Jump up^ Top RPM Singles: Issue 5863.” RPM. Library and Archives Canada. Retrieved 17 June 2016.
    1. Jump up^ – The Rolling Stones – Street Fighting Man”. GfK Entertainment Charts. Retrieved 17 June 2016.
    1. Jump up^ – The Rolling Stones – Street Fighting Man”(in Dutch). Single Top 100. Retrieved 17 June 2016.
    1. Jump up^ – The Rolling Stones – Street Fighting Man”. Swiss Singles Chart. Retrieved 17 June 2016.
    1. Jump up^ “The Rolling Stones – Chart history” Billboard Hot 100 for The Rolling Stones. Retrieved 17 June 2016.
    1. Jump up^ Rolling Stones: Artist Chart History” Official Charts Company. Retrieved 17 June 2016.
    1. Jump up^ “I’m Free”. 2001. Retrieved 6 August 2007.
  1. Jump up^ “Green Lantern Corps Quarterly #1 – Layin’ Down the Law (Issue)”. 1992-06-01. Retrieved 2016-10-02.

External links[edit]


Abigail DeVille Listens to History | Art21 “New York Close Up”

Published on Mar 7, 2018

How does an artist express both the joy and pain in harrowing histories? Through her immersive performances and installation works, Abigail DeVille celebrates the bravery and optimism—while also memorializing the suffering—embedded within the African American experience. Calling out official American history as “garbage,” Deville uses discarded materials herself, like old furniture and tattered flags, to construct complex room-sized installations evoking the overlooked histories of Black Americans in all its messiness and grandeur. “There’s something, that if you’re quiet enough and you listen,” says the artist, “you’re being guided or directed to uncover specific bits of information.” DeVille’s “The New Migration,” presented by the Studio Museum and staged on the streets of Harlem in 2014, was inspired by the women and men of the Great Migration—the millions of African Americans who escaped the systemic racism and state violence of the Jim Crow South in the twentieth century. Directed by collaborator Charlotte Brathwaite and also performed in Anacostia and Baltimore, “The New Migration” is a grand on-the-street procession of musicians, dancers, marching bands, and community members of all ages donning DeVille’s wearable sculptures, which for the artist signify the weight of history. The project also references the current gentrification of American cities like Harlem and Chicago as the next migration forcing communities of color from their homes. A reckoning facilitated through festivity, DeVille’s collaborative community performance honors the agency and hope of Black communities today. “It’s something for me to constantly be reminded of,” says DeVille, “that we as a people, we’re going to get there.” Featuring the artist’s installation “Only When It’s Dark Enough Can You See the Stars” at The Contemporary, Baltimore; and the artist’s 2014 Anacostia performance hosted by the Anacostia Arts Center. Locations include The National Great Blacks in Wax Museum. Also featuring music by Artem Bemba, Burnt Sugar the Arkestra Chamber, Cloudjumper, Jade Hicks, Justin Hicks, Kenita Miller-Hicks, New Edition Legacy Marching Band, and Pedro Santiago. Abigail DeVille (b. 1981, New York, New York, USA) lives and works in the Bronx, New York. Learn more about the artist at:… CREDITS | “New York Close Up” Series Producer: Nick Ravich. Director & Producer: Wesley Miller. Editor: Anna Gustavi. Cinematography & Sound: Amitabh Joshi, Paul Lieber, John Marton, Michael T. Miller, Wesley Miller, Cauleen Smith, Think Out Loud Productions. Music: Artem Bemba, Burnt Sugar the Arkestra Chamber, Cloudjumper, Jade Hicks, Justin Hicks, Kenita Miller-Hicks, New Edition Legacy Marching Band, Pedro Santiago. Design & Graphics: Open, Uros Perisic. Archival Photography: Library of Congress, Prelinger Archives. Artwork Courtesy: Abigail DeVille. Performance Co-Creator & Director: Charlotte Brathwaite. Performers: M. Liz Andrews, Mikel Banks, Asim Barnes, Flip Barnes, JM Denson, Avram Fefer, Asma Feyijinmi, Daniela Fifi, Paula Henderson, Ayesha Jordan, Ifasen Kwame, Shango Kwame, André Lassalle, Hiroyuki Matsuura, Nina Angela Mercer, Candace Mickens, Paul Pryce, Sheldon Scott, Jessica Silva, André D. Singleton, Greg Tate, Ibrahim Turay, LaFrae Sci, Ayinde Utsey. Thanks: Rushern Baker IV, Kent Barrett, Holly Bass, Asha Elana Casey, The Contemporary, Peggy Cooper Cafritz, Oscar Cornejo, Sandra Cornejo, DC Commission on the Arts & Humanities, Stephen Crouch, Jessica Denson, The DeVille Family, David O. Fakunle, Catherine Feliz, Arianne Gelardin, Jackson Gilman-Forlini, Angela Goerner, Deana Haggag, Jennifer Harrison Newman, Lauren Haynes, Lee Heinemann, Ariel Jackson, Amanda Jiron-Murphy, Anthony Joshua, Nathan Lewis, The Loading Dock, Deirdre Ehlen MacWilliams, Samuel Margai, Dr. Joanne Martin, Michael Metcalf, MICA, Kenita Miller, Morris-Jumel Mansion, National Great Blacks in Wax Museum, Jared M. Nickerson, Mary Olin Geiger , The Peale Center for Baltimore History & Architecture, Philip A. Robinson, Terry Scott, Jazmin Smith, Ginevra Shay, The Studio Museum in Harlem, Monica Utsey, Kimberly J. Wade, Nico Wheadon. “New York Close Up” is supported, in part, by The Lambent Foundation; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by individual contributors.

Featured artist is Abigail DeVille

Abigail DeVille

Abigail DeVille was born in 1981 in New York, where she lives and works. Maintaining a long-standing interest in marginalized people and places, DeVille creates site-specific immersive installations designed to bring attention to these forgotten stories, such as with the sculpture she built on the site of a former African American burial ground in Harlem.

DeVille often works with objects and materials sourced from the area surrounding the exhibition site, and her theatrical aesthetic embodies the phrase, “One person’s trash is another person’s treasure.” Though collected objects are essential to her installations, DeVille’s priority is the stories her installations can tell. DeVille’s family roots in New York go back at least two generations; her interest in the city, and her work about it, is both personal and political.


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