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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
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Of marching charging feet, boy
‘Cause summer’s here and the time is right
For fighting in the street, boy
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
For a palace revolution
But where I live the game
To play is compromise solution
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.
I’ll shout and scream
I’ll kill the king, I’ll rail at all his servants
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
The Rolling Stones – Street Fighting Man
Street Fighting Man. The Rolling Stones Live 1969 (Full Song)
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.
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Category Aldous Huxley below
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 people.
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 concept. 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 (1969) the YOUNG PEOPLE WERE OPTIMISTIC CONCERNING DRUGS-- 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. AFTER WOODSTOCK TWO EVENTS "ENDED THE AGE OF INNOCENCE," 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 California! IT TOOK A SECOND EVENT TO BE CONVINCING. 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. THUS, AFTER THESE TWO ROCK FESTIVALS THE PICTURE CHANGED. IT IS NOT THAT KIDS HAVE STOPPED TAKING DRUGS, FOR MORE ARE TAKING 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 not in. THE OPTIMISTIC IDEOLOGY HAS DIED.
Street Fighting Man
| “Street Fighting Man” | ||||
|---|---|---|---|---|
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| 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 | |||
| Genre | ||||
| Length | 3:09 | |||
| Label | London | |||
| Songwriter(s) | Jagger/Richards | |||
| Producer(s) | Jimmy Miller | |||
| The Rolling Stones singles chronology | ||||
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| Audio sample | ||||
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| Alternative covers | ||||
French single picture sleeve
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“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.
Contents
[hide]
Inspiration[edit]
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, boyHey! 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 servantsWell 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[edit]
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]
Musicians[edit]
The Rolling Stones[15]
- Mick Jagger – vocals, percussion
- Keith Richards – amplified acoustic guitars, bass guitars, slide guitar
- Brian Jones – sitar, tamboura
- Charlie Watts – drum
Additional musicians
- Dave Mason – shehnai, bass drum
- Nicky Hopkins – piano
Release[edit]
Released as Beggars Banquet‘s 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).
Charts[edit]
| Chart (1968) | Peak position |
|---|---|
| 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 position |
| UK Singles (Official Charts Company)[26] | 21 |
Legacy[edit]
 |
This section indiscriminately collects miscellaneous information. (May 2017) |
“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.
References[edit]
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- Jump up^ Milward, John (2013). Crossroads: How the Blues Shaped Rock ‘n’ Roll (and Rock Saved the Blues). Northeastern. p. 128. ISBN 978-1555537449.
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- Jump up^ Willis, Ellen (2011). Out of the Vinyl Deeps: Ellen Willis on Rock Music. University of Minnesota Press. p. 80. ISBN 978-0816672837.
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- Jump up^ Schaffner, Nicholas (1982). The British Invasion: From the First Wave to the New Wave. Mcgraw-Hill. p. 77. ISBN 978-0070550896.
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- Jump up^ “News”. Rolling Stone. Retrieved 2016-10-02.
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- Jump up^ Azania, Malcolm. “Tariq Ali: The time is right for a palace revolution”. Vue Weekly. 2008(accessed 14 November 2008).
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- Jump up^ “Street Fighting Man”. Rolling Stone. 2004 (accessed 22 July 2007).
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- ^ Jump up to:a b Roy Carr, The Rolling Stones: An Illustrated Record, Harmony Books, 1976. ISBN 0-517-52641-7. p. 55.
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- ^ Jump up to:a b Wenner, Jann. “Jagger Remembers”. Rolling Stone. Retrieved 22 July 2007.
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- ^ Jump up to:a b c Unterberger, Richie. “Street Fighting Man”. allmusic. Retrieved 22 July 2006.
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- Jump up^ Rolling Stone Record Guide, Rolling Stone Press, 1979. ISBN 0-394-73535-8.
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- ^ Jump up to:a b Ian McPherson. “Street Fighting Man”. Timeisonourside.com. Retrieved 2016-10-02.
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- Jump up^ ISBN 0-8118-4060-3 According to The Rolling Stones. Chronicle Books. 2003.
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- ^ Jump up to:a b Greenfield, Robert. “Keith Richards – Interview”. Rolling Stone (magazine) 19 August 1971.
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- Jump up^ Marsh, Dave. Glory Days: Bruce Springsteen in the 1980s. Pantheon Books, 1987. ISBN 0-394-54668-7. pp. 229-230.
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- Jump up^ Ian McPherson. “Street Fighting Man”. Timeisonourside.com. Retrieved 2016-10-02.
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- Jump up^ Paytress, Mark (2003). The Rolling Stones: Off the Record. Omnibus Press. p. 153. ISBN 0-7119-8869-2.
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- Jump up^ The Rolling Stones – Off The Record by Mark Paytress, Omnibus Press, 2005, page 153. ISBN 1-84449-641-4
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- ^ Jump up to:a b The Rolling Stones – Off The Record by Mark Paytress, Omnibus Press, 2005, page 153. ISBN 1-84449-641-4
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- Jump up^ “Austriancharts.at – The Rolling Stones – Street Fighting Man” (in German). Ö3 Austria Top 40. Retrieved 17 June 2016.
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- Jump up^ “Ultratop.be – The Rolling Stones – Street Fighting Man” (in Dutch). Ultratop 50. Retrieved 17 June 2016.
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- Jump up^ “Top RPM Singles: Issue 5863.” RPM. Library and Archives Canada. Retrieved 17 June 2016.
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- Jump up^ “Offiziellecharts.de – The Rolling Stones – Street Fighting Man”. GfK Entertainment Charts. Retrieved 17 June 2016.
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- Jump up^ “Dutchcharts.nl – The Rolling Stones – Street Fighting Man”(in Dutch). Single Top 100. Retrieved 17 June 2016.
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- Jump up^ “Swisscharts.com – The Rolling Stones – Street Fighting Man”. Swiss Singles Chart. Retrieved 17 June 2016.
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- Jump up^ “The Rolling Stones – Chart history” Billboard Hot 100 for The Rolling Stones. Retrieved 17 June 2016.
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- Jump up^ “Rolling Stones: Artist Chart History” Official Charts Company. Retrieved 17 June 2016.
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- Jump up^ “I’m Free”. thewho.net. 2001. Retrieved 6 August 2007.
- Jump up^ “Green Lantern Corps Quarterly #1 – Layin’ Down the Law (Issue)”. Comicvine.com. 1992-06-01. Retrieved 2016-10-02.
External links[edit]
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Abigail DeVille Listens to History | Art21 “New York Close Up”
Published on Mar 7, 2018
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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