Category Archives: Current Events

THE ARTISTS, POETS and PROFESSORS of BLACK MOUNTAIN COLLEGE (the college featured in the film THE LONGEST RIDE) Part 15 Willem de Kooning (Part B)

August 3, 2015 – 5:42 am

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The Longest Ride Movie CLIP – Bull Riding Lesson (2015) – Britt Robertson, Scott Eastwood Movie HD

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Scott Eastwood Interview – The Longest Ride

The Longest Ride Official Trailer #1 (2015) – Britt Robertson Movie HD

It has been my practice on this blog to cover some of the top artists of the past and today and that is why I am doing  this current series on Black Mountain College (1933-1955). Here are some links to some to some of the past posts I have done on other artists: Marina Abramovic, Ida Applebroog,  Matthew Barney, Aubrey Beardsley, Larry Bell, Wallace Berman, Peter Blake,  Allora & Calzadilla,   Christo and Jeanne-Claude, Heinz Edelmann,  Olafur Eliasson, Tracey Emin, Jan Fabre, Makoto Fujimura, Hamish Fulton, Ellen Gallaugher, Ryan Gander, John Giorno, Rodney Graham,  Cai Guo-Qiang, Jann Haworth, Arturo Herrera, Oliver Herring, David Hockney, David Hooker,  Nancy Holt, Roni Horn, Peter Howson, Robert Indiana, Jasper Johns, Martin Karplus, Margaret Keane, Mike Kelley, Jeff Koons, Richard Linder, Sally Mann, Kerry James Marshall, Trey McCarley,   Paul McCarthy, Josiah McElheny, Barry McGee, Richard Merkin, Yoko Ono, Tony Oursler, George Petty, William Pope L., Gerhard Richter, Anna Margaret Rose,  James Rosenquist, Susan Rothenberg, Georges Rouault, Richard Serra, Shahzia Sikander, Raqub Shaw, Thomas Shutte, Hiroshi Sugimoto, Mika Tajima,Richard Tuttle, Luc Tuymans, Alberto Vargas,  Banks Violett, H.C. Westermann,  Fred Wilson, Krzysztof Wodiczko, Andrea Zittel,

My first post in this series was on the composer John Cage and my second post was on Susan Weil and Robert Rauschenberg who were good friend of Cage. The third post in this series was on Jorge Fick. Earlier we noted that  Fick was a student at Black Mountain College and an artist that lived in New York and he lent a suit to the famous poet Dylan Thomas and Thomas died in that suit.

The fourth post in this series is on the artist  Xanti Schawinsky and he had a great influence on John Cage who  later taught at Black Mountain College. Schawinsky taught at Black Mountain College from 1936-1938 and Cage right after World War II. In the fifth post I discuss David Weinrib and his wife Karen Karnes who were good friends with John Cage and they all lived in the same community. In the 6th post I focus on Vera B. William and she attended Black Mountain College where she met her first husband Paul and they later  co-founded the Gate Hill Cooperative Community and Vera served as a teacher for the community from 1953-70. John Cage and several others from Black Mountain College also lived in the Community with them during the 1950’s. In the 7th post I look at the life and work of M.C.Richards who also was part of the Gate Hill Cooperative Community and Black Mountain College.

In the 8th post I look at book the life of   Anni Albers who is  perhaps the best known textile artist of the 20th century and at Paul Klee who was one  of her teachers at Bauhaus. In the 9th post the experience of Bill Treichler in the years of 1947-1949  is examined at Black Mountain College. In 1988, Martha and Bill started The Crooked Lake Review, a local history journal and Bill passed away in 2008 at age 84.

In the 10th post I look at the art of Irwin Kremen who studied at Black Mountain College in 1946-47 and there Kremen spent his time focused on writing and the literature classes given by the poet M. C. Richards. In the 11th post I discuss the fact that Josef Albers led the procession of dozens of Bauhaus faculty and students to Black Mountain.

In the 12th post I feature Wassily Kandinsky (1866-1944) who was featured in the film THE LONGEST RIDE and the film showed Kandinsky teaching at BLACK MOUNTAIN COLLEGE which was not true according to my research. Evidently he was invited but he had to decline because of his busy schedule but many of his associates at BRAUHAUS did teach there. In the 13th post I look at the writings of the communist Charles Perrow. 

Willem de Kooning was such a major figure in the art world and because of that I have dedicated the 14th, 15th and 16th posts in this series on him. Paul McCartney got interested in art through his friendship with Willem because Linda’s father had him as a client. Willem was a  part of New York School of Abstract expressionism or Action painting, others included Jackson Pollock, Elaine de Kooning, Lee Krasner, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Adolph Gottlieb, Anne Ryan, Robert Motherwell, Philip Guston, Clyfford Still, and Richard Pousette-Dart.

PBS Show on Black Mountain College:

Black Mountain College

For a short time in the middle of the twentieth century a small town in North Carolina became a hub of American cultural production. The town was Black Mountain and the reason was Black Mountain College. Founded in 1933, the school was a reaction to the more traditional schools of the time. At its core was the assumption that a strong liberal and fine arts education must happen simultaneously inside and outside the classroom. Combining communal living with an informal class structure, Black Mountain created an environment conducive to the interdisciplinary work that was to revolutionize the arts and sciences of its time.Among Black Mountain’s first professors were the artists Josef and Anni Albers, who had fled Nazi Germany after the closing of the Bauhaus. It was their progressive work in painting and textiles that first attracted students from around the country. Once there, however, students and faculty alike realized that Black Mountain College was one of the few schools sincerely dedicated to educational and artistic experimentation. By the forties, Black Mountain’s faculty included some of the greatest artists and thinkers of its time: Walter Gropius, Jacob Lawrence, Willem de Kooning, Robert Motherwell, John Cage, Alfred Kazin, Merce Cunningham, and Paul Goodman. Students found themselves at the locus of such wide ranging innovations as Buckminster Fuller‘s Geodesic Dome, Charles Olson’s Projective Verse, and some of the first performance art in the U.S.By the late 40s, word of what was happening in North Carolina had started to spread throughout the country. With a Board of Directors that included William Carlos Williams and Albert Einsteinand impressive programs in poetry and photography, Black Mountain had become the ideal of American experimental education. Its concentration on cross-genre arts education would influence the programs of many major American institutions.In 1953, as many of the students and faculty left for San Francisco and New York, those still at Black Mountain saw the shift in interest and knew the school had run its course. Black Mountain had existed on its own terms, and on its own terms had succeeded in expanding the possibilities of American education. Realizing that they had essentially achieved their goals, they closed their doors forever. Black Mountain’s legacy continued however, with former students such as painter Robert Rauschenberg, publisher Jonathan Williams, and poet John Wieners bringing the revolutionary spirit of their alma mater to the forefront of a number of other cultural movements and institutions.

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Great article 

Willem de Kooning Life and Art Periods

“I’m not interested in ‘abstracting’ or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it – drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea.”

WILLEM DE KOONING SYNOPSIS

After Jackson Pollock, de Kooning was the most prominent and celebrated of theAbstract Expressionist painters. His pictures typify the vigorous gestural style of the movement and he, perhaps, did more than any of his contemporaries to develop a radically abstract style of painting that fused Cubism, Surrealism and Expressionism. Although he established his reputation with a series of entirely abstract pictures, he felt a strong pull towards traditional subjects and would eventually become most famous for his pictures of women, which he painted in spells throughout his life. Later he turned to landscapes, which were also highly acclaimed, and which he continued to paint even into his eighties, when his mind was significantly impaired by Alzheimer’s disease.

WILLEM DE KOONING KEY IDEAS

De Kooning strongly opposed the restrictions imposed by naming movements and, while generally considered to be an Abstract Expressionist, he never fully abandoned the depiction of the human figure. His paintings of women feature a unique blend of gestural abstraction and figuration. Heavily influenced by the Cubism of Picasso, de Kooning became a master at ambiguously blending figure and ground in his pictures while dismembering, re-assembling and distorting his figures in the process.
Although known for continually reworking his canvases, de Kooning often left them with a sense of dynamic incompletion, as if the forms were still in the process of moving and settling and coming into definition. In this sense his paintings exemplify ‘action painting’ – they are like records of a violent encounter, rather than finished works in the old Beaux Arts tradition of fine painting.
Although he came to embody the popular image of the macho, hard-drinking artist – and his most famous Women series seems painted with angry vigor – de Kooning approached his art with careful thought and was considered one of the most knowledgeable among the artists associated with the New York School. He is thought to possessed the greatest facility and polished techniques of painters in the New York School, one that compares to that of Old Masters, and he looked to the likes of Ingres, Rubens and Rembrandt for inspiration.

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MOST IMPORTANT ART

Seated Woman (1940)
Seated Woman was de Kooning’s first major painting of a woman, and it evolved, curiously, out of a commission for a slightly earlier picture, Portrait of a Woman (c.1940). The artist seems to have held on to the commissioned portrait and started to use it to develop new pictures. The earlier work was shaped in part by contemporary images of women in magazines and by de Kooning’s wife Elaine who had even stood in as a model when the portrait’s subject was not available. These factors surely encouraged de Kooning to see the possibilities of using a ‘portrait’ to represent womankind in general, rather than a specific individual. Seated Woman was also undoubtedly influenced by Arshile Gorky, in particular the figurative The Artist and his Mother, which Gorky worked on for almost fifteen years after 1926.
Oil and charcoal on masonite – The Philadelphia Museum of Art
Seated Woman (1940)Pink Angels (1945)Attic (1949)Excavation (1950)Woman I (1950-52)July 4th (1957)Women Singing II (1967)Untitled VII (1985)

WILLEM DE KOONING BIOGRAPHY

Childhood / Early Training

Born in Rotterdam in the Netherlands in 1904, Willem de Kooning was raised mostly by his mother, who owned a bar, after his parents divorced when he was three. He found his vocation early and left school when he was twelve to apprentice at a commercial design and decorating firm. He also studied at Rotterdam Academy of Fine Arts and Techniques. During this period, he became interested in Jugendstil, the German variant of Art Nouveau, and its organic forms were significant in shaping his early style. However, he was soon distracted by the ascendant Dutch movement De Stijl, becoming particularly interested in its emphasis on purity of color and form, and its conception of the artist as a master craftsman.

After living for a year in Belgium in 1924, de Kooning returned to Rotterdam before travelling as a stowaway to the United States, arriving in Virginia in August 1926. He worked his way to Boston on a coal ship, then worked as a house painter in Hoboken, New Jersey before moving across the Hudson to Manhattan. There he took jobs in commercial art, designed window displays and produced fashion advertisements, work which would consume him for several years. De Kooning was still unable to devote himself to the art he loved, but he found the community of artists in New York too valuable to leave behind; when offered a salaried job in Philadelphia, he remarked that he would rather be poor in New York than rich in Philadelphia.

Willem de Kooning Biography

Several artists proved important for his development in those early years. He valued the example of Stuart Davis’ urbane modernism, as well as John Graham’s ideas, but Arshile Gorky was to be the biggest stylistic influence on de Kooning – “I met a lot of artists,” he once said, “but then I met Gorky.” Gorky had spent years working through Picasso’s Cubism and then Miró’s Surrealism before reaching his own mature style, and in subsequent years, de Kooning would follow a similar path: he was impressed by two major exhibitions he saw at MoMA in 1936, “Cubism and Abstract Art” and “Fantastic Art, Dada, and Surrealism,” and he was powerfully influenced by a Picassoretrospective that was staged at the same museum in 1939.

De Kooning worked on projects for the WPA mural division from 1935-37, and for the first time he was able to focus entirely on fine art instead of commercial painting. His network expanded to include Harold Rosenberg, the art critic who later heralded him as a leader of action painting. And in 1936 he was included in the show New Horizons in American Art at MoMA. Men were often the subjects of his pictures in this period, and although they are often traditionally posed, the bodies of figures such as The Glazier (c.1940) were radically distorted and the planes flattened. De Kooning often struggled with certain details in his portraits – hair, hands and shoulders – and this encouraged a habit of scraping back and reworking areas of his pictures, which left them with the appearance of being unfinished. He also painted highly abstract pictures during this time, and these, such as The Wave (c.1942-44), are characterized by flat, biomorphic forms similar to those which had first attracted the young artist to Jugendstil.

Willem de Kooning Photo

In 1938, de Kooning took on Elaine Fried as an apprentice; she became his wife in 1943, and in time she would become a prominent Abstract Expressionist in her own right. The two shared a tempestuous, alcohol-fueled relationship, one which was not aided by extramarital affairs on both sides. Following their separation at the end of the 1950s, de Kooning had a child with another woman, and even had an affair with Ruth Kligman, the former lover of Jackson Pollock who had survived the car crash that killed him. However, Elaine and Willem reunited in the mid 1970s and remained together until her death in 1989.

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WILLEM DE KOONING LEGACY

Although undoubtedly an equal of Jackson Pollock in talent and achievement, de Kooning’s work has proved less influential. His achievement was to blend Cubism,Expressionism and Surrealism, and he did so with astonishing power throughout a career remarkable for its consistent high quality. Yet as artists’ concerns moved away from those of modernism, his work seemed less relevant, and for a generation of less macho, more Pop-influenced artists such as Robert Rauschenberg and Jasper Johns, de Kooning represented the epitome of the grand heroics they distrusted. Rauschenberg himself would express their distance from him most powerfully – and famously – when he purchased a drawing by de Kooning, erased it, and exhibited the result as his own artwork (Erased de Kooning Drawing, (1953)). Nevertheless, de Kooning’s influence on painters remains important even to this day, particularly those attracted to gestural styles; the highly abstract and erotic work of prominent 1990s painter Cecily Brown is inconceivable without his example.

Original content written by The Art Story Contributors

Edited and published by

Willem de Kooning. [Internet]. 2015. TheArtStory.org website. Available from:
http://www.theartstory.org/artist-de-kooning-willem.htm [Accesed 03 May 2015]

WILLEM DE KOONING QUOTES

“I don’t paint to live, I live to paint”

“I’d like to get all the colors in the world into one painting”.

“I never was interested in how to make a good painting.. But to see how far one can go”.

“Art never seems to make me peaceful or pure. I always seem to be wrapped up in the melodrama of vulgarity.”

“I don’t paint with ideas of art in mind. I see something that excites me. It becomes my content.”

“Even abstract shapes must have a likeness”

“Flesh was the reason why oil painting was invented”

INFLUENCES

ARTISTS

Pablo Picasso

Joan Miró

Piet Mondrian

Arshile Gorky

Chaim Soutine
FRIENDS

Clement Greenberg

Harold Rosenberg

Franz Kline

John Graham
MOVEMENTS

Cubism

De Stijl

Surrealism

Expressionism
Willem de Kooning Bio Photo
Willem de Kooning
Years Worked: 1930 – 1990
ARTISTS

Robert Rauschenberg Overview

Robert Rauschenberg

Joan Mitchell Overview

Joan Mitchell

Franz Kline Overview

Franz Kline

Richard Diebenkorn Overview

Richard Diebenkorn

Cecily Brown Overview

Cecily Brown
FRIENDS

Harold Rosenberg Overview

Harold Rosenberg

Clement Greenberg Overview

Clement Greenberg

Arshile Gorky Overview

Arshile Gorky
MOVEMENTS

Pop Art Overview

Pop Art

Post-Painterly Abstraction Overview

Post-Painterly Abstraction

Neo-Expressionism Overview

Neo-Expressionism

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Good article

This is the PopLifeArt.com blog. I’ll use the blog to let you know what’s going on in the world of celebrity art.

Paintings by Paul McCartney

Ancient Connections by Paul McCartney

Like his former Beatles bandmates Ringo Starr and the late John Lennon, Paul McCartney is a painter. His interest in art developed in the 1960s through his friendship with gallery-owner Robert Fraser. Through Fraser McCartney met many well-known artists including Andy Warhol. He later became a fan of Rene Magritte. He used Magritte’s painting of an apple for the Apple Records logo. He also established a friendship with artist Willem de Kooning who is said to have had a large influence on McCartney’s artistic style. Paul McCartney took up painting in 1983. He exhibited his paintings for the first time in Siegen, Germany in 1999. The catalog from this exhibition was later released as a book titled Paul McCartney: Paintings. In 2002 he had a comprehensive exhibition of his artwork at the Walker Art Gallery in his home town of Liverpool. The image posted here is “Ancient Connections” by Paul McCartney.

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See the Pop Life Art homepage for links to the artwork of Paul McCartney and other singers, musicians, and actors.

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Paul McCartney Free Concert and Art Exhibit in the Ukraine (4/29/08)

Photographs by Linda McCartney to go on Display in London (4/4/08)

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April 8th, 2009
Brad Blackman

Paul McCartney and Luigi’s Alcove

Category: Creativity,Inspiration, Motivation,Stuckness
No Comments »

Big Mountain Face

I’m sure you know Paul McCartney as a singer and song-writer. But did you know the ex-Beatle also paints?

A few years ago, I got the book Paul McCartney: Paintings. He does these big, expressive, semi-abstract pieces that have a sort of visceral effect, with lots of drips and runs. Very much influenced by Willem de Kooning’sabstract expressionism.

Great article on Black Mountain College:

Experimental liberal arts college at Black Mountain, NC, open from 1933 to 1957. In the 1940s and early 1950s it was a centre for a group of painters, architects, musicians and poets associated particularly with the development of performance and multimedia work, crossing many disciplines. It was founded by John Andrew Rice (1888–1968) and a group of students and staff from Rollins College, Winter Park, FL. It was located in the Blue Ridge Assembly Buildings, c. 29 km east of Asheville, NC, until 1941, when it moved to nearby Lake Eden until its closure. The progressive ideas of John Dewey influenced the interaction of formal education with community life, the absence of conventional grades and credits and the central importance accorded to the arts. The college was owned and administered by the staff. The setting was modest, and fewer than 1200 students attended in 24 years.

In the founding year Josef Albers, the first of many European refugees to teach at Black Mountain, came from Germany to teach art; through his activities the college disseminated Bauhaus teaching methods and ideas into American culture. The visual arts curriculum included courses in design and colour that later became a standard part of art education, as well as workshops in weaving, wood-working, printing, photography and bookbinding. Anni Albers, a former Bauhaus student, developed a weaving course that emphasized designing for industrial production. Xanti Schawinsky (1904–79), who studied with Oskar Schlemmer at the Bauhaus, taught art and stage studies from 1936 to 1938 and directed Spectodrama: Play, Life, Illusion, one of the earliest performances of abstract theatre in the USA.

In 1944 Black Mountain College sponsored its first summer arts programme, which attracted many major artists for intense periods of teaching and participation in concerts, exhibitions, lectures and drama and dance performances. Among the European artists who taught were Lyonel Feininger, Walter Gropius, Leo Lionni (b1910), Amédée Ozenfant, Bernard Rudofsky (1905–88) and Ossip Zadkine. Other summer staff included Leo Amino (b 1911), John Cage, Mary Callery (1903–77), Merce Cunningham, Willem de Kooning, Buckminster Fuller, Jacob Lawrence (b 1917), Barbara Morgan (b 1900) and Robert Motherwell. Ilya Bolotowsky taught from 1946 to 1948.

After Josef Albers left in 1949, the central figure in the community was the poet and critic Charles Olson (1910–70), who taught at the college in 1948–9 and returned in 1951. Under his direction the college became a centre for the formulation of a new poetics based on open form and ‘projective verse’. The Black Mountain Review, edited by Robert Creeley (b 1926), was one of the most influential small-press journals of the period, and the college played a formative role in the revival of the small-press movement in the USA. Creeley, Joseph Fiore (b 1925), M. C. Richards (b 1916) and Robert Duncan (1919–88) were among the members of the young American staff. A ceramics course was added to the curriculum and the faculty included Robert Turner (b 1913), Karen Karnes (b 1925) and David Weinrib (b 1924). The summer sessions in the arts brought many artists to the campus, including Harry Callahan, Shōji Hamada, Franz Kline, Bernard Leach, Ben Shahn, Aaron Siskind, Jack Tworkov and Peter Voulkos (b 1924).

Albers and the other European artists brought the spirit of modernism to the progressive, experimental spirit of the founders, and the fusion of these two movements culminated in a creative atmosphere and an intense, intellectual community, receptive to experimental ventures in the arts. It was at Black Mountain College that Buckminster Fuller attempted to raise his first dome in 1948, that John Cage staged his first work of performance art in 1952, and that the Cunningham Dance Company was founded in 1953. Through the work of its students, among them Ruth Asawa (b 1926), John Chamberlain, Ray Johnson, Kenneth Noland, Robert Rauschenberg, Dorothea Rockburne (b 1929), Kenneth Snelson, Cy Twombly, Stanley Vanderbeek (1927–84) and Jonathan Williams (b1929), the college played a formative role in the definition of an American aesthetic and identity in the arts during the 1950s and 1960s.

Mary Emma Harris
From Grove Art Online

© 2009 Oxford University Press

Spark’s latest ‘The Longest Ride’ filmed across NC

Like most of NC native Nicholas Sparks‘ stories, “The Longest Ride” is set in North Carolina and involves love stories that intertwine across time. In “The Longest Ride”  Luke, a rodeo rider played by Clint Eastwood’s son Scott Eastwood, and Sophia, an art history major at Wake Forest University  played by Britt Robertson, fall in love against a backdrop of North Carolina mountains and Piedmont hills. A second plot line features Ira, a WWII vet played by Alan Alda. Told mostly in flashback, this story is largely set at historic Black Mountain College, an experimental school just outside Asheville which left a huge legacy both in the arts and in education during its brief life.
Released by 20th Century Fox on April 10, 2015, the film was made in North Carolina, using locations across the state. Filming destinations included Wilmington, Winston-Salem, Jacksonville and the Yadkin River Valley, home of North Carolina’s largest wine area, as well as the NC mountains and the isolated peak of Pilot Mountain, just north of Winston-Salem.
“Nicholas Sparks, who makes his home in New Bern, N.C., finds endless inspiration in the history and beauty of North Carolina,” said Wit Tuttell, executive director of Visit North Carolina. “By using the natural landscapes to bring ‘The Longest Ride’ to the screen, the filmmakers have created a special invitation to explore the state’s scenery, heritage and an artistic streak that extends from the mountains to the coast.”
To help film tourists experience places featured in the film and the novel, Visit North Carolina has put together a four-day trip across the state (we think a week would do it more justice). Here are some highlights:
The itinerary begins in Asheville’s River Arts District, where you can join the stars in exploring some 189 working studios and dine in some of the trendiest restaurants in this foodie obsessed city. Consider an overnight stay at the Omni Grove Park Inn, with majestic views of the city and the mountains, where Alda and his bride, played by Oona Chaplin, honeymooned. Downtown Asheville is also a great spot to begin your exploration of the phenomenon that was Black Mountain College. The Asheville Art Museum houses the Black Mountain Collection which includes works by some of the most influential artists who made their home at the college including Elaine de Kooning, Ken Noland, and Ray Johnson. The Black Mountain College Museum and Event Center, located a block or so away, tells the history of this remarkable institution.
Day Two takes visitors down I-40 for a driveby of the old Black Mountain College campus on Lake Eden off Old Hwy 70. In operation from just 1933 to 1957, the grounds are now used as a boys camp, but regain some of their artistic spark during the Lake Eden Arts Festival, held twice a year. The artsy community of Black Mountain, home of numerous galleries and shops, is worth a visit year round.
Continue down I-40 to I-77 for a hike or horse ride on the trails at Pilot Mountain State Park, with 2,421-foot quartzite dome, a National Natural Landmark, climbed by Luke and Sophia in the movie. This is the heart of the Yadkin Valley wine region, with lots of options for tastings and dining, as well as accommodations on winery grounds. To complete the film experience, plan a stay at the Mitchell River House, Luke’s home in “The Longest Ride.”
Day Three heads for Winston-Salem, home of the lush campus of Wake Forest University, where Sophia studied art. Plan your trip into town through the towns of Pinnacle and King, location of the American Legion Complex scene of the movie’s rodeo action. The city of Winston-Salem is home to several important art galleries, including the Reynolda House Museum, once home of the Reynolds family, as well as the living history neighborhood of Old Salem. Follow Luke and Sophia’s steps to Sakura Japanese Restaurant & Sushi Bar or the elegant Fabian’s Restaurant.
Day Four of the itinerary travels to Wilmington, a 3.5 hour drive down I-40. Make a short detour at Exit 384 to visit the charming downtown of Wallace, NC, which stood in for downtown Greensboro during the era when Ira was growing up there. Locations from the film include Wallace storefronts that “played” Ira’s father’s haberdashery, the soda shop, bus station and newsstand.
Much of the filming of “The Longest Ride” took place in Wilmington, known as Hollywood East and the location of the sound stages of EUE/Screen Gems Studios, which are again open for touring during the travel season. Wilmington locations used in filming include the Temple of Israel, the Union Station Building, St. Mary’s Catholic School and homes in historic neighborhoods, best seen by horse-drawn carriage. The galleries of the Cameron Art Museum stood in for several of the museums visited in the film. Sign up for the Hollywood Location Walk to discover Wilmington locations used in many movies from “Blue Velvet” to “Iron Man 3” as well as many Sparks films and TV shows. Plan to stay at the Greystone Inn, where the “Longest Ride” party scene was filmed.
The final stop in the itinerary is nearby Caswell Beach, located on remote Oak Island, which served as a stand-in for the Outer Banks where Ruth’s family vacationed.
Learn more and access everything you need for planning a trip at VisitNC.com, or call 1-800-VISITNC (1-800-847-4862).

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MUSIC MONDAY Take It Away (Paul McCartney song)

August 3, 2015 – 1:35 am

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Paul McCartney – Take It Away

Paul McCartney & Wings: “Take It Away” 1980 Rehearsal

Take It Away (Paul McCartney song)

From Wikipedia, the free encyclopedia
“Take It Away”
Single by Paul McCartney
from the album Tug of War
B-side “I’ll Give You a Ring” (7″)
“I’ll Give You a Ring” / “Dress Me Up as a Robber” (12″)
Released 21 June 1982 (7″)
5 July 1982 (12″)
Format 7″, 12″
Recorded February 1981
Genre Pop rock
Length 4:13 (album version)
3:59 (single version)
Label Parlophone/EMI
Writer(s) Paul McCartney
Producer(s) George Martin
Paul McCartney singles chronology
“Ebony and Ivory”
(1982)		 “Take It Away”
(1982)		 “Tug of War”
(1982)

“Take It Away” is a single by Paul McCartney from his 1982 album Tug of War. The single spent sixteen weeks on the Billboard Hot 100 singles chart, reaching #10[1][2] It reached #15 in the UK.[3] The music video features former Beatles‘ drummer Ringo Starr and long-time producer George Martin, both of whom played on the track, as well as actor John Hurt[citation needed].

Although there is a notable fade from “Tug of War” and into this song on the album, the single version of the song omits this, instead starting with a clean opening. The single also fades sooner, omitting part of the ending trumpet solo.

Track listings[edit]

7″ single
  1. “Take It Away” – 3:59
  2. “I’ll Give You a Ring” – 3:05
12″ single (black vinyl everywhere else; clear yellow vinyl in Japan)[4]
  1. “Take It Away” – 3:59
  2. “I’ll Give You a Ring” – 3:05
  3. “Dress Me Up as a Robber” – 2:40

Personnel[edit]

Chart performance[edit]

Weekly singles charts[edit]

Chart (1982) Position
Australian Kent Music Report[5] 18
Belgian Singles Chart (Flanders) [6] 28
Canadian RPM Top 100 Singles[7] 17
Canadian RPM Adult Contemporary[8] 2
Dutch Singles Chart[9] 43
Irish Singles Chart [10] 26
New Zealand Singles Chart[11] 30
Norwegian VG-lista Singles Chart[12] 7
UK Singles Chart[3] 15
US Billboard Hot 100[2] 10
US Billboard Adult Contemporary[2] 6
US Billboard Mainstream Rock[2] 39
US Cash Box Top 100[13] 6
West German Media Control Singles Chart[14] 46

Year-end charts[edit]

Chart (1982) Position
US Billboard Top Pop Singles[15] 70
US Cash Box[16] 45
US Billboard Top AC Singles[15] 47

References[edit]

  1. Jump up^ Whitburn, Joel (2004). The Billboard Book of Top 40 Hits, 8th Edition (Billboard Publications)
  2. ^ Jump up to:a b c d “Allmusic: Paul McCartney: Charts & Awards”. allmusic.com. Retrieved 2 May 2013.
  3. ^ Jump up to:a b “Paul McCartney > Artists > Official Charts”. The Official Charts Company. Retrieved 5 May 2013.
  4. Jump up^ Paul McCartney – Take It Away at Discogs
  5. Jump up^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6.
  6. Jump up^ “ultratop.be Paul McCartney – “Take It Away”” (ASP). Hung Medien (in Dutch). Ultratop. Retrieved 5 May 2013.
  7. Jump up^ “Top Singles – Volume 37, No. 5”. RPM. 18 September 1982. Retrieved 5 May 2013.
  8. Jump up^ “Adult Contemporary – Volume 37, No. 8”. RPM. 9 October 1982. Retrieved 5 May 2013.
  9. Jump up^ “dutchcharts.nl Paul McCartney – “Take It Away”” (ASP). Hung Medien. MegaCharts. Retrieved 5 May 2013.
  10. Jump up^ “Search the Charts” (ENTER “PAUL MC CARTNEY” INTO THE “SEARCH BY ARTIST” BOX, THEN SELECT “SEARCH”). Irish Recorded Music Association. Retrieved 3 May 2010.
  11. Jump up^ “charts.org.nz Paul McCartney – “Take It Away”” (ASP). Hung Medien. Recording Industry Association of New Zealand. Retrieved 5 May 2013.
  12. Jump up^ “norwegiancharts.com Paul McCartney – “Take It Away”” (ASP). VG-lista. Retrieved 31 August 2011.
  13. Jump up^ http://50.6.195.142/archives/80s_files/19820904.html
  14. Jump up^ “Single Search: Paul McCartney – “Take It Away”” (in German). Media Control. Retrieved 20 February 2013.
  15. ^ Jump up to:a b Nielsen Business Media, Inc (25 December 1982). Billboard – Talent in Action 1982. Retrieved 1 May 2014.
  16. Jump up^ http://50.6.195.142/archives/80s_files/1982YESP.html

External links[edit]
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_______________________

This is the 14th post in this series on the amazing artists, poets and professors associated with Black Mountain College (the college that was featured in the recent film THE LONGEST RIDE.

Sparks Adaptation The Longest Ride Works for Both ‘Rom’ and ‘Com’

  • Susan EllingburgCrosswalk.com Contributing Writer
  • 201510 Apr
  • COMMENTS0

Sparks Adaptation <i>The Longest Ride</i> Works for Both 'Rom' and 'Com'

Release Date: April 10, 2015
Rating: PG-13 for some sexuality, partial nudity, and some war and sports action
Genre: Drama, Romance
Run Time: 139 minutes
Director: George Tillman Jr.
Cast: Scott Eastwood, Britt Robertson, Alan Alda, Jack Huston, Oona Chaplin

It’s Spring, and when a young movie-goer’s fancy turns to love, best-selling author Nicholas Sparks is ready to take her there. Based on the Sparks novel of the same name, The Longest Ride is a sweetheart of a movie that may not break new ground but is almost certain to please.

Sophia (Britt Robertson, Dan in Real Life and the upcoming Tomorrowland) is an art lover on the cusp of a brilliant career at a Manhattan gallery, just as soon as she finishes her last semester of college. Luke (Scott Eastwood, son of Clint) is a professional bull rider, a cowboy who has already had a spectacular rise and fall and is desperately trying to make a comeback. The two have little in common and almost no time to be together. Clearly, they’re meant for each other.

They do make an adorable couple. Sophia is cute and intense with a sweet, lively face that crinkles into any number of interested expressions. Luke is charming and a little old-fashioned with plenty of the smoldering appeal that made Eastwood’s movie star dad a favorite for an earlier generation of female fans. Their budding romance is delightfully awkward, but it’s all for naught as these two are clearly going their separate ways (or are they?). As if the glorious North Carolina scenery, romantic candlelight, etc. were not enough, their first date takes an intense turn when they happen upon a car accident and rescue the elderly driver and his box of mementos. Ira (Alan Alda, Tower Heist) is banged up but not so much that he loses his gift of good-natured, crotchety banter. When Sophia befriends Ira and gradually comes to know his story—mostly through the letters in his box—one tale becomes two as the relationship between young Ira and his beloved Ruth (Oona Chaplin) is woven into that of the modern couple.

While Sophia and Luke’s romance is sweet and all, when they were onscreen I found myself waiting for the next chapters of Ira and Ruth’s far more interesting love story. Set against the backdrop of WWII, and covering a span of many years, there’s a depth to the older couple’s love that is (naturally) missing in the newly-connected modern-day couple. The two couples have so many parallels it strains belief a bit, but this is a starry-eyed fantasy, after all. Sometimes reality is overrated.

In addition to all the sweetness, there are enough funny moments to justify both the ‘rom’ and ‘com’ labels. Both male and female viewers in my audience burst into laughter on several occasions, several confessed to a tear or two, and a good time was had by all… except maybe Rango, the bull who is Luke’s nemesis. All that bull riding—and there is a fair amount—is shown from a variety of interesting angles, including the rider’s. The film features a number of real-life cowboys from the PBR (Professional Bull Riders) circuit, adding a nice touch of gritty reality.

The soundtrack is more than just background music; it provides commentary on the action. Like the dulcet tones of the Pistol Annies singing “I feel a sin comin’ on; please Jesus don’t hold me back” or Ryan Adams crooning about “Desire.” As those titles suggest, Sophia and Luke’s is a modern relationship, which means they don’t bother with anything so quaint as waiting for marriage; they consummate their love in several scenes that are steamy in more ways than one. To director George Tillman Jr.’s credit, those scenes are, at least, artfully filmed and have a dreamy romantic feel. This is a true love story, not just a relationship movie.

The Longest Ride is the is the tenth Sparks book to be made into a movie, and at almost 2 hours, 20 minutes is the longest of them, but the time passes quickly. While the big “surprise” ending may not be much of a surprise to those familiar with the inspirational stories that populate Facebook (it’s a variation on a tale that made the rounds a year or so ago), it’s satisfying nonetheless. All ends as it should, making this an enjoyable girls’-night-out movie that, thanks to all the bull riding action, guys may actually enjoy, too.

  • Drugs/Alcohol: Drinking at bars, wine with dinner, occasional drunkenness.
  • Language/Profanity: A couple of muttered “Shhhhhht” one d-word and one exclamation of “Jesus.”
  • Sex/Nudity: Sophia’s friend pulls down Sophia’s t-shirt to expose more cleavage for her date with Luke and tells her “You’re the only girl I know who wouldn’t have a fling with a cowboy.” Teasing comment about not wearing underwear (more funny than sultry). Several kisses, some artistically-filmed sex scenes that show relatively discreet side and back nudity. We see a good amount of Luke’s muscular backside and hands caressing. Some slow stripping scenes and semi-skinny dipping (swimming in underwear).
  • Violent/Frightening/Intense: Bull riding is an intense, competitive, dangerous sport and we see it from a variety of angles. Some war scenes show troops under fire. Men are injured in a variety of ways. A victim is pulled from a wrecked car.

Publication date: April 10, 2015

The Longest Ride Official Trailer #1 (2015) – Britt Robertson Movie HD

It has been my practice on this blog to cover some of the top artists of the past and today and that is why I am doing  this current series on Black Mountain College (1933-1955). Here are some links to some to some of the past posts I have done on other artists: Marina Abramovic, Ida Applebroog,  Matthew Barney, Aubrey Beardsley, Larry Bell, Wallace Berman, Peter Blake,  Allora & Calzadilla,   Christo and Jeanne-Claude, Heinz Edelmann,  Olafur Eliasson, Tracey Emin, Jan Fabre, Makoto Fujimura, Hamish Fulton, Ellen Gallaugher, Ryan Gander, John Giorno, Rodney Graham,  Cai Guo-Qiang, Jann Haworth, Arturo Herrera, Oliver Herring, David Hockney, David Hooker,  Nancy Holt, Roni Horn, Peter Howson, Robert Indiana, Jasper Johns, Martin Karplus, Margaret Keane, Mike Kelley, Jeff Koons, Richard Linder, Sally Mann, Kerry James Marshall, Trey McCarley,   Paul McCarthy, Josiah McElheny, Barry McGee, Richard Merkin, Yoko Ono, Tony Oursler, George Petty, William Pope L., Gerhard Richter, Anna Margaret Rose,  James Rosenquist, Susan Rothenberg, Georges Rouault, Richard Serra, Shahzia Sikander, Raqub Shaw, Thomas Shutte, Hiroshi Sugimoto, Mika Tajima,Richard Tuttle, Luc Tuymans, Alberto Vargas,  Banks Violett, H.C. Westermann,  Fred Wilson, Krzysztof Wodiczko, Andrea Zittel,

My first post in this series was on the composer John Cage and my second post was on Susan Weil and Robert Rauschenberg who were good friend of Cage. The third post in this series was on Jorge Fick. Earlier we noted that  Fick was a student at Black Mountain College and an artist that lived in New York and he lent a suit to the famous poet Dylan Thomas and Thomas died in that suit.

The fourth post in this series is on the artist  Xanti Schawinsky and he had a great influence on John Cage who  later taught at Black Mountain College. Schawinsky taught at Black Mountain College from 1936-1938 and Cage right after World War II. In the fifth post I discuss David Weinrib and his wife Karen Karnes who were good friends with John Cage and they all lived in the same community. In the 6th post I focus on Vera B. William and she attended Black Mountain College where she met her first husband Paul and they later  co-founded the Gate Hill Cooperative Community and Vera served as a teacher for the community from 1953-70. John Cage and several others from Black Mountain College also lived in the Community with them during the 1950’s. In the 7th post I look at the life and work of M.C.Richards who also was part of the Gate Hill Cooperative Community and Black Mountain College.

In the 8th post I look at book the life of   Anni Albers who is  perhaps the best known textile artist of the 20th century and at Paul Klee who was one  of her teachers at Bauhaus. In the 9th post the experience of Bill Treichler in the years of 1947-1949  is examined at Black Mountain College. In 1988, Martha and Bill started The Crooked Lake Review, a local history journal and Bill passed away in 2008 at age 84.

In the 10th post I look at the art of Irwin Kremen who studied at Black Mountain College in 1946-47 and there Kremen spent his time focused on writing and the literature classes given by the poet M. C. Richards. In the 11th post I discuss the fact that Josef Albers led the procession of dozens of Bauhaus faculty and students to Black Mountain.

In the 12th post I feature Wassily Kandinsky (1866-1944) who was featured in the film THE LONGEST RIDE and the film showed Kandinsky teaching at BLACK MOUNTAIN COLLEGE which was not true according to my research. Evidently he was invited but he had to decline because of his busy schedule but many of his associates at BRAUHAUS did teach there. In the 13th post I look at the writings of the communist Charles Perrow. 

Willem de Kooning was such a major figure in the art world and because of that I have dedicated the 14th, 15th and 16th posts in this series on him. Paul McCartney got interested in art through his friendship with Willem because Linda’s father had him as a client. Willem was a  part of New York School of Abstract expressionism or Action painting, others included Jackson Pollock, Elaine de Kooning, Lee Krasner, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Adolph Gottlieb, Anne Ryan, Robert Motherwell, Philip Guston, Clyfford Still, and Richard Pousette-Dart.

_____

Wild Intellectuals and Exotic Folks

By Rachel Galvin | HUMANITIES, July/August 2001 | Volume 22, Number 4

A small college in the mountains of North Carolina brought together some of the most innovative artists and thinkers of its time—Robert Motherwell and Buckminster Fuller and John Cage. Plagued by debts, the school sold off its land, cattle, and pianos until it eventually closed its doors in 1957.

The poet Charles Olson called Black Mountain a “little hotbox of education,” saying, “The place is overrun with talent for me to use, and learn by.” A crucible for artistic talent, Black Mountain College was founded in 1933 and for twenty-four years was a magnet for artists in a variety of media: John Cage, Robert Creeley, Merce Cunningham, Willem de Kooning, Robert Duncan, Buckminster Fuller, Franz Kline, Jacob Lawrence, Charles Olson, Robert Motherwell, Robert Rauschenberg, and Ben Shahn, among others.

Black Mountain was a progressive liberal arts college founded on the idea of complete academic freedom. But with the traditional parameters of the classroom nearly eradicated, was Black Mountain still an institution of higher learning?

“Most work in 1955-1956 was done in tutorial fashion, one member of the community asking another’s opinion on a painting, a piece of writing, a text, an idea,” Martin Duberman writes in his book, Black Mountain: An Exploration in Community. “And that might be exactly why so many who were in the community during 1955-1956 insist today that it was a learning environment—an occasional loony bin, a rest camp, a pressure cooker, a refuge, and a welfare agency—but nonetheless a learning environment.”

“Black Mountain is a legendary school in terms of art circles and in North Carolina,” says Dick Lankford, archivist at the North Carolina Department of Cultural Resources. Lankford is directing the department’s effort to preserve Black Mountain College materials. With an NEH grant, sixteen collections of audiotaped interviews, brittle records, and deteriorating photographs are being conserved, archived, and cata-loged in a searchable reference system that will be accessible on the Web. The Department hopes to digitize the materi-als and eventually make them available on the Internet.

Project archivist Barbara Cain says scholars and students are coming from all over the world to consult the collections. “We have a scholar working on neo-Dadaism coming from France, and a German scholar interested in the carry-over from Germany to the United States, particularly in the teaching of art.” Other projects include a book on the teaching methods of Josef Albers, who taught color and design at Black Mountain; a study of the Bauhaus movement in America; and a college course on poet Robert Creeley and other Black Mountain writers.

“There was a period of time when people looked down at Black Mountain as a failure because it closed its doors, but history provides a certain perspective,” Lankford says. “Black Mountain has been a pivotal institution since its founding in 1933 right up until its demise in 1957. Its educational philosophy was way ahead of its time.”

The college was founded by John Andrew Rice, Theodore Dreier, and other former faculty members from Rollins College in Winter Park, Florida. The group envisioned a college that would be run democratically, owned and administered by the faculty and students themselves. No courses would be required, no grades given, and students would be free to direct their course of studies as they pleased. Everyone—students and faculty—would participate in the work program, preparing meals, maintaining the campus, and working on the school farm. And in contrast to the majority of colleges and universities of the time, Black Mountain would be a place where knowledge was put into action and the arts given equal importance with the rest of the curriculum.

“Now we take for granted that every college has an art department,” says Mary Emma Harris, art historian and project consultant. “Then, you could study art history, but not really get a degree in art—and when a degree did exist, it was given through the home economics department.”

Black Mountain’s founders looked to John Dewey, author of Democracy and Education, who wrote that to develop one’s creative abilities was “an inalienable right.” In Harper’s Magazine in May, 1937, Rice explained his theory that the arts ought to be an educational activity rather than simply a subject of study: “What you do with what you know is the important thing. To know is not enough.”

In its first year, the college offered courses in physics, mathematics, chemistry, music, English, psychology, economics, and Romance languages, as well as art classes. To lend credibility to the institution, the founders assembled a distinguished roster of advisers that included John Dewey, Walter Gropius, Carl Jung, Max Lerner, Franz Kline, and Albert Einstein. Despite the hesitation of many parents to send their children to an unaccredited college that would not offer a degree, the college managed to attract a sufficient number of students dissatisfied with traditional education, and in 1933 its doors opened.

“Black Mountain was a community, first and last—a company of people,” says Robert Creeley, poet and former faculty member. Creeley believes artist John Chamberlain put it most aptly: “At Black Mountain one found, as he said, people who were more interested in what they didn’t know than in what they did. It was an extraordinary sense of conduct and thinking, despite its small numbers. It had only faculty and students as its determinants—no overseers, no administration other than those so participating. That was its absolute virtue—the interactive condition of its faculty and students. No one was or could get ‘outside.’”

Students came from all over the U.S. to attend Black Mountain, but the majority con-sisted of northeasterners—many from New York City, according to Jonathan Williams, former Black Mountain student and publisher of Jargon Books. Potential students were most often reached by word of mouth. “M. C. Richards, who was there in the forties mostly as a writer—she became a potter as well—would go out in the spring and try to recruit people,” says Williams. “There wasn’t any money to do much of anything. They would put out the occasional bulletin or advertising brochure once a year, some very attractively designed by the graphic arts people there.”

At its inception, the college had only three rules. The first was formulated by Rice: “The constant admonition of a college should not be ‘Be intellectual’ or ‘Be muscular!’ (in both cases the dividing line is the neck) but ‘Be intelligent!’” The second was that firearms must be deposited with the administration; and the third rule was that women students must not hitchhike in the South. There was also a tacit agreement that a “Do Not Disturb” sign ought to be respected.

“The fact that there were no academic departments—there weren’t enough people for that—meant that the learning was interdisciplinary,” says Harris.

“Everybody was sharing ideas from their field. It wasn’t compartmentalized or departmentalized.” Composer John Cage believed the most important learning at Black Mountain took place at mealtime, because faculty and students sat together in the dining hall.

“The relationships between faculty and students were much less formal,” says Harris. “In the end it was a communal learning situation.”

The founders of the college had no illusions about creating a utopia, however, and focused on building an educational community with an emphasis on the arts. “Black Mountain College combined elements of the progressive schools, farm schools, religious sects, and summer camps,” Harris writes in her book, The Arts at Black Mountain College. “There was a strong sense of pioneering in the American tradition of building a ‘log cabin college’ out of nothing and of providing a good education without tremendous laboratories, expensive buildings, and stadiums.”

The college reaffirmed democratic government, individual freedom, and responsibility in a period of economic instability and rising totalitarianism, says Harris. In the same year the college was founded, Adolf Hitler was appointed chancellor of Germany, the Bauhaus movement was closed down by the Nazis, and the persecution of Jews, artists, and intellectuals was beginning in Europe. The Depression held the United States in its grip, and Franklin Delano Roosevelt had just been elected president.

The addition of European artists to the Black Mountain faculty had a tremendous impact on the atmosphere of the college and the aesthetic taught there. Only a few months after the college opened, Josef and Anni Albers arrived from Germany, fleeing the rise of Nazism. Josef Albers, the first of the Bauhaus teachers to come to the United States, was an advocate of abstract art. “Abstracting is the essential function of the Human Spirit,” he wrote in 1936. He later said he wanted the same right as the composer to create abstract forms that “have life within themselves as music has.” Albers’s philosophy had a palpable impact on artists of all disciplines who studied with him at Black Mountain.

When the United States entered World War II, most young men were drafted or left to join the war effort. The student body remaining at Black Mountain consisted of women, men past the draft age, and European refugees. In 1941 Black Mountain College moved onto its own property at Lake Eden, where students and faculty constructed a number of buildings, expanded their farming activities, and set up a mica mine to prepare the mineral for sale as war material.

After the war, Black Mountain managed to get approved for GI bill benefits even though it was not an accredited college. “If that had not happened, the college would have closed after the war,” says Harris. “Instead, enrollment skyrocketed to more than ninety students.”

A number of as yet unrecognized artists came to Black Mountain in the late 1940s, either as visiting summer faculty or as students, furthering the college’s reigning spirit of interdisciplinary collaboration. Jacob Lawrence taught a course on “creative painting” in 1946, giving him the occasion to meet Josef Albers, who encouraged his newfound interest in abstraction. In the summer of 1948, John Cage gave the first performance ofSonatas and Interludes while Merce Cunningham danced. Both had received some atten-tion, though Cunningham had not yet left the Martha Graham Company to begin his own dance company. Willem de Kooning—who could not manage to sell any work from his first one-person exhibition in New York—came to teach art. Buckminster Fuller, an engineer and architect considered a “delightful nut,” had not yet developed his geo-desic dome, which he would do while at Black Mountain.

By the 1950s, Rice and the Albers had left Black Mountain, and in contrast to the period in which the college had been founded, America was experiencing an era of prosperity and conservatism. The college’s association with liberal causes brought it under suspicion of harboring communist sympathies. “The times then were quite hostile,” says Robert Creeley.

“The FBI had a person come check out Black Mountain College on a regular basis, ‘Frank,’ who was amiable enough, as it happens, and even gave us advice as to how we might have secured government grants.”

In 1951, poet and unorthodox scholar Charles Olson became rector of the college. Under Olson’s guidance, the college metamorphosed into a primarily arts-driven institution and the farmwork aspect of the program was all but terminated. In a letter to Creeley, Olson wrote that the college would focus on “painting, music, dance, writing, architecture, pots, cloth, wood, theatre, printing, sculpture & photography. . . . No academics.”

Olson’s personality and views on writing and art dominated the college during its remaining years. In his 1950 essay “Projective Verse,” published in Poetry New York, Olson had advocated open forms, describing the poem as a “field” and stressing that a line ought to be measured in terms of a person’s breath. These ideas distinguished him from the predominant movement in literature, New Criticism, and its proponents such as Allan Tate, Lionel Trilling, T. S. Eliot, W. H. Auden, Robert Lowell, and Elizabeth Bishop.

“Meeting Charles Olson was rather like meeting Ralph Waldo Emerson, I suspect. He was very much in that tradition of New England sages,” says Jonathan Williams. “He was enormous —about 6’9” and 275 pounds—he was a towering sort of person and also as a personality. Like Emerson, he was almost oracular in his writing and would just come bursting out with extraordinary remarks—practically three a minute.”

“My relation to Black Mountain had far more to do with Olson than with any fact of the institution,” says Creeley. “It was he who arranged, in effect, for the publication of the journal, Black Mountain Review, and also set up my being invited there to teach in the spring of 1954.”

Black Mountain floundered financially during Olson’s tenure. The faculty often went without pay, and the college periodically sold off its land, cattle, and pianos to raise funds.

“By the time I got to Black Mountain, its faculty and student body were very small indeed,” says Creeley. “The classes I taught were about six to eight people, period—the entire student body ranged from thirty to twenty as I recall. At that point the structure and operation of the college was all but derelict.”

While its administration was disintegrating, Black Mountain entered a period of flourishing productivity and artistic collaboration that continued to attract talented artists. Ben Shahn, Robert Motherwell, John Cage, Harry Callahan, Aaron Siskind, Robert Rauschenberg, Cy Twombly, Fielding Dawson, Joel Oppenheimer, and John Chamberlain taught at the college. In the summer of 1951, students witnessed Shahn debating the relative merits of figurative and abstract art with Motherwell; Shahn painted designs for Nick Cernovich’s dance; and writers who would become known as the “Black Mountain poets” collaborated with artists in magazines such as Black Mountain Review, Cid Corman’s Origin, and Jonathan Williams’s Jargon.

“I began Jargon only a few weeks before going to Black Mountain,” says Williams. “The first thing I did there was Jargon number two, which was a poem by Joel Oppenheimer dedicated to Kathryn Litz—a dancer who was at Black Mountain that summer—and I asked Bob Rauschenberg for a work to put in with the poem.” That summer, Litz had danced in a stage production called The Glyph, with a set designed by Ben Shahn and text by Olson.

Williams went on to publish Olson’s Maximus poems, as well as collections by Creeley, Kenneth Patchen, Robert Duncan, Louis Zukofsky, Michael McClure, Paul Metcalf, Mina Loy, and Lorine Niedecker. Jargon continues to publish new and innovative work and to encourage collaboration between writers and visual artists. “Jargon is very much as it was. I use a lot of photography in the design of the books,” says Williams. “I like the idea of two people working together in a book.”

“The support Jonathan Williams’s Jargon Press gave me was very, very helpful,” says Creeley. “Cid Corman is also an old friend indeed and Origin’s publication of my work as a feature in its second issue again let me take my writing seriously and found me a company I have never lost and forever value. That’s what magazines really are for, as Olson writes, ‘we who live our lives quite properly in print’—or words to that effect.”

Creeley’s endeavor to combine words and imagery, which preceded his association with Black Mountain, continues today. A current traveling exhibition entitled “In Company” showcases Creeley’s affiliation with visual artists, several of whom he worked with while at Black Mountain.

Black Mountain in the mid-fifties was a locus of artistic vitality. Robert Duncan wrote in the 1956 Black Mountain Review that “in American poetry the striding syllables show an aesthetic based on energies.” He also recognized the “bravura brushstroke” in abstract expressionist painting: “the power and movement of the arm itself . . . the involvement of the painter in the act.”

Donald Allen calls Olson, Creeley, Duncan, Williams, and their peers “our avant-garde, the true continuers of the modern movement in American poetry,” in his preface to the 1960 New American Poetry. “These poets have already created their own tradi-tion, their own press, and their public.”

The vision of experimental education delineated by Black Mountain’s founders in the early 1930s was dramatically revised by the time lack of funds caused the school to close its doors in 1957, yet the college continued to draw individuals interested in intellectual and artistic freedom and to nurture ground-breaking artists. One former student said that at any place on the campus, day or night, “there were always people arguing and talking. . . .  All kinds of people with completely different, associated interests and fields.”

“Black Mountain being so small and freewheeling, Olson’s class began after supper,” Jonathan Williams recalls. “It would go on until about 10:30 and then everybody would get in cars and race down to the local beer joint, Ma Peak’s Tavern, until that closed around twelve, and then people would bring cases of beer back to the college. I don’t know what those poor mountain folks thought of all those wild intellectuals and exotic folks from New York. A lot of interesting talk got talked down there— there were big booths, so you could get seven or eight people in one of those booths and jabber away. That’s what Dahlberg said, ‘Literature is the way we ripen ourselves by conversation.’”

“There was one occasion when Olson’s class ran for two days—it got so interesting at dawn of the first day that people said listen, we’re really getting somewhere, let’s just keep going. It went on all that day and all the next night.”

Friday, 29 September, 2000, 06:03 GMT 07:03 UK

McCartney art makes UK debut

Sir Paul McCartney

Abstract art: Sir Paul started painting when he was 40

The first UK exhibition of Sir Paul McCartney’s art work has opened in Bristol.The 58-year-old singer has been painting since he was 40, but he has only exhibited his work once before, in Germany last year.Featuring a selection of the 500 canvasses he has painted, the exhibition, at the Arnolfini Gallery, coincides with the publication of a book on his art.Speaking on the eve of the exhibition’s opening, Sir Paul said he had always wanted to be an artist, and felt he had missed out on formal training in his teenage years.”I always liked drawing as a kid and I liked the idea of painting but I felt there was some sort of reason why I shouldn’t, because I hadn’t been trained, because I hadn’t been to art college, because I was just a working class person,” he said.Abstract art

Sir Paul recounted how a conversation with US artist Willem de Kooning prompted him to pick up palette and brushes.

Willem de Koonig

Willem de Kooning, abstract artist who inspired Sir Paul, died in 1997

While looking at one of the late painter’s works Sir Paul asked de Kooning: “At the risk of appearing gauche, what is it, Bill?”De Kooning, an abstract expressionist, replied: “I dunno, looks like a couch, huh?”

“I thought his painting looked like a purple mountain and he thought it looked like a couch, but the fact that he said that it didn’t matter what it was just freed me,” Sir Paul said.

Spat with Lennon

The exhibition coincides with the recent re-publication of an interview fellow Beatle John Lennon gave to Rolling Stone magazine in 1970.

Lennon attacks Sir Paul in the interview, but the musician pointed out that it came when the band members were going through their worst crisis.

John Lennon

John Lennon: Interview ‘hurt a lot at the time’ according to Sir Paul

“It hurt a lot at the time but we got back together as friends and he is on record as saying a lot of that slagging off he gave me was really just him crying for help,” Sir Paul said.“He could have been boozed out of his head, as he was during that period, he could have been crazed on this, that or the other substance.

“But we did get very friendly, and he did tell me that a lot of those things he said he didn’t mean.

“I was very lucky in as much as before he got killed we were able to tell each other we loved each other,” he added.

Willem de Kooning chronology


de Kooning with painting, 1946. Photograph by Harry Bowden, 10x9in. Archives of American Art.

1904 April 24, Willem de Kooning is born in Port of Rotterdam, Holland, to Leendert de Kooning (b. February 10, 1876) and Cornelia Nobel de Kooning (b. March 3, 1877). He has one older sister, Marie (b. 1899). (His mother later gives birth to three more daughters, none of whom live past one year.)

1909 Parents divorce; court awards custody of five-year-old Willem to his father. His mother, however, kidnaps Willem and is later awarded full custody.

1916 Completes grammar school.

1916-1920 Begins training in commercial art under Jan and Jaap Giding, proprietors of a large commercial art firm, with whom he resides. Enrolls in the Academie voor Beeldende Kunsten en Technische Wetenschappen in Brussels, Belgium, attending night classes until 1924, when he graduates with certifications in both carpentry and art.

1920 Leaves the Giddings to begin training with Bernard Romein, noted art director of a large department store in Rotterdam.

1924-1926 Travels to Antwerp and enrolls in the Van Schelling School of Design, commuting to Brussels to study simultaneously at the Académie Royale des Beaux-Arts, supporting himself with commercial work.


The Kiss, 1925. Graphite on paper, 48.3×33.5cm. Allan Stone Gallery, New York City.

1926 Immigrates to United States as a stow-away on the SS Shelly, arriving in Newport News, Virginia on July 30. Takes ship to Boston, Massachusetts, then travels by train to Rhode Island. Settles in Hoboken, New Jersey, and finds lodging at the Dutch Seaman’s Home. Becomes acquainted with other artists and moves to New York City. Works as commercial artist and as a sign-painter, window dresser, and carpenter.

1927 Moves to Manhattan and begins working for Eastman Brothers, a design firm. Meets Misha Reznikoff, who is later instrumental in securing his 1948 summer teaching job at Black Mountain College.

1928 Spends the summer at the artists’ colony in Woodstock, New York.

1929 Becomes associated with modern artists John Graham and Stuart Davis. Buys Capehart hi-fi sound system, spending nearly six months’ salary. Frequents George’s in the Village and the Savoy Ballroom in Harlem with David Margoli and other artists.

1930 Meets David Smith and Arshile Gorky. Moves into studio apartment with Gorky. Works as a window dresser for A.S. Beck, a chain of shoe stores in New York. Meets Virginia “Nini” Diaz, with whom he goes to Woodstock, New York. in late May. Moves to 348 W. 55th Street with Diaz in the autumn; Diaz’s mother moves in. Diaz has first of three abortions, the last in 1935, which leaves her unable to conceive.

1932 Moves to Greenwich Village with Diaz.

1934 Joins Artist’s Union, which leads to attending John Reed Club (a pro- Communist group) meetings, despite his anti-Commuist leanings. Meets Julie Browner in May and begins relationship; Diaz moves out. Returns to Woodstock and rents home with Browner for the summer. Invites Diaz to join them, which she does, resulting in a ménage à trois. Invites Marie Marchowski and her friend to join them; they also move in. Returns to New York City, live at 40 Union Square, a home owned by friend and architect Mac Vogel. Browning returns from Woodstock; she and de Kooning move to 145 West 21st Street, then to 145 West 23rd Street.

1935 Meets Rudy Burckhardt and Edwin Denby, who become first collectors of de Kooning’s work. Begins full-time employment with the mural division of the Works Progress Administration’s Federal Art Project, one of which is the Williamsburg Federal Housing Project in Brooklyn. Makes pivotal decision to devote his life to art, inspired by WPA director Burgoyne Diller. Leaves A.S. Beck to pursue art full time. Meets art critic, Harold Rosenberg. His mother comes to visit.

1936 Moves with Browner to commercially-zoned 156 West 22nd Street. Meets artist Mark Rothko. Unfinished work for the Williamsburg mural is included in group exhibition New Horizons in American Art at the Museum of Modern Art in Manhattan, September 14-October 12; this is his first public recognition in America. Declines participation in the American Abstract Artists group.

1937 System and Dialectics of Art, by John Graham, is published, naming de Kooning one of eight painters he considered “outstanding.” Arshile Gorky paints Portrait of Master Bill, a painting of de Kooning. Resigns from the WPA in August when “American citizens only” policy is announced, effective post-July. Begins work on a mural, Medicine, for the World’s Fair on the Hall of Pharmacy building; work on this continues until early 1939.

1938 Browner moves in with Diaz. Meets Elaine Marie Fried, a fellow artist and teacher. Paints a series of male figures, including Two Men Standing, A Man, and Seated Figure. Begins abstractions Pink Landscape and Elegy.

1939 Becomes influenced by the Surrealist style of Gorky and Picasso and the Gestural style of Jackson Pollock and Franz Kline. Suffers financially; tutors local art students. Becomes engaged to Fried. Visits Balcomb Greene in Fishkill. With other artists, petitions the Museum of Modern Art to show the work of Earl Kerkam after his death.

The Glazier, 1940. Oil on canvas, 54×44 in. Metropolitan Museum. Figure.

1940 Alcoholism and poverty are both significant. Becomes identified with the Abstract Expressionist movement. Drawings appear in Harper’s Bazaar. On May 14, his birthplace, Rotterdam, is hit by Germans. Harper’s Bazaar commissions four hairstyle sketches, with Elaine as model, for $75 each.

1941 Attends Miro exhibition. Is influenced by Matta, with whom he and Gorky become friends.

1942 Work is featured in the January 20-February 6 John Graham exhibition at McMillan, Inc. Drawing of a sailor with pipe is used in advertisement for Model Tobacco in Life Magazine.

1943 George Keller promises a one-man show at his Bignou Gallery; de Kooning fails to send sufficient work to exhibit. A group show included Pink Landscape and Elegy; both were bought by Helena Rubenstein for $1,050. Moved to 156 West 22nd Street. In summer, meets Franz Kline at Conrad Marca Relli’s 148 West 4th Street studio. Marries Elaine Fried on December 9. Shortly thereafter, he discovers her in bed with ex-lover, Robert Jonas.

1944 Abstract and Surrealist Art in the United States features de Kooning’s work at the Cincinnati Art Museum, February 8 – March 12. After closing, the exhibition moves to the Mortimer Brandt Gallery. Sidney Janis publishes the book, Abstract and Surrealist Art in America.

1945 Painting The Netherlands wins competition sponsored by the Container Corporation of America in January. The Wave is shown in the Autumn Salon at Peggy Guggenheim’s Art of This Century exhibition in the fall. Elaine sails to Provincetown with physicist Bill Hardy; de Kooning disapproves. Paints Pink Angels.

1946 Inspired by Pollock and Kline, begins first black-and-white abstracts. Charles Egan opens gallery at 63 East 57th Street. Marie Marchowsky commissions backdrop for a dance performance at New York Times Hall; de Kooning and Resnick collaborate on the project. Rents a studio with Jack Tworkov. Contacts father by letter in November requesting to see him. His father encourages him to seek more stable employment.


Valentine, 1947. Oil and enamel. Museum of Modern Art, New York. Abstract.

1947 Creates the black-and-white painting, Orestes, entitled by Tiger’s Eye magazine.

1948 Charles Egan Gallery arranges first one-man show on April 12, consisting of black-and-white enamels includingPainting, Village, Square & Dark Pond; reviews are favorable. Museum of Modern Art purchases Painting for $700; it is the only sale of the exhibition. Teaches summer session at Black Mountain College in North Carolina. Returns with student Pat Passlof.. Arshile Gorky hangs himself July 21. Elaine has affairs with Charles Egan, a brief fling with Harold Rosenburg, and then an affair withThomas Hess; the latter relationship lasts until the early 1950s. Willem has numerous trysts and involvements.Mailbox is shown at the Whitney’s annual show of American art the fall. Life magazine names de Kooning one of the five “young extremists.”

1949 Meets Mary Abbott; begins affair which extends intermittently until the mid-1950s. Is introduced to projector by Franz Kline; begins series of large canvas abstractions. Gives first public statement at The Subjects of the Artist School. Drinking increases. Rents cottage with Elaine in Provincetown. PaintsSailcloth and Two Women on a Wharf. Sidney Janis Gallery features portrait of de Kooning with Elaine in exhibition.Intrasubjectives exhibition at Samuel M. Kootz Gallery, September 4 – October 3, includes de Kooning. Opens restaurant, The Club, with other artists.

1950 Begins Woman I; at nearly seven feet in height, it is his largest, completes in 1952. Participates with Alfred Barr in the Venice Biennale exhibition of younger American Painters in the U.S. Pavilion, June 8-October 15. Young Painters in the U.S. and France exhibits Woman (1949-1950) at the Sidney Janis Gallery. Joins symposium which writes letter of protest to New York Herald Tribune regarding the national jury of selection for the Metropolitan Museum of Art; group pickets the Museum and refuses to submit work. New York Herald Tribune calls the group “The Irascible Eighteen.” Protest is covered in numerous national magazines. Teaches at Yale School of Art until 1952. Helps title Franz Kline’s first one-man show.

1951 Excavation is exhibited in Abstract Painting and Sculpture in America at the Museum of Modern Art, January 23 – March 25. Speaks at symposium organized by the Museum of Modern Art. Holds one-man show at Egan Gallery in April, with limited sales and no proceeds after expenses. Participates inNinth Street Exhibition. Receives financial support from Sidney Janis, contingent upon agreement to call his studio the Janis Gallery. Excavation wins $4,000 first prize in the 60th Annual American Exhibition: Paint and Sculpture at the Art Institute of Chicago. One of 20 artists exhibited in the American Vanguard Art for Paris exhibition at Sidney Janis Gallery, December 26 – January 5, 1952.

1952 Abandons Woman I, but revisits at the urging of art historian Meyer Sharpiro in June; completes in mid-June, but begins reworking in December. Starts several new “Woman” works. Elaine accompanies him to the Hamptons. Moves to 88 East 10th Street; spends much time with Harold Rosenberg. Meets art student Joan Ward, who becomes pregnant; the pregnancy is aborted.


Woman I, 1950. Oil on canvas, 192.7×147.3. Museum of Modern Art, New York.

1953 Officially changes studio name to Janis Gallery. Exhibits small retrospective at the Workshop Center for the Arts in Washington and School of the Museum of Fine Arts in Boston. First show at Sidney Janis Gallery opens in March. Drinking increases, as does continual reworking of paintings.

1954 Participates in Venice Biennale with Excavation; becomes famous as leading Abstract Expressionism artist. Has affair with Marisol Escobar. Rents house in Bridgehampton in the summer with Elaine, Ward, Ludwig Sander, and Franz Kline. Sells pictures to Martha Jackson and uses money for fare for his mother to visit. Begins painting abstract landscapes, using bright “circus colors.”

1955 Joan Ward becomes pregnant.

1956 Ward gives birth to Johanna Lisbeth (Lisa) de Kooning on January 29. Has second one-man show at Sidney Janis Gallery, April 3; the show is a sell-out. Jackson Pollock and Edith Metzger die in car crash August 11. Elaine returns from Europe and joins de Kooning, Ward and Lisa at Martha’s Vineyard.

1957 Has affair with Pollock’s widow, Ruth Kligman. Later has affair with actress Shirley Stoler; allegedly offers her painting, which she refuses. Creates abstract landscapes, continues “Woman” art from 1957- 1961.


Two figures in landscape. Oil. National Galleyr of Australia. Painting.

1958 Takes Ruth Kligman to Cuba in February; they drift apart but reunite and spend early summer at Martha’s Vineyard together. Meets attorney Lee Eastman. Travels to Europe to meet Kligman. Hires Bernard Reis as accountant in May.

1959 Moves studio to 831 Broadway. Monograph on de Kooning by Thomas B. Hess is published by Braziller in New York. Sidney Janis Gallery opens exhibition of new large abstractions on May 4; all pieces sell. Woman series and some urban landscapes are shown at The New American Painting as shown in 8 European Countries 1958-1959 exhibition at the Museum of Modern Art, May 28 – September 8. Buys 4.2 acres in the Springs of Long Island on June 23. Stays with Kligman in Rome from July 28 until January 1960, where he begins working with black enamel mixed with pumice, also produces several collages. Ward moves to San Francisco with Lisa. Work is featured in Sixteen Americans exhibition at the Museum of Modern Art, December 16 – February 17, 1960.

1960 Michael Sonnabend and Robert Snyder make film documentary which features Sketchbook No. 1: Three Americans. Returns from Italy and hires young California artist Dane Dixon as assistant. Grove Press publishes De Kooning, by Harriet Janis and Rudi Blesh. Spends summer in Southhampton. Visits Joan Ward and Lisa in San Francisco; visits galleries and does lithographs in Berkelely. Convinces Ward to return to New York. Drinking escalates.


Waves, 1960. Lithograph, 109x73cm, Yale University Gallery. Print.

1961 Buys more land in the Springs. Has affair with Marina Ospina.

1962 Becomes American citizen. March exhibition at the Sidney Janis Gallery fails. Meets Mera McAlister in March; affair lasts until winter. Sidney Janis allows Allan Stone to handle some small works; Newman- De Kooning, an exhibition of two founding fathers opens at the Allan Stone Gallery at 48 East 86th Street, October 23. The New Realists group show runs October 31 – December 1 at the Sidney Janis Gallery. Elaine paints portrait of President Kennedy for the Harry S. Truman Library.

1963 Moves back to the Springs in March, resides with Ward and Lisa. Later moves to East Hampton, Long Island. PaintsClam Diggers. Begins affair with neighbor Susan Brockman in the summer; moves in with Brockman and her friend, Clare Hooten. Later moves with Brockman to cottage on Barnes Landing, then to house owned by Bernice D’Vorazon. Later stays with John and Rae Ferren, then rents home near studio on Woodbine Drive. Splits from Brockman, but reunites in winter. Is hospitalized for alcoholism, but drinks again after release. Produces only one painting, Two Standing Women.

1964 Plans 1968 retrospective with Eduard de Wilde from the Stedelijk Museum in Holland. Ward and Lisa move to 3rd Avenue apartment. Receives the Presidential Medal of Freedom in September. Becomes friends with art collector Joseph Hirshhorn. Harold Rosenberg writes profile for Vogue magazine.

1965 The Institute of Contemporary Art features de Kooning inThe Decisive Years, 1943 to 1953, exhibiting January 13 – February 19. Ends relationship with Sidney Janis, resulting in multiple lawsuits. Rents cottage with Brockman in the spring; relationship ends shortly thereafter. Accepts retrospective at Smith College, April 8 – May 2. Gives paintings to Ward and Lisa; draws up will, leaving most of his money to Lisa. Personal assistant John McMahon becomes part-time employee; Michael Wright is hired. Intermittent hospitalizations for alcoholism. Has affair with Molly Barnes. Police Gazette sells for $37,000, October 13.

1966 Enters Southampton Hospital for alcoholism in January. Attends Lisa’s birthday party in New York. Becomes involved with anti-war protests, grows hair. Draws Women Singing I,Women Singing II, and Screaming Girls.

1967 Walker and Company publishes 24 charcoal drawings produced in 1966. Joins prestigious New York gallery M. Knoedler and Company to start contemporary art department. Eastman negotiates $100,000 annual guarantee for first refusal of work. Provides 22 additional paintings on August 4, including several of the Women on the Sign series. Ward and Lisa return to the Springs. First exhibition at M. Knoedler and Company opens November 10; works include Woman Sag Harbour, Woman Accobanac, Woman Springs, and Woman, Montaulk. Despite negative reviews, some sell. Enters Southampton Hospital for alcoholism in December.

1968 Michael Wright resigns. Visits Europe, returns to Holland for major retrospective at Stedelijk Museum in Amsterdam, accompanied by Ward, Lisa, and Leo Cohan. (Exhibition begins there September 18, travels to London on December 8, then New York, March 5 – April 26, 1969.) Sees sister, Marie, and step-brother, Koos Lassoy; they visit their mother September 19, who dies October 8. Has car crash on Thanksgiving after drinking, he and Ward survive.

1969 Retrospect of 147 paintings, pastels, collages and drawings is held at the Museum of Modern Art, March 5 – April 26, to mixed reviews. Begins renovations of home with Ward in spring. Takes Brockman to Italy in summer; upon return, stays with her and visits Ward and Lisa. Begins sculpting in bronze. Hires David Christian to make enlarged experimental version of previous small work, Seated Woman.

1970 Visits Japan. Works on lithography; produces Love to Wakako and Mr. and Mrs. Krishner. Has affair with Emilie (Mimi) Kilgore in August; proclaims true love.


Minnie Mouse, 1971. Lithograph, National Gallery of Art, Washington, D.C. Print.


Landscape at Stanton Street, 1971. Lithograph, 75.8x56cm. Art Gallery of New South Wales. Print.

1971 Sculpts Clam Digger. Moves back into studio in August. Exhibits Seven by de Kooning at the Museum of Modern Art in December.

1972 Takes Mimi to attend the Venice Bienne in June. Has final exhibition at the Sidney Janis Gallery (part of legal settlement) in October. Lisa moves to New York, residing with de Kooning before taking apartment at 3rd Avenue and 10th Street.

1973 Enters Southampton Hospital with liver and pancreas damage in February. Undergoes rehabilitation in October and November.

1974 Traveling exhibition is organized by Fourcade, Droll. Inc., which runs until early 1977. Woman V sells for $850,000 in September, a record price for a living American artist. Dane Dixon becomes full-time assistant after McMahon leaves.

1975 Exhibits in Japan and Paris. Proposes to Kilgore, who declines. Completes 24 works in six months. Exhibits at Fourcade, Droll, Inc. in October.


Two Trees, 1975. Oil on canvas. Thought Factory. Painting.

1976 Hirshhorn Museum and the U.S. Information Agency organize major traveling exhibition to tour eleven cities in Europe. Xavier Fourcade becomes exclusive art dealer of de Kooning; mounts show of 12 new works, to favorable reviews.

1977 Attends Alcoholics Anonymous with Elaine.

1978 Willem de Kooning in East Hampton exhibition at the Guggenheim Museum in New York, February 10 – April 23, is successful. American Art at Mid-Century: The Subjects of the Artist exhibit features de Kooning at the opening of the new East Building of the National Gallery in Washington in May. Goes on binge in June after several friends, including Harold Rosenberg and Thomas Hess, die.

1979 Stops painting. Drinking continues.

1980 Works becomes graphic. From 1980 to 1987, Tom Ferrarra is assistant.

1981 Lisa begins building house on studio grounds. Revises will to include Elaine as equal beneficiary with Lisa. Begins painting again in spring.

1982 February issue of Art News features Willem de Kooning: I Am Only Halfway Through, by Avis Berman; cover photograph of de Kooning ` and Paul McCartney taken by Linda Eastman, wife of McCartney and daughter of Lee Eastman. Dustin Hoffman films documentary, De Kooning on de Kooning forStrokes of Genius series in March. Attends premier. Also attends White House dinner to honor Queen Beatrix of the Netherlands in April. New work is exhibited as New Paintings: 1981- 1982 at the Fourcade, Droll Gallery, March 17 – May 1.

1983 Finishes 54 paintings with the help of staff assistants. Is encouraged by Fourcade and Eastman to authorize enlarged photographs of sculptures. Untitled #2 is cast in a sterling silver, limited edition by Gemini Foundry in California. Allan Stone buys Two Women for $1.2 million in May. Willem de Kooning: Drawing, Paintings, Sculpture opens at the Whitney Museum of Art on December 15.

1984 Finishes 51 paintings. Receives commission to paint triptych for St. Peter’s Church in New York City; paintsHallelujah, which fails to receive hoped-for price of $900,000 and is taken down at the insistence of the congregation.

1985 Paints 63 pieces. Early signs of Alzheimer’s disease are apparent. Works with help from Elaine and assistants onUntitled XIII and Untitled XX. Last show at the Fourcade, Droll Gallery, Exhibition of de Kooning’s recent work from 1984-1985is held in October.

1986 Completes 43 works. Exhibition of Willem de Kooning’s work from 1983-1986 exhibits at the Anthony d’Offay Gallery in London.

1987 Does 26 paintings via projection of old sketches onto canvases by assistants. Pink Lady sells for $3.63 million. Xavier Fourcade dies of AIDS; de Kooning is not told. Elaine is diagnosed with lung cancer.

1988 Paints 27 paintings. Elaine authorizes a series of prints; encourages the changing of the will to make Lisa sole beneficiary. Attempt is blocked by Eastman, who remains executor. Elaine undergoes radiation treatments at Sloan-Kettering.

1989 Elaine dies at age 70; de Kooning is never told. Lisa and Eastman file petition declaring de Kooning incompetent. Eastman also attempts to become sole conservator, charging Lisa with mismanagement; court rules they remain co-conservators. Enters Southampton Hospital in May for a hernia operation, then in July for prostate surgery.

Untitled XXII, 1983. Oil on canvas, 70x80in. Saint Louis Museum of Art. Painting.

1990 Stops painting. Mini-retrospective, Willem de Kooning: An Exhibition of Paintings is held at the Salander-O’Reilly Galleries, September – October. De Kooning / Dubuffet: The Woman is shown at the Pace Gallery from December until January, 1991.

1993 Willem de Kooning from the Hirshhorn Museum Collection opens at the Hirshhorn Museum and Sculpture Garden on October 21. Jennifer McLaughlin resigns; she is his final assistant.

1994 The Naitonal Gallery of Art in Washington exhibitsWillem de Kooning: Paintings, May – September 5.

1996 The Academie Van Beeldende Kunsten en Technishche Wetenschappen, where de Kooning studied in Amsterdam, officially changes its name to the Willem de Kooning Academy.

1997 Dies March 19, 1997 in the Springs. Funeral is attended by some 300 friends and associates, including Ruth Kligman, Susan Brockman, Molly Barnes, and Emilie Kilgore. Lisa is guest speaker.

_____________

 Great article

WILLEM de KOONING (1904–1997)

Asheville, 1948
Willem de Kooning’s Asheville takes its name from the North Carolina town near Black Mountain College where de Kooning taught in the summer of 1948. A small but extremely complex work, it gathers together numerous, often oblique allusions, including references to the college and sections that recall de Kooning’s early training in crafts such as marbling, woodgraining, and lettering.De Kooning’s works often blur the distinctions between drawings, studies, and paintings. Rather than the traditional academic progression from study to finished painting, de Kooning creates a constant flow and exchange of ideas and forms across different media. Four other versions ofAsheville show shapes similar to those found in The Phillips Collection’s painting, suggesting that de Kooning consciously refined the seemingly random forms of the Phillips painting through his manipulations of form in the related works.Asheville is an important example of de Kooning’s intricate experiments in “collage painting” of the late 1940s in which he used collage procedures, combining different materials such as torn paper and drawings to create illusions that might be used as a source for visual ideas. These techniques assisted the artist in working out a final composition that was free from any actual collaged elements. In the completed work, de Kooning created jumps and visual ruptures between passages that mimic collage. Additional deceptions in Asheville include the illusion of a tack holding a cut-out form at the upper left and a depiction of paper peeling from the surface to the left of what appears to be a mouth at the picture’s center.De Kooning enhanced these effects by scraping down and building up the surface of the painting numerous times. This layering blends spontaneity and measured thought, giving Asheville a look of immediacy and chance, though de Kooning actually constructed the painting thoughtfully over a number of months. In addition, he interspersed sinuous black lines throughout the work with a liner’s brush, a tool with unusually long brush hairs traditionally used by sign painters. These gestures of black tracery resemble the spontaneous, unconscious marks of Surrealism’s psychic automatism, but upon closer inspection they reveal de Kooning’s technical mastery of the brush and reflect his fascination with precise line.Content in Asheville is suggested through momentary glimpses of reality. The skyline noted near the upper-center edge of the painting suggests the Blue Ridge Mountains looming over the grounds of Black Mountain College. Beneath this passage is an area of blue that may refer to Lake Eden, which was adjacent to the school. Additional fragments include eyes, hands, and a mouth, as well as a window of green, an effective foil for the interplay between indoor and outdoor space in the picture.Central to de Kooning’s art is the ambiguity and multiplicity of meanings through appropriations and transformations of reality. At the time de Kooning painted Asheville, the abstract expressionists struggled to come to terms with a multiplicity of ideas: the emotional legacy of World War II, the heritage of modernism, and the array of influences available to them in New York. De Kooning responded to this flux of ideas and experiences with an extraordinary degree of self-conscious control. His depictions of collage in Asheville are characteristic of a measured approach that allowed him to respect older traditions of figuration, illusion and craft, while simultaneously engaging more radical modern idioms.

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________________

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Paul McCartney – Silly Love Songs

July 30, 2015 – 1:18 am

__________

Paul McCartney – Silly Love Songs

Silly Love Songs

From Wikipedia, the free encyclopedia
For the Glee episode, see Silly Love Songs (Glee).
“Silly Love Songs”
https://youtu.be/_dbYxAr697w

German single sleeve
Single by Wings
from the album Wings at the Speed of Sound
B-side “Cook of the House“
Released 1 April 1976 (US)
30 April 1976 (UK)
Format 7″ single
Recorded 16 January 1976
Genre Disco, funk
Length 5:53 (commercial 7″ version)
3:22 (DJ copy edit)
Label MPL Communications (UK)
MPL Communications/Capitol(US)
Writer(s) Paul & Linda McCartney
Producer(s) Paul McCartney
Certification BPI (UK) Silver 1 June 1976[1]
RIAA (US) Gold 11 June 1976[2]
Wings singles chronology
“Venus and Mars/Rock Show”
(1975)		 “Silly Love Songs”
(1976)		 “Let ‘Em In”
(1976)
Wings at the Speed of Sound track listing
Alternative covers

Dutch single sleeve

“Silly Love Songs” is a song written by Paul McCartney and performed by Wings. The song appears on the 1976 album Wings at the Speed of Sound. It was also released as a single in 1976, backed with “Cook of the House”. The song, written in response to music critics accusing him of writing only “silly love songs”, also features disco overtones.

Background[edit]

“Silly Love Songs” was written as a rebuttal to music critics, as well as former Beatle and friend, John Lennon, accusing Paul McCartney of writing lightweight love songs.[3] Author Tim Riley suggests that in the song, McCartney is inviting “his audience to have a laugh on him,” as Elvis Presley had sometimes done.[4]

But over the years people have said, “Aw, he sings love songs, he writes love songs, he’s so soppy at times.” I thought, Well, I know what they mean, but, people have been doing love songs forever. I like ’em, other people like ’em, and there’s a lot of people I love — I’m lucky enough to have that in my life. So the idea was that “you” may call them silly, but what’s wrong with that?

The song was, in a way, to answer people who just accuse me of being soppy. The nice payoff now is that a lot of the people I meet who are at the age where they’ve just got a couple of kids and have grown up a bit, settling down, they’ll say to me, “I thought you were really soppy for years, but I get it now! I see what you were doing!”

By the way, “Silly Love Songs” also had a good bassline and worked well live.

—Paul McCartney, Billboard[5]

McCartney allowed the horn section to create their own parts for the song.[6]

Release[edit]

The US single was released on 1 April 1976[7] and spent five non-consecutive weeks at number 1 on the Billboard Hot 100.[8][9] “Silly Love Songs” was the number 1 pop song in Billboard’s Year-End Charts of 1976. It was also the group’s second of three number ones on the Easy Listening chart.[10] In 2013, Billboard Magazine determined the song is McCartney’s biggest US chart hit of his post-Beatles career, ranking at No. 36 on the “all-time” charts.[11] The UK single was released on 30 April 1976[7] and reached number 2 on the UK Singles Chart.[12][13] The single was certified Gold by theRecording Industry Association of America for sales of over one million copies.[14]

The song was McCartney’s 27th number one as a songwriter, the all-time record for most number one hits by a songwriter. (see List of Billboard Hot 100 chart achievements and milestones) With this song, McCartney became the first person to have a year-end No. 1 song as a member of two distinct acts. He previously hit No. 1 in the year-end Billboard chart with “I Want to Hold Your Hand” in 1964 and “Hey Jude” in 1968.[15][16] In 2008, the song was listed at No. 31 on Billboard’s Greatest Songs of All Time, commemorating the 50th anniversary of the Billboard Hot 100 chart.[3]

“Silly Love Songs” has since appeared on multiple of McCartney’s greatest hits compilations, including Wings Greatest and All the Best!. It also appeared on the “Hits” half of the compilation Wingspan: Hits and History.

Other recordings[edit]

In 1976, Wings recorded “Silly Love Songs” live for their triple live album Wings Over America. In 1984, three years after the dissolution of Wings, Paul McCartney re-recorded “Silly Love Songs” for thesoundtrack to the critically panned motion picture Give My Regards to Broad Street.

Critical reception[edit]

“Silly Love Songs” has generally received positive reviews from critics, despite the common criticism of the song lacking substance. AllMusic‘s Stephen Thomas Erlewine described the song, as well as its follow-up single, “Let ‘Em In“, as “so lightweight that their lack of substance seems nearly defiant.”[17] Music critic Robert Christgau called the two tracks “charming if lightweight singles”, while Rolling Stone critic Stephen Holden said “Silly Love Songs” was “a clever retort whose point is well taken.”[18][19] John Bergstrom of PopMatters called the song “an exemplary piece of mid-‘70s pop production and a pure pleasure.”[20]

Charts[edit]

Chart (1976) Peak
position
Australia Kent Music Report 20
Canada RPM 100 Singles 1
Germany Media Control Chart 14
Ireland Singles Chart 1
Japan Oricon Chart 66
New Zealand RIANZ Charts 8
Netherlands MegaCharts 11
Norway VG-lista 9
UK Singles Chart 2
US Billboard Hot 100 1
US Billboard Hot Adult Contemporary 1

Year-end charts[edit]

Chart (1976) Position
Canada RPM 100 Singles 10
US Billboard Hot 100 1

All-time charts[edit]

Chart Position
US Billboard Hot 100[11] 36

Personnel[edit]

Wings[edit]

Other musicians[edit]

  • Tony Dorsey – horns
  • Thaddeus Richard – horns
  • Steve Howard – horns
  • Howie Casey – horns

Covers[edit]

Uses in popular culture[edit]

  • This song was used in the pilot episode of The Fresh Prince of Bel Air when Carlton Banks is heard singing the first verse while taking a shower.
  • In 2005, the song was sampled in Jenn Cuneta’s Come Rain, Come Shine.

See also[edit]

Notes[edit]

  1. Jump up^ “Certified Awards Search”. BPI. Retrieved 12 October2012.
  2. Jump up^ “RIAA Gold and Platinum”. RIAA. Retrieved 12 October2012.
  3. ^ Jump up to:a b Billboard 2009.
  4. Jump up^ Riley, T. (2002). Tell Me Why: The Beatles: Album By Album, Song By Song, The Sixties And After. Da Capo. p. 359. ISBN 9780306811203.
  5. Jump up^ “Paul McCartney On His Not-So-Silly Love Songs”.Billboard.
  6. Jump up^ Benitez, Vincent Perez. The Words and Music of Paul McCartney: The Solo Years.
  7. ^ Jump up to:a b McGee 2003, p. 210.
  8. Jump up^ McGee 2003, p. 232.
  9. Jump up^ “Paul McCartney Charts and Awards”. allmusic. Retrieved 13 October 2011.
  10. Jump up^ Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 163.
  11. ^ Jump up to:a b Bronson, Fred (2 August 2012). “Hot 100 55th Anniversary: The All-Time Top 100 Songs”. Billboard. Retrieved 9 August 2013.
  12. Jump up^ McGee 2003, p. 240.
  13. Jump up^ “Official Charts: Paul McCartney”. The Official UK Charts Company. Retrieved 13 October 2011.
  14. Jump up^ “Gold & Platinum Searchable Database – June 06, 2014”. RIAA. Retrieved 2014-06-06.
  15. Jump up^ Billboard Year-End Hot 100 singles of 1964
  16. Jump up^ Billboard Year-End Hot 100 singles of 1968
  17. Jump up^ Erlewine, Stephen Thomas. “Wings at the Speed of Sound”. AllMusic.
  18. Jump up^ Christgau, Robert. “Paul McCartney discography”.
  19. Jump up^ Holden, Stephen. “Wings at the Speed of Sound”.Rolling Stone.
  20. Jump up^ Bergstrom, John. “Paul McCartney and Wings: Wings at the Speed of Sound”. PopMatters.
  21. ^ Jump up to:a b “Original versions of Silly Love Songs by Shirley Bassey”. SecondHandSongs. 1976-03-25. Retrieved2014-06-06.
  22. Jump up^ [1]
  23. Jump up^ “Performs the Hits of Wings”. Allmusic. Retrieved28 December 2011.
  24. Jump up^ “Glee Season 2 Episode 12: Silly Love Songs | The Official Music for Glee Site”. Gleethemusic.com. Retrieved 2014-06-06.
  25. Jump up^ Erica Futterman (2011-02-09). “‘Glee’ Recap: ‘Silly Love Songs’ Hits the Right Note | Culture News”. Rolling Stone. Retrieved 2014-06-06.

References[edit]

Preceded by
“Boogie Fever” by The Sylvers
“Love Hangover” by Diana Ross		 Billboard Hot 100 number one single
May 22, 1976
June 12, 1976 – July 3, 1976 (4 weeks)		 Succeeded by
“Love Hangover” by Diana Ross
“Afternoon Delight” by Starland Vocal Band
Preceded by
“Welcome Back” by John Sebastian		 Billboard Adult Contemporary number one single
May 29, 1976		 Succeeded by
“Shop Around” by Captain & Tennille
Preceded by
“Shannon” by Henry Gross		 Canadian “RPM” Singles Chart number-one single
June 5, 1976 – June 12, 1976 (2 weeks)		 Succeeded by
“Get Up and Boogie” by Silver Convention

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Paul McCartney’s song BAND ON THE RUN

July 29, 2015 – 1:11 am

Paul McCartney & Wings – Band On The Run (Rockshow) [HD]

Band on the Run (song)

From Wikipedia, the free encyclopedia
“Band on the Run”
https://youtu.be/eAnA2KE8A4E

French single sleeve
Single by Paul McCartney and Wings
from the album Band on the Run
B-side “Nineteen Hundred and Eighty-Five” (US)
“Zoo Gang” (UK)
Released 8 April 1974 (US)
28 June 1974 (UK)
Format 7″ single
Recorded September 1973
Genre Rock
Length 5:09 (album and single versions)
3:50 (radio edit)
Label Apple
Writer(s) Paul McCartney, Linda McCartney
Producer(s) Paul McCartney
Certification Gold (RIAA, 4 June 1974)[1]
Gold (BPI, 1 September 1974)[2]
Paul McCartney and Wings singles chronology
“Jet”
(1974)		 “Band on the Run”
(1974)		 “Junior’s Farm”
(1974)
Band on the Run track listing
Alternative cover

Spanish cover with “Zoo Gang” on b-side

“Band on the Run” is the title song of Paul McCartney and Wings‘ 1973 album Band on the Run. The song was released as a single in 1974, following the success of “Jet“, and became an international chart success. The song topped the charts in the United States, also reaching number 3 in the United Kingdom.[3][4] The single sold over one million copies in 1974 in America.[3] It has since become one of the band’s most famous songs.

A medley of song fragments that vary in style from folk rock to funk, “Band on the Run” is one of McCartney’s longest singles at 5:09. The song was partly inspired by a comment that George Harrisonhad made during a meeting of the Beatles‘ Apple record label. The song-wide theme is one of freedom and escape, and its creation coincided with Harrison, John Lennon and Ringo Starr having parted with manager Allen Klein in March 1973, leading to improved relations between McCartney and his fellow ex-Beatles. The original demos for this and other tracks on Band on the Run were stolen shortly after Wings arrived in Lagos, Nigeria, to begin recording the album. With the band reduced to a trio consisting of McCartney, his wife Linda, and Denny Laine, “Band on the Run” was recorded atEMI‘s Lagos studio and completed at AIR Studios in London.

Background[edit]

It was symbolic: “If we ever get out of here … All I need is a pint a day” … [In the Beatles] we’d started off as just kids really, who loved our music and wanted to earn a bob or two so we could get a guitar and get a nice car. It was very simple ambitions at first. But then, you know, as it went on it became business meetings and all of that … So there was a feeling of “if we ever get out of here”, yeah. And I did.

– Paul McCartney, to Clash Music[5]

Paul McCartney noted the drug busts musicians of the late 1960s and early 1970s experienced as an inspiration for the “Band on the Run”, also referencing the “desperado” image he attributed to bands like The Byrds and Eagles as an influence.[6] McCartney, who had been having legal trouble involving pot possession, said, “We were being outlawed for pot … And our [Wings’] argument on [‘Band on the Run’] was ‘Don’t put us on the wrong side … We’re not criminals, we don’t want to be. So I just made up a story about people breaking out of prison.'”[6]

In a subsequent interview, McCartney stated that the lyric “If we ever get out of here” was inspired by George Harrison saying these words during one of the Beatles’ many business meetings.[7] McCartney recalled: “He was saying that we were all prisoners in some way [due to the ongoing problems with their company Apple] … I thought it would be a nice way to start an album.”[8][nb 1] McCartney added, referring to his inspiration for “Band on the Run”: “It’s a million things … all put together. Band on the run – escaping, freedom, criminals. You name it, it’s there.”[9]

According to Mojo contributor Tom Doyle, the song’s lyrics, recalled through memory following the robbery of the band’s demo tapes for the Band on the Run album, were altered to reflect on the band’s then-current status, “stuck inside the four walls of the small, cell-like studio, faced with grim uncertainty.”[10]

“Nineteen Hundred and Eighty-Five“, the closing track of the Band on the Run album, concludes with a brief excerpt of the chorus.[11]

Composition[edit]

“Band on the Run” is a three-part medley, with the first section being a slow ballad, the second featuring a funk rock style,[12] and the final a country-esque section.[12] The lyrics of the entire song, however, are related, with all being based around a general theme of freedom and escape.[13][14]

Recording[edit]

The original demo recording for “Band on the Run”, as well as multiple other tracks from the album, was stolen from the McCartneys by a group of thugs while Paul McCartney and Wings were recording in Lagos, Nigeria.[5] Robbed at knife-point, they relinquished the demos, only recovering the songs through memory.[10] Paul McCartney later remarked, “It was stuff that would be worth a bit on eBay these days, you know? But no, we figured the guys who mugged us wouldn’t even be remotely interested. If they’d have known, they could have just held on to them and made themselves a little fortune. But they didn’t know, and we reckoned they’d probably record over them.”[5]

The song was recorded in two parts, in different sessions. The first two were taped in Lagos while the third section was recorded in October 1973 at AIR Studios in London.[15]

Release[edit]

Originally, Paul McCartney planned not to release any singles from Band on the Run, a strategy he compared to that used by The Beatles.[16] However, he was convinced by Capitol Records promotion man Al Coury to release singles from the album, resulting in the single release of “Jet” and “Band on the Run”.[17]

Al [Coury, promotion man for Capitol Records] released ‘Jet,’ which I wasn’t even thinking of releasing as a single, and ‘Band on the Run’ too. He single-handedly turned [Band on the Run] around.[17]

“Band on the Run”, backed with “Nineteen Hundred and Eighty-Five”, was released in America on 8 April 1974 as the follow-up single to Paul McCartney and Wings’ top-ten hit “Jet“. The song was a smash hit for the band, becoming McCartney’s third solo American chart-topping single and Wings’ second.[3] The single was later released in Britain (instead backed with “Zoo Gang“, the theme song to the television show of the same name), reaching number 3 on the British charts.[4] The song was also a top 40 single in multiple European countries, such as the Netherlands (number 7),[18] Belgium (number 21),[19] and Germany (number 22).[20]

The US radio edit was 3:50 in length. The difference was largely caused by the removal of the middle or the second part of the song, as well as the verse that starts with “Well, the undertaker drew a heavy sigh …”[21]

The single was certified Gold by the Recording Industry Association of America for sales of over one million copies.[22] It was the second of five number-one singles for the band on the Billboard Hot 100.[3] In 1974, Billboard ranked it number 22 on its Top Pop Singles year-end chart.[23] Billboard also listed the song as Paul McCartney’s sixth most successful chart hit of all time, excluding Beatles releases.[24]

“Band on the Run” has also been featured on numerous McCartney/Wings compilation albums, including Wings Greatest,[25] All the Best!,[26] and Wingspan: Hits and History.[27] The song is also performed in many of McCartney’s live shows, with a live version being included on the 1976 live album Wings over America.[28]

Videos[edit]

An official video, directed by Michael Coulson, was released along with the song. It served mostly as a tribute to The Beatles, featuring montages of still pictures from their career. Present-day McCartney and Wings were not shown. The video ends with a collage of Beatles pictures much like the album cover of Sgt. Pepper’s Lonely Hearts Club Band.[29]

In 2014, a new video for “Band on the Run” was created. The video designed by Ben Ib, an artist who created tour visuals for Paul McCartney (as well as Roger Waters and The Smashing Pumpkins) and the cover for Paul McCartney’s 2013 solo album New.[30] In the video, all of the objects, including the “band on the run” itself, are made up of words.[31]

Reception[edit]

The song was praised by former bandmate and songwriting partner, John Lennon, who considered it “a great song and a great album”.[32] In 2014, Billboard praised “Band on the Run” for having “three distinct parts that don’t depend on a chorus yet still manage to feel anthemic.”[24] AllMusic critic Stewart Mason called the track “classic McCartney”, lauding the song for “manag[ing] to be experimental in form yet so deliciously melodic that its structural oddities largely go unnoticed.”[12]

“Band on the Run” also won the “Best Pop Vocal Performance by a Duo, Group or Chorus” at the 17th Annual Grammy Awards.[33] NME ranked the song as the tenth best song of the 1970s, as well as the fifteenth best solo song by an ex-Beatle.[34][35] In 2010, AOL Radio listeners voted “Band on the Run” the best song of Paul McCartney’s solo career, achieving a better ranking than “Maybe I’m Amazed” and “Silly Love Songs“.[36] In 2012, Rolling Stone readers ranked the song as McCartney’s fourth best song of all time, behind “Maybe I’m Amazed“, “Hey Jude“, and “Yesterday“.[37] Rolling Stone readers also ranked the song the fifth best solo song by ex-members of The Beatles.[38]

Personnel[edit]

Chart positions[edit]

Weekly singles charts[edit]

Chart (1974) Peak
position
Belgium (Ultratop)[19] 21
Canada (RPM 100 Top Singles)[39] 1
Germany (Media Control)[20] 22
Japan (Oricon)[40] 58
Netherlands (Dutch Top 40)[18] 7
UK Singles Chart (Official Charts Company)[4] 3
US Billboard Hot 100[3] 1
US Easy Listening (Billboard)[3] 22

Year-end charts[edit]

Chart (1974) Position
Canada (RPM 100 Top Singles)[41] 20
UK Singles Chart (Official Charts Company)[42] 46
US Billboard Hot 100[43] 22

Other appearances[edit]

Cover versions[edit]

Notes[edit]

  1. Jump up^ Speaking to Clash Music in 2009, however, he said: “I don’t remember that being a George line. I don’t know about that.”[5]

References[edit]

Citations[edit]

  1. Jump up^ “RIAA Gold and Platinum”. RIAA. Retrieved2012-10-12.
  2. Jump up^ “Certified Awards Search”. BPI. Archived from the original on 2012-10-02. Retrieved 2012-10-12.
  3. ^ Jump up to:abcdef “Paul McCartney Charts and Awards”.allmusic. Retrieved 2011-10-13.
  4. ^ Jump up to:abc “Official Charts: Paul McCartney”. The Official UK Charts Company. Retrieved 2011-10-13.
  5. ^ Jump up to:abcd Harper 2010.
  6. ^ Jump up to:ab McGee 2003, pp. 223–224.
  7. Jump up^ “BBC – Radio 2 – Sold On Song – Song Library – Band On The Run”. BBC. Retrieved 21 March 2009.
  8. Jump up^ Spizer 2005, pp. 274.
  9. Jump up^ Gambaccini 1976.
  10. ^ Jump up to:ab Doyle 2014, pp. 92.
  11. Jump up^ Jackson 2012, pp. 122.
  12. ^ Jump up to:abc Mason, Stewart. “Band on the Run (song) review”.AllMusic.
  13. Jump up^ Rodriguez 2010, pp. 160.
  14. Jump up^ Jackson 2012, pp. 108–109.
  15. Jump up^ Perasi 2013, pp. 103.
  16. Jump up^ Badman 2009.
  17. ^ Jump up to:ab McGee 2003, pp. 59–60.
  18. ^ Jump up to:ab “Dutchcharts.nl Paul McCartney discography”. Hung Medien. MegaCharts. Retrieved 2 August 2011.
  19. ^ Jump up to:ab “Belgian Chart”. ultratip.be/nl. Retrieved2014-11-17.
  20. ^ Jump up to:ab “charts.de”. GfK Entertainment. Retrieved24 February 2012.
  21. Jump up^ Wiener 1994, pp. 396.
  22. Jump up^ riaa.com
  23. Jump up^ “Top Pop Singles” Billboard December 26, 1974: TA-8
  24. ^ Jump up to:ab “Paul McCartney’s Top 10 Billboard Hits”. Billboard.
  25. Jump up^ Erlewine, Stephen Thomas. “Wings Greatest”. allmusic.
  26. Jump up^ Erlewine, Stephen Thomas. “All the Best”. allmusic. Retrieved 7 April 2015.
  27. Jump up^ Erlewine, Stephen Thomas. “Wingspan: Hits and History”. allmusic. Retrieved 7 April 2015.
  28. Jump up^ Erlewine, Stephen Thomas. “Wings Over America”.allmusic. Retrieved 7 April 2015.
  29. Jump up^ “Wings – Band On The Run (Original Video)”. Youtube. Retrieved April 6, 2013.
  30. Jump up^ “New Lyric Video: ‘Band on the Run'”. Paul McCartney. Retrieved 15 March 2015.
  31. Jump up^ Wilkening, Matthew. “Paul McCartney, ‘Band on the Run’ Lyric Video – Exclusive Premiere”. Ultimate Classic Rock. Retrieved 7 April 2015.
  32. Jump up^ Doyle 2014, pp. 100.
  33. Jump up^ “Paul McCartney – Awards”. Grammy Awards.
  34. Jump up^ “100 Best Tracks of the Seventies”. New Musical Express.
  35. Jump up^ Beaumont, Mark. “The Best Of The Post-Beatles”. New Musical Express. Retrieved 14 March 2015.
  36. Jump up^ Rae Votta, “10 Best Paul McCartney Songs”, AOL Radio, April 2010 (retrieved 25 June 2012).
  37. Jump up^ “Readers’ Poll: What Is the Best Paul McCartney Song of All Time?”. Rolling Stone. Retrieved 14 March 2015.
  38. Jump up^ “Readers’ Poll: The 10 Greatest Solo Beatle Songs”.Rolling Stone. Retrieved 14 March 2015.
  39. Jump up^ “Canadian Chart”. http://www.collectionscanada.gc.ca. Retrieved 2014-11-17.
  40. Jump up^ “Japanese Chart”. nifty.com. Retrieved 2014-11-17.
  41. Jump up^ “The Top 200 Singles of ’74”. RPM. 1974-12-28. Retrieved 2010-12-06.
  42. Jump up^ “Top 100 End of Year UK Charts – 1974”.
  43. Jump up^ “Billboard Top 100 – 1974”. Retrieved 2011-01-03.
  44. Jump up^ “Activision Unveils Full Guitar Hero(R) World Tour Set List”. Prnewswire.com. 2008-10-26. Retrieved2011-07-09.[dead link]
  45. Jump up^ “Paul McCartney watched by Yoko Ono in Liverpool as Dave Grohl helps out”. New Musical Express. Archivedfrom the original on 12 February 2009. Retrieved 21 March2009.
  46. Jump up^ “TORI AMOS | HEREINMYHEAD.COM | lyrics | band on the run”. Hereinmyhead.Com. Retrieved 2011-07-09.
  47. Jump up^ “Performs the Hits of Wings”. Allmusic. Retrieved28 December 2011.

Sources[edit]

  • Badman, Keith (2009). The Beatles: Off The Record 2 – The Dream is Over: Off the Record. Omnibus Press.
  • Doyle, Tom (2014). Man on the Run: Paul McCartney in the 1970s. Ballantine Books. ISBN978-0804179140.
  • Gambaccini, Paul (1976). Paul McCartney: In His Own Words. Music Sales Corp. ISBN978-0966264951.
  • Harper, Simon (2010). “The Making Of Paul McCartney”. Clash Music. Retrieved 14 March 2015.
  • Jackson, A.G. (2012). Still the Greatest: The Essential Solo Beatles Songs. Scarecrow Press. ISBN9780810882225.
  • McGee, Garry (2003). Band on the Run: A History of Paul McCartney and Wings. Taylor Trade Publishing.
  • Perasi (2013). Paul McCartney: Recording Sessions (1969-2013). L.I.L.Y. Publishing. ISBN978-88-909122-1-4.
  • Rodriguez, Robert (2010). Fab Four FAQ 2.0: The Beatles’ Solo Years, 1970-1980. Backbeat Books. ISBN0879309687.
  • Spizer, Bruce (2005). The Beatles Solo on Apple Records. 498 Productions. ISBN0-9662649-5-9.
  • Wiener, Allen J. (1994). The Beatles: The Ultimate Recording Guide. Bob Adams Press.

External links[edit]

Preceded by
“The Streak” by Ray Stevens		 Billboard Hot 100number-one single
8 June 1974		 Succeeded by
“Billy Don’t Be a Hero” by Bo Donaldson and the Heywoods
Preceded by
“The Streak” by Ray Stevens		 Canadian RPM Singles Chartnumber-one single
8 June 1974		 Succeeded by
“Sundown” by Gordon Lightfoot

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 36 ( Dr. Simon Schaffer, Professor of History and Philosophy of Science, Cambridge, IS MAINTAINING THE CULTURE THE SAME AS MAINTAINING THE FAITH?)

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Jonathan Miller’s Rough History of Disbelief PART 3 of 3

(at the 5 min mark of the Jonathan Miller video is Simon Schaffer)

________________________

Interview of Simon Schaffer – part one (of five)

Uploaded on Nov 20, 2008

A series of five parts of a four-hour interview filmed in late June and early July 2008 by Alan Macfarlane, of the historian of science, Professor Simon Schaffer of the University of Cambridge. For a higher quality, downloadable, version with a detailed summary, please see http://www.alanmacfarlane.com

All revenues donated to World Oral Literature Project

_________________

On November 21, 2014 I received a letter from Nobel Laureate Harry Kroto and it said:

…Please click on this URL http://vimeo.com/26991975

and you will hear what far smarter people than I have to say on this matter. I agree with them.

Harry Kroto

________

Dr. Harry Kroto is the 1996 Chemistry Nobel Prize Winner and he is seen the photo below:

______________________

__________________________

There are 3 videos in this series and they have statements by 150 academics and scientists and I hope to respond to all of them. Wikipedia notes Simon Schaffer (born 1 January 1955)[1] is a professor of the history and philosophy of science at the Department of History and Philosophy of Science at University of Cambridge and was until recently editor of The British Journal for the History of Science.

His comments can be found on the 2nd video and the 90th clip in this series. Below the videos you will find his words.

50 Renowned Academics Speaking About God (Part 1)

Another 50 Renowned Academics Speaking About God (Part 2)

A Further 50 Renowned Academics Speaking About God (Part 3)

Interview of Simon Schaffer – part 2A

_______________

I grew up at Bellevue Baptist Church under the leadership of our pastor Adrian Rogers and I read many books by the Evangelical Philosopher Francis Schaeffer and have had the opportunity to contact many of the evolutionists or humanistic academics that they have mentioned in their works. Many of these scholars have taken the time to respond back to me in the last 20 years and some of the names  included are  Ernest Mayr (1904-2005), George Wald (1906-1997), Carl Sagan (1934-1996),  Robert Shapiro (1935-2011), Nicolaas Bloembergen (1920-),  Brian Charlesworth (1945-),  Francisco J. Ayala (1934-) Elliott Sober (1948-), Kevin Padian (1951-), Matt Cartmill (1943-) , Milton Fingerman (1928-), John J. Shea (1969-), , Michael A. Crawford (1938-), Paul Kurtz (1925-2012), Sol Gordon (1923-2008), Albert Ellis (1913-2007), Barbara Marie Tabler (1915-1996), Renate Vambery (1916-2005), Archie J. Bahm (1907-1996), Aron S “Gil” Martin ( 1910-1997), Matthew I. Spetter (1921-2012), H. J. Eysenck (1916-1997), Robert L. Erdmann (1929-2006), Mary Morain (1911-1999), Lloyd Morain (1917-2010),  Warren Allen Smith (1921-), Bette Chambers (1930-),  Gordon Stein (1941-1996) , Milton Friedman (1912-2006), John Hospers (1918-2011), Michael Martin (1932-).Harry Kroto (1939-), Marty E. Martin (1928-), Richard Rubenstein (1924-), James Terry McCollum (1936-), Edward O. WIlson (1929-), Lewis Wolpert (1929), Gerald Holton (1922-),  and  Ray T. Cragun (1976-).

17:04  Quote from interview with Alan Macfarlane of Dr. Simon Schaffer: 

Being Jewish, there is the sense of observing things from the side; of being absolutely assimilated without being a member; of thinking from a slightly different perspective and noticing a little more quickly what is being taken for granted; a culture that can be entirely observant in religious terms without having belief; family life absolutely absorbed by the Synagogue and rituals without it ever seeming to have any theological or spiritual aspect; maintaining the culture of Judaism is maintaining the faith; there was an expectation that I was to be the incompetent but clever member of the family; literary and scientific life is seen as indispensable to the culture and the family; strange mixture of pride and resigned tolerance; not a culture that heroizes the intellectual and learning; much humor dwells on the complete uselessness of such persons; but also an acceptance that it is potentially a way up and out of the ghetto; historically Jews were limited by what they could do; could not go into the army etc.; tensions around Zionism; parents were always ambivalent even when the support for Israel by Jewish intellectuals was unquestioned; I went to Israel, to the Hebrew University, in my gap year; eye-opening both in terms of becoming better informed about what was going on in the Middle East but also permanently disillusioned about the Zionist project; Zionists wanted to break a certain stereotype of the Jew and replace it with a more physical, athletic, militant, virile image; the idea of working on a Kibbutz never appealed to me, but not for ideological reasons; many non-Jews did work there in the early seventies, but now all that has gone.

____________________________

The obvious problem with Simon Schaffer’s quote is very apparent. Jews were told by Jehovah in the Old Testament that the Messiah would come and they were to follow him. Therefore, maintaining the faith meant actually following the evidence from the Old Testament where it leads to the Messiah and then following him. 

Fulfilled Prophecy as Evidence for the Bible’s Divine Origin

  • 2,000 prophecies including some 300 prophecies and implications about the life, death, and resurrection of Jesus.
  • There are no prophetic failures.
  • While there are both obvious and subtle prophecies, most are very detailed and specific.
  • No other religion has specific, repeated, and unfailing fulfillment of predictions many years in advance of contingent events over which the predictor had no control.
  • Studies of psychics show only around 8% of their predictions come true and virtually all of these can be attributed to chance and a general knowledge of circumstances.
  • Mathematicians have calculated the odds of Jesus fulfilling only 8 of the Messianic prophecies as 1 out of 1017 (a 1 followed by 17 zeros). This is equivalent to covering the entire state of Texas with silver dollars 2 feet deep, marking one of them, mixing them all up and having a blind-folded person select the marked one at random the first time. For more on this, see What Are The Odds?
  • Fulfilled prophecy is powerful evidence that the Bible is divine rather than human in origin.
  • Objection: Jesus manipulated events to fulfill prophecy. Answer: (a) Many prophecies were out of his control (ancestry, place of birth, time of death). (b) His miracles confirmed Jesus to be the Messiah. (c) There is no evidence that Jesus was a deceiver. (d) In order to manipulate all the people (including his enemies) and even his disciples to make it appear that he was the Messiah, Jesus would have needed supernatural powers. If he had such powers, he must have been the Messiah he claimed to be.

Examples of Non-Messianic Prophecies

  • The Succession of Great World Kingdoms (Daniel 2:37-42). Even negative critics agree that Daniel foretold the governments in order of Babylon, Medo-Persia, Greece, and Rome.
  • Cyrus King of Persia (Isaiah 44:28-45:1). Since Isaiah lived between about 740 and 690 BC and Cyrus did not make his proclamation for Israel to return from exile until about 536 (Ezra 1), there would have been no human way for him to know what Cyrus would be named or what Cyrus would do.
  • Israel to Be Returned to Its Land A Second Time (Isaiah 11:11-12). The first time God reclaimed a people was from Egypt through the Exodus; the second time is from the Babylonian Exile (Isaiah 51:9-11).
  • The Closing of the Golden Gate (Ezekiel 44:2-3). The Golden Gate is the eastern gate of Jerusalem, through which Christ made his triumphal entry on Palm Sunday before the crucifixion (Matthew 21). Ezekiel predicted its closing and in 1543 Sultan Suleiman the Magnificent closed the gate and walled it up, not knowing he was fulfilling prophecy. It remains sealed to this day exactly as the Bible predicted.
  • The Destruction of Tyre (Ezekiel 26:3-14). The prophecy was partly fulfilled when Nebuchadnezzar destroyed the city and left it in ruins. Alexander the Great later attacked the seemingly impregnable Island of Tyre by taking the stones, dust, and timber from the ruined mainland city to build a causeway to the Island. This prophecy is comparable to saying that Chicago will be destroyed and never rebuilt.
  • The Doom of Edom (Petra) (Jeremiah 49:15-17). Given the virtually impregnable nature of the ancient city carved out of rock and protected by a narrow passageway, this was an incredible prediction. Yet, in 636 AD it was conquered by Muslims and today stands deserted but for tourists.
  • Flourishing of the Desert in Palestine (Ezekiel 36:33-35). Since before the turn of the twentieth century, Israel has been renovated and Israel’s agriculture is flourishing.
  • Destruction of Jerusalem (Mark 13:1-2). Fulfilled literally when the Romans completely destroyed Jerusalem and the temple buildings. According to historian and eyewitness Josephus, some of the stones were 37 feet long, 12 feet high and 18 feet wide. Stones were even pried apart to collect the gold leaf that melted from the roof when the temple was set on fire.

Examples of Messianic Prophecies

Topic Old Testament New Testament
Messiah to be the seed of the Woman Genesis 3:15 Luke 2:5-7
Galatians 4:4
Messiah to be the seed of Abraham Genesis 12:2-3, 18:18 Matthew 1:1-2
Luke 3:34
Acts 3:25
Galatians 3:16
Messiah to be of the tribe of Judah Genesis 49:10 Matthew 1:1-2
Messiah to be of the seed of David 2 Samuel 7:16
Psalm 132:11
Jeremiah 23:5, 33:15		 Matthew 1:6, 22:42-45
Luke 1:31-33
Acts 2:29-30
Romans 1:3
Messiah to be born of a virgin Isaiah 7:14 Matthew 1:18-25
Luke 1:26-38
Messiah to be born in Bethlehem Micah 5:2 Matthew 2:1-6
Luke 2:4-6
Tribute paid to Messiah by great kings Psalm 72:10-11 Matthew 2:1-11
Messiah to be heralded by a messenger Isaiah 40:3
Malachi 3:1		 Matthew 3:1-3
Messiah to be the Son of God Psalm 2:2,7 Matthew 3:17
Luke 1:32-33
Messiah to be anointed by the Holy Spirit Isaiah 11:2 Matthew 3:16-17
Galilee to be the first area of Messiah’s ministry Isaiah 9:1-7 Matthew 4:12-16
Messiah to be meek and mild Isaiah 40:11, 42:2-3, 53:7 Matthew 12:18-20, 26:62-68
Messiah to minister to the Gentiles Isaiah 42:1, 49:6-8 Matthew 12:21
Luke 2:28-32
Messiah will perform miracles Isaiah 35:5-6 Matthew 9:35, 11:3-6
John 9:6-7
Messiah to be a prophet like Moses Deuteronomy 18:15-19 Matthew 21:11, 24:1-35
John 1:45, 6:14
Acts 3:20-23
Messiah to enter the temple with authority Malachi 3:1-2 Matthew 21:12
Messiah will enter Jerusalem on a donkey Zechariah 9:9-10 Matthew 21:1-11
Messiah to be betrayed by a friend Psalm 41:9 John 13:18-21
Messiah to be forsaken by his disciples Zechariah 13:7 Matthew 26:31, 56
Messiah will be smitten Isaiah 50:6 Matthew 26:67, 27:26,30
Messiah to experience crucifixion (long before crucifixion was invented) Psalm 22:15-17 Matthew 27:34-50
John 19:28-30
Messiah will be pierced Zechariah 12:10 John 19:34-37
Details of Messiah’s suffering and death and resulting salvation (hundreds of years before Christ!) Psalm 69:21
Isaiah 53:2-12,		 Matthew 26-27
Mark 15-16
Luke 22-23
John 18-19
Messiah to die in 33 AD Daniel 9:24-26 33 AD is the widely accepted historical date of the crucifixion
Casting of lots for His garments Psalm 22:18 John 19:23-24
Messiah to be raised from the dead Psalm 16:10 Acts 2:25-31, 13:32-37, 17:2-3
Messiah’s resurrection Job 19:25
Psalm 16:10		 Acts 2:30-31, 13:32-35, 17:2-3
1 Corinthians 15:20-22
Messiah to ascend to heaven Psalm 68:18 Luke 24:51
Acts 1:9
Ephesians 4:8-13
Messiah to be at the right hand of God Psalm 110:1 Matthew 26:64
Mark 14:62
Romans 8:34
Hebrews 1:3
Messiah, the stone which the builders rejected, to become the head cornerstone Psalm 118:22-23
Isaiah 8:14-15, 28:16		 Matthew 21:42-43
Acts 4:11
Romans 9:32-33
Ephesians 2:20
1 Peter 2:6-8

___________

Interview of Simon Schaffer – part 2B

Interview of Simon Schaffer – part 3a

Interview of Simon Schaffer – part 3b

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_________________

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Paul McCartney’s song “Picasso’s Last Words (Drink to Me)”

July 28, 2015 – 1:07 am

____________________

 – Picasso’s Last Words (Drink To Me) – Lyrics

Picasso’s Last Words (Drink to Me)

From Wikipedia, the free encyclopedia
“Picasso’s Last Words (Drink to Me)”
Song by Paul McCartney & Wings from the album Band on the Run
Released 7 December 1973
Recorded September–October 1973
Lagos, Nigeria
Genre Rock
Length 5:50
Label Apple
Writer Paul and Linda McCartney
Producer Paul McCartney and Geoff Emerick
Band on the Run track listing

“Picasso’s Last Words (Drink to Me)” is a song from Paul McCartney & Wings‘ album Band on the Run. It was not released as a single. Wings band member Denny Laine covered “Picasso’s Last Words (Drink to Me)” in 2007 on his album Performs the Hits of Wings.[1] An abbreviated performance of the song appears on the live album Wings over America.

Writing[edit]

In an interview on British TV channel ITV1 for the program Wings: Band on the Run, to promote the November 2010 2xCD/2xDVD rerelease of the original album, McCartney says he was on vacation inMontego Bay, Jamaica where he “snuck” onto the set of the film Papillon where he met “Dustin Hoffman and Steve McQueen“. After a dinner with Hoffman, with McCartney playing around on guitar, Hoffman did not believe that McCartney could write a song “about anything”, so Hoffman pulled out a magazine where they saw the story of the death of Pablo Picasso and his famous last words, “Drink to me, drink to my health. You know I can’t drink anymore.” McCartney created a demo of the song and lyrics on the spot, prompting Hoffman to exclaim to his wife: “…look, he’s doing it…he’s doing it!”[2]

Recording[edit]

While recording Band on the Run in Lagos, Nigeria, Wings were invited to former Cream drummer Ginger Baker‘s ARC Studios in the nearby suburb of Ikeja. While Baker insisted to McCartney that they should record the entire album there, he was reluctant and agreed he would spend one day there. “Picasso’s Last Words” was recorded during that time and Baker contributed by playing a tin can full of gravel.[3]

Personnel[edit]

References[edit]

  1. Jump up^ “Performs the Hits of Wings”. Allmusic. Retrieved 28 December 2011.
  2. Jump up^ Presenters: Dermot O’Leary (2010-10-31). “Wings: Band on the Run”. ITV. ITV1. Missing or empty |title= (help)
  3. Jump up^ Lewisohn, Mark “Band on the Run – 25th Anniversary Edition; The Recording of Band on the Run” Parlophone (4 99176 2).

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CHEAP TRICK

July 28, 2015 – 12:44 am

Cheap Trick – The Flame

Cheap Trick – If You Want My Love

I Want You To Want Me – Cheap Trick – Houston 1989

Cheap Trick

From Wikipedia, the free encyclopedia
Cheap Trick
Cheap-trick.jpg

L–R: Rick Nielsen, Bun E. Carlos and Robin Zander (2009)
Background information
Origin Rockford, Illinois, United States
Genres Rock, hard rock, power pop
Years active 1974–present
Labels Epic, Warner Bros., Red Ant, Big3
Associated acts Fuse, Tinted Windows
Website www.cheaptrick.com
Members Rick Nielsen
Tom Petersson
Robin Zander
Bun E. Carlos
Daxx Nielsen
Past members Randy Hogan
Pete Comita
Jon Brant

Cheap Trick is an American rock band from Rockford, Illinois, formed in 1973. As of 2010, the band currently consists of Robin Zander (vocals, rhythm guitar), Rick Nielsen (lead guitar), Tom Petersson (bass guitar) and Daxx Nielsen (drums). Their biggest hits include “Surrender“, “I Want You to Want Me“, “Dream Police” and “The Flame“.

They have often been referred to in the Japanese press as the “American Beatles“.[1] In October 2007, the Illinois Senate passed a resolution designating April 1 as Cheap Trick Day in the state.[2]The band was also ranked No. 25 in VH1‘s list of the 100 Greatest Artists of Hard Rock.[3]

History[edit]

Early years (1961–74)[edit]

In 1961, Nielsen began playing locally in Rockford, Illinois using an ever-increasing collection of rare and valuable guitars. He formed several local bands with names like The Boyz and The Grim Reapers. Brad Carlson, later known as Bun E. Carlos, played in a rival Rockford band, the Pagans. Finally, Nielsen formed Fuse in 1967 with Tom Peterson, later known as Tom Petersson, who had played in yet another local band called The Bo Weevils.[4]

Fuse released a self-titled album for Epic Records in 1970, which was generally ignored. Frustrated by their lack of success, Fuse recruited the two remaining members of Nazz in 1970 and ended up playing around the Midwest for 6–7 months under two monikers, Fuse or Nazz, depending on where they were gigging. With Bun E. Carlos joining on drums, Fuse moved to Philadelphia in 1971. They began calling themselves “Sick Man of Europe” in 1972–1973.[4] After a European tour in 1973, Nielsen and Petersson returned to Rockford and reunited with Carlos.[5][6]

Randy “Xeno” Hogan was the original lead singer for Cheap Trick. He left the band shortly after its formation and was replaced by Robin Zander.[4] The name was inspired by the band’s attendance of a Slade concert, where Petersson commented that the band used “every cheap trick in the book” as part of their act.[7] The band recorded (with Hogan), an official demo, “Hot Tomato”, around mid 1974, parts of which would form “I’ll Be with You Tonight“, which was first called “Tonight, Tonight” (and a slightly different structure), and “Takin’ Me Back“.

Classic years (1975–78)[edit]

Nielsen and Petersson performing in 1977

With Robin Zander now on vocals, the band recorded their first official demo in 1975 and played in warehouses, bowling alleys, and various other venues around the midwestern United States. The band was signed to Epic Records in early 1976[8] by A&R man Tom Werman, at the insistence of producer Jack Douglas who had seen the band perform in Wisconsin. The songs they had written and performed would be released later on; such as “I Want You To Want Me” which was first performed on April 17, 1975, in Milwaukee. The later-hit song was played that summer, and frequently throughout the spring and summer of 1976 throughout the aforementioned Midwest locations.

The band released their first album, Cheap Trick, in early 1977, produced by Jack Douglas. While favored by critics, the album was not successful in terms of sales.[4] The album’s lone single “Oh Candy” failed to chart. However, the band began to develop a fan base in Japan and “ELO Kiddies” was a hit single in Europe. Their second album In Color was released later that year and was produced by Tom Werman, who brought out their lighter and more pop-oriented side, producing an album much more polished than their first. However, the band bemoaned In Color’s production and would re-record it many years later. Moreover the album was largely unsuccessful. The singles “Southern Girls”, “I Want You To Want Me”, and “So Good To See You”, failed to chart. However, “I Want You To Want Me” and “Clock Strikes Ten” were hit singles in Japan, with the latter going to No. 1 on the charts. In Color ultimately was ranked No. 443 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

The band’s third album, Heaven Tonight, released in May 1978 and again produced by Tom Werman, combined elements of the first two albums. Regarded by many fans and critics as their best album, the lead-off track “Surrender” was Cheap Trick’s first single to chart in the United States, peaking at No. 62. It has gone on to become one of the band’s signature songs. Heaven Tonight is also noteworthy as the first album recorded with a 12-string electric bass.[9] Perhaps most importantly, this album made the band megastars in Japan.

Budokan brings success (1978–81)[edit]

None of Cheap Trick’s first three albums made it into the Top 40 in the United States.[4] In Japan, however, all three albums became gold records. When Cheap Trick went to Japan to tour the country for the first time in April 1978, they were received with a frenzy reminiscent of Beatlemania.[10] During this tour, Cheap Trick recorded two concerts attended by their loyal Japanese fans at the Nippon Budokan. Ten tracks taken from both shows were compiled and released as a live album titled Cheap Trick at Budokan, which was intended to be exclusive to Japan.[11] Demand for the import album became so great that Epic Records finally released the album in the United States in February 1979.

Cheap Trick performing in 1978 inCharlotte, North Carolina, at the Park Center

Cheap Trick at Budokan launched the band into international stardom, and the album went triple platinum in the United States.[10][12] The smash track was the live version of “I Want You to Want Me”, which had originally been released on In Color. It reached No. 7 on the Billboard Hot 100, and became Cheap Trick’s biggest-selling single. The second single, “Ain’t That A Shame“, peaked at No. 35. “Need Your Love” had already been recorded for the forthcoming Dream Police album that had already been finished, but after the unprecedented success of At Budokan, Epic postponed the album’s release. Dream Police was released later in 1979 and was their third album in a row produced by Tom Werman. The title track of the album was a hit single, as was “Voices“. Dream Police also found the band taking its style in a more experimental direction by incorporating strings and dabbling in heavy metal on tracks like “Gonna Raise Hell”.

A four track EP entitled Found All The Parts was released in mid 1980 and consisted of previously unreleased material. One side of the record contained live recordings and the other side had studio recordings. The live tracks were a faux live cover of The Beatles‘ “Day Tripper“, and “Can’t Hold On”, a bluesy track performed at Budokan concerts in 1978. The studio tracks were “Such A Good Girl” and “Take Me I’m Yours”, which the record claims were recorded in 1976 and 1977, respectively. However, while they were older songs, they were recorded with Jack Douglas in early 1980. A total of nine tracks were recorded with Douglas, and remain obscure as they have only been issued on compilations, promotional samplers, and contest giveaways. For years, there was a false rumor that this was an album that had been rejected by Epic Records.

By 1980, when All Shook Up was released, Cheap Trick was headlining arenas. All Shook Up, produced by former Beatles producer George Martin, reached No. 24 on the charts and was certified gold, but the album’s high-class background did not save it from descriptions like “Led Zeppelin gone psycho”.[13] Many fans of the band’s earlier albums saw All Shook Up as too weird and experimental. One song from the sessions, “Everything Works if You Let It“, appeared on the soundtrack of Roadie. This, and “Stop This Game” both missed the top 40, peaking at #44 & #48, respectively. A later reissue of All Shook Up included “Everything Works” as a bonus track.

Nielsen and Carlos participated in sessions for John Lennon and Yoko Ono‘s album Double Fantasy, recording a bass-heavy and experimental version of Lennon’s “I’m Losing You“, but were never used on the subsequent release, with Lennon favoring a ‘lighter’ sound. (The Cheap Trick version can only be found on the John Lennon Anthology and on various bootlegs.) Nielsen and Carlos were also involved in recording a heavier and slower version of Yoko Ono’s “I’m Moving On”, but that has never seen any official release (only on bootlegs).

Departure of Petersson (1981–87)[edit]

On August 26, 1980, before the release of All Shook Up, Petersson left the group to record a solo album with his wife Dagmar. The five-song mini-LP titled Tom Peterson and Another Language was released in 1984. Pete Comita replaced Petersson for the All Shook Up tour, and the band recorded five songs with Comita to contribute to two movie soundtracks. “I’m the Man”, “Born to Raise Hell”, and “Ohm Sweet Ohm”, which were produced by Jack Douglas, went to the film Rock & Rule. An accompanying soundtrack album for the film was never released and the songs weren’t released until 1996 (on the Sex, America, Cheap Trick box set). “Reach Out” and “I Must Be Dreamin'” went to the film Heavy Metal and were produced by Roy Thomas Baker. “Reach Out” was written by Comita and Bob James. Comita left the band after completing the 1980–81 World Tour that promoted the All Shook Up album as well as the demo sessions for the band’s forthcoming album. He would later claim that he co-wrote songs that appeared on the band’s next two albums and was not credited. Jon Brant became Petersson’s steady replacement. In July 1981, CBS Inc. sued Cheap Trick and their manager Ken Adamany for $10 million, alleging they were attempting to coerce CBS into re-negotiating their contract and had refused to record any new material for the label since October 1980. The lawsuit was settled in early 1982 and work commenced on the next album—One on One, produced by Roy Thomas Baker. The band changed direction again, this time opting for an album full of brash, shout-along hard rock songs. The album spawned two minor hits with the power ballad “If You Want My Love” and the innuendo-laced rocker “She’s Tight“. The music videos for both songs received heavy rotation on MTV.

The following year, Cheap Trick released Next Position Please with Todd Rundgren as producer. Rundgren downplayed the band’s brash side and returned them to a more clean, pop-oriented sound similar to that of In Color. The album never found much of an audience and Cheap Trick’s commercial fortunes were in decline. The first single was a cover of The Motors‘ “Dancing the Night Away“. Epic Records, desperate for a hit from the band, forced the group to record the track, which had been a hit single in Europe. Rundgren refused to produce the song, and it was instead produced by One On One engineer Ian Taylor. It failed to chart, as did the second single and fan favorite “I Can’t Take It“. The Ian-Taylor-produced “Spring Break”, which was a contribution to the soundtrack of the 1983 comedy film of the same name, was also issued as a single, which also failed to chart. In 1984, the band recorded the title track “Up the Creek” to the Tim Matheson comedyUp The Creek, which Nielsen later called “one of the worst” songs he’d ever written.[14] The track reached No. 36 on Billboard’s Top Tracks but was off the chart after two weeks.

In 1985 they were reunited with Jack Douglas, who had produced their debut album, to record Standing on the Edge. The band originally intended to return to their rough-sounding roots on the album, but Douglas backed out of the mixing process due to the legal issues he was having with Yoko Ono at the time.[citation needed] It was instead mixed by Tony Platt, who added more elements of typical 1980s production. This album was called their “best collection of bubblegum bazooka rock in years”.[15] The album also featured Mark Radice on keyboards, and he was also enlisted to assist in the songwriting process. The album’s first single, “Tonight It’s You“, reached No. 8 on the Billboard’s Top Rock Tracks chart and the video received heavy rotation on MTV. The following singles “Little Sister” and “How About You” were released as promotional singles only. During this time, Steve Walsh, between gigs as keyboardist/lead singer of the bands Streets and Kansas, toured with the band as a keyboard player and background vocalist.

Cheap Trick also participated in a USO project organized by Kansas drummer Phil Ehart, touring as part of the First Airborne Rock n Roll Division, the band joined other rock bands at land and water military installations to entertain those serving in the United States Armed Forces.

In 1986, the band recorded “Mighty Wings“, the end-title cut for the film Top Gun, released June 1986. They then released The Doctor in the fall, produced by Tony Platt. Some of the songs contained elements of funk, and the band utilized female back-up vocalists for the first time. However, synthesizers and computer-programmed sound effects drowned out most of the prominent instruments, most noticeably the guitar. The album’s lone single, “It’s Only Love” failed to chart, but many blame the album’s poor success on the record label’s lack of promotion. The music video for “It’s Only Love” made history as the first music video to prominently use American Sign Language.[16] The Doctor turned out to be the final album with Jon Brant as bassist. Brant parted on good terms with the band, and has performed with the band a number of times since as a special guest or filling in for Petersson.

Lap of Luxury (1987–97)[edit]

Petersson rejoined the group in 1987 and helped record 1988’s Lap of Luxury, produced by Richie Zito. Due to the band’s commercial decline, Epic Records forced the band to collaborate with professional songwriters. “The Flame“, a typical ’80s “factory ballad”, was issued as the first single and became the band’s first-ever No. 1 single. The second single, a cover of Elvis Presley‘s “Don’t Be Cruel” also reached the top 5. Three other singles from the album were “Ghost Town“, “Never Had a Lot to Lose“, and “Let Go“. Each one charted successfully, and Lap of Luxury went platinum and became recognized as the band’s comeback album.

Busted was released in 1990 and was also produced by Richie Zito, as the band attempted to capitalize on the success of Lap of Luxury. This time, however, the band was allowed more creative control and professional songwriters were only used on a handful of songs. The first single “Can’t Stop Falling Into Love” reached No. 12 on the charts but failed to reach as high as the label expected. The second single, the Diane Warren penned “Wherever Would I Be“, suffered a worse fate reaching only No. 50. The following singles, “If You Need Me” and “Back N’ Blue” were not successful, although the later single reached No. 32 on the US Mainstream Rock charts.

In 1991, Cheap Trick’s Greatest Hits was released. It included twelve (twenty-eight on Japan pressing) of the band’s most successful or popular singles and one new track, a cover of The Beatles‘ song “Magical Mystery Tour“, which was an outtake from the Lap Of Luxury sessions.

In 1993, Budokan II was released. It featured the tracks that had been omitted from the original live album, plus three more tracks from their follow-up tour in 1979. The release was not authorized by the band, and it is now out of print. That same year, Robin Zander released his eponymous debut solo record on Interscope, produced by Jimmy Iovine. Guitarist Mike Campbell, best known for his work with Tom Petty and the Heartbreakers, collaborated with Zander on most of the album’s tracks. The album was largely unsuccessful but the single “I’ve Always Got You” reached No. 13 on the US Mainstream Rock chart and No. 64 in Canada.

The group left Epic after the disappointing sales of Busted to sign with Warner Bros. Records. In 1994 the band released Woke Up With A Monster, which was produced by producer Ted Templeman, best known for his work with Van Halen. The album’s title track was issued as the first single and reached No. 16 on the US Mainstream Rock charts. The album’s sales were poor, and it peaked at only No. 123. By the time the album came out, there had been a variety of significant changes in the band, both music-wise and appearance-wise. The style of music is more on the “hard rock” side, their “heaviest” album since One On One. Ted Templeman’s heavy-handed production was also the subject of much criticism. Rick Nielsen grew a goatee, and Robin Zander’s voice grew noticeably deeper. The band also contributed a cover of John Lennon’s song “Cold Turkey” on the Working Class Hero: A Tribute to John Lennon album.

The band quickly parted ways with Warner Bros. and decided it was time to go back to basics. They concentrated on the strength of their live shows, which were near-legendary, and they decided to release new recordings to independent labels instead of major companies. Over the next few years, Cheap Trick toured with several bands they had influenced, such as Stone Temple Pilots and Pearl Jam. At the end of 1995, the band independently released Gift, a two track Christmas CD that benefited Chicago-area charities. They spent the next year recording demos with Tom Werman and Steve Albini. They then released the 7 inch vinyl single Baby Talk/Brontosaurus on Seattle-based indie label Sub Pop Records, which was produced by Albini. Now back on speaking terms with their former label, the band released Sex, America, Cheap Trick, a four disc box set that included dozens of rare and unreleased studio and live recordings along with some of the band’s singles and favorites, on Epic Records. The collection, however, was criticized for lacking several of the band’s most well-known and much-loved songs.

In 1997, Cheap Trick signed with indie label Red Ant Records and released Cheap Trick, produced by Ian Taylor, who the band had previously worked with in 1982 and 1983. The band attempted to re-introduce themselves to a new generation, as the album was self-titled and the artwork was similar to their first album which had been released twenty years before. Tom Werman would later claim that he had produced a track on the album and was not credited.[17] The album was critically acclaimed and hailed as a return to form. Eleven weeks after the release, Red Ant’s parent company Alliance Entertainment Corporation declared Chapter 11 bankruptcy. The single “Say Goodbye” only reached No. 119 on the charts, and the band again found themselves without a record label. Two other singles were released from the album, “Baby No More” and “Carnival Game“.

Cheap Trick Unlimited (1998–2005)[edit]

Cheap Trick began to rebuild in 1998 by trying to restore normal relations with Sony/Epic and the music retail community. They established their own record company, Cheap Trick Unlimited. They toured behind the release of At Budokan: The Complete Concert, and the remastered reissues of their first three albums. One of the multi-night stands from this tour resulted in Music for Hangovers, a vibrant live effort that featured members of The Smashing Pumpkins on two tracks.

Vocalist Robin Zander performing atGulfstream Park in 2006.

Cheap Trick Unlimited sold the CD exclusively on Amazon.com for 8 weeks prior to releasing it in stores. To support the record they toured with Guided By Voices, and also played a concert with Pearl Jam. That same year, the band spent time in the studio recording with Steve Albini, who had produced the Baby Talk/Brontosaurus single. The band began re-recording their second album, In Color, as well as a handful of other miscellaneous tracks. The recordings were not finished and have yet to be officially released, but they were leaked onto the Internet.[18] The band also revealed in an interview that a rarities album was in the works and initially planned for release in early 2000. However, it was never released.[19]

In 1999, the band recorded a reworked cover of Big Star‘s “In the Street” for use as the theme song for the television show That ’70s Show. It was released on the show’s soundtrack, That ’70s Album (Rockin’). The group also re-recorded “Surrender”, which was available exclusively at Getsigned.com.

In early 2000, Cheap Trick entered into a license with the now-defunct Musicmaker.com to directly download and create custom CDs for over 50 songs. After spending a good part of 2001 writing songs and about six weeks of pre-production, Cheap Trick went into Bearsville Studios in Woodstock, New York in March 2002, where the band put together their first studio album in six years, Special One in May 2003. At the same time, the band brought their record label to Big3 Entertainment. While the lead-off single “Scent of a Woman” was typical Cheap Trick fare, most of the album’s tracks were acoustic-based. Two following singles “My Obsession” and “Too Much” were released. The album was met with mixed reviews, with one of the larger subjects of criticism being that the last two tracks on the album were basically the same song. The band also contributed the 1999 re-recorded version of “Surrender” to the comedy film Daddy Day Care and made a cameo in the film. They toured with Cake on the Unlimited Sunshine Tour that same year. In Japan, the band’s entire catalog released between 1980 and 1990 was re-issued in remastered form.

In late 2003, Bun E. Carlos starred in a Target commercial with Torry Castellano, drummer of The Donnas.

In April 2005, Cheap Trick released the five-track Sessions@AOL EP for digital download.

Independence (2006–present)[edit]

In 2006, Cheap Trick released Rockford on Cheap Trick Unlimited/Big3 Records. The first single from the album was “Perfect Stranger” (produced by Linda Perry and co-written by Cheap Trick and Perry). The following singles “Come On, Come On, Come On” and “If It Takes a Lifetime” were released shortly after. The band promoted the album through appearances on the Sirius and XM satellite radio networks and a North American tour. That same year, “Surrender” was featured as a playable track in the hit video game Guitar Hero II, and the albums Dream Police and All Shook Up were re-issued in remastered form with bonus tracks. One On One and Next Position Please (The Authorized Version) were released as digital downloads. The band also appeared in a McDonald’s advertising campaign called “This Is Your Wake-Up Call” featuring the band.[20]

Guitarist Rick Nielsen performing atGulfstream Park in 2006.

In 2007, officials of Rockford, Illinois honored Cheap Trick by reproducing the Rockford album cover art on that year’s “city sticker” (vehicle registration). On June 19, 2007, the Illinois Senate passed Senate Resolution 255, which designated April 1 of every year as Cheap Trick Day in the State of Illinois.[21] In August of that year, Cheap Trick honored the 40th anniversary of Sgt. Pepper’s Lonely Hearts Club Band by playing the album in its entirety with the Hollywood Bowl Orchestra, conducted by Edwin Outwater, along with guest vocalists including Joan Osborne and Aimee Mann.[22] Geoff Emerick, who engineered all the sound effects on Sgt. Pepper, engineered the same sounds for the two live concerts. The Chicago chapter of the National Academy of Recording Arts & Sciences honored Cheap Trick at the 2007 Recording Academy Honors event in Chicago on October 11, 2007. Nielsen and Carlos were on hand to receive the award, which was presented to them by Steve Albini.

In 2008, Cheap Trick were selected to be featured in the John Varvatos Spring/Summer 2008 clothing ad campaign. The black and white commercial put the group on a boardwalk with bicycles, the filming backdrop was a beach for a very modern look for the band. “California Man“, a song written by Roy Wood and covered by the band on Heaven Tonight was used in the advertising promotion. On April 24, Cheap Trick played live at the Budokan for the 30th anniversary of the 1978 album Live at Budokan.[23] On July 5, at their concert in Milwaukee, Rick Nielsen announced to the crowd that the show was being recorded for a future CD and/or DVD release. On November 11, the band released At Budokan: 30th Anniversary Collectors Edition, a box set that featured 3 CDs of the band’s two concerts at Budokan recorded on April 28 and 30, 1978. A bonus DVD contained concert footage that originally aired on Japanese television, plus bonus features including footage from their return to Budokan for the original album’s 30th anniversary.

Also in 2008, the song “Dream Police” was featured as a playable track in the hit video game Guitar Hero: Aerosmith. Rock Band 2 also featured the unreleased 1998 re-recorded version of “Hello There” as a playable track and it was also used for the game’s opening sequence.

In an October 2008 interview, Rick Nielsen revealed that several Cheap Trick releases were in store for the future, including a new album produced by Julian Raymond and Howard Willing, and the re-recorded version of In Color.[24]

In 2009, the band released The Latest. It was also available in both vinyl and 8-track tape versions on the band’s website.[25] The group also performed the theme song for the film Transformers: Revenge of the Fallen. The group released Sgt. Pepper Live, their interpretation of the classic Sgt. Pepper’s Lonely Hearts Club Band on August 25, 2009. This was released as both a compact disc and a DVD. 2009 also saw Bun E. Carlos launch a separate project including members ofSmashing Pumpkins, Fountains of Wayne, and Hanson: Tinted Windows, a power pop quartet whose debut album quickly earned critical praise and repeat airplay on leading syndicated FM radio programs. The band headlined a homecoming show at the Allstate Arena in Rosemont, IL on Thursday, December 10, 2009 as the main act at the 104.3 WJMK-FM holiday show, Jack’s Cheap Christmas.

In 2010, Cheap Trick’s “Dream Police”, re-recorded as “Green Police”, appeared as the music bed in an Audi commercial that first aired during the Super Bowl. The Audi commercial depicts a man enjoying his Audi TDI, which is apparently painlessly compliant with environmental regulations.

On March 19, 2010 it was announced that Bun E. Carlos was not currently the touring drummer for the band but remains a band member. [26] He was replaced by Nielsen’s son Daxx.[27]

On April 6, 2010 Sony Music began to reissue Cheap Trick’s albums that have been out of print via reissue specialist labels Friday Music and Wounded Bird Records. One On One and Next Position Please were released first and have been combined to fit on to one CD. Standing On The Edge and The Doctor were released separately and Busted was combined with the Found All The Parts EP.

In November 2010, the band played a set of shows in the UK, each with an individual setlist and their album The Latest was given away as a free disc with the UK magazine, Classic Rock. On July 17, 2011 at The Bluesfest in Ottawa, 20 minutes into Cheap Trick’s set, a thunderstorm blew through the festival area. The band and crew were on the stage when without warning the 40-ton roof fell. It fell away from the audience and landed on the band’s truck which was parked alongside the back of the stage, breaking the fall and allowing everyone about 30 seconds to escape.[28]

In 2012, Cheap Trick opened for Aerosmith on the Global Warming Tour. The tour began in Minneapolis, Minnesota on June 16 and ended in Nashville, Tennessee on December 13, 2012.

In 2013, Carlos filed a lawsuit against his former bandmates, claiming that even though they claim that he is still a band member, he is not being allowed to participate in band-related activities, including recording a new album. The remaining three members of Cheap Trick filed a countersuit, seeking an official affirmation of their removal of Carlos. Their lawsuit was thrown out by a Delaware judge in late 2013.[29]

In 2014, Cheap Trick went on tour as special guests with rock group Boston behind Boston’s new album, Life, Love & Hope.

As of 2015, the band is touring with Peter Frampton in the United States.

On February 26, 2015, Robin Zander announced that the lawsuit was over. “We’ve settled our differences,” Zander continued. “Bun E.’s a member of the band, but he’s not touring and he’s not recording. … We’ve had our differences, but we’re all settled up now and hopefully we can forget about that era. These decisions that Cheap Trick makes, Bun E. is part of.”

Legacy[edit]

Live performances[edit]

Cheap Trick is known for their four decades of almost continuous touring. They have performed more than 5,000 times.[30]

Instruments[edit]

Cheap Trick is known for its use—and large collection—of unusual and vintage guitars and basses.

Robin Zander has played a 1950s Rickenbacker Combo 450 Mapleglo since the late 1970s, as well as a Hamer 12-string guitar, a Schecter Guitar Research Corsair Bigsby, a Gibson Firebird, and various Fender Telecaster-styled guitars.

Rick Nielsen is an avid collector who has over 400 guitars in his possession. He has collaborated with Hamer on trademark ‘themed’ guitars, some based on Cheap Trick albums such as Rockford and The Doctor, and even songs such as “Gonna Raise Hell”. Hamer has also made unique five-necked guitars and electric mandocellos for Nielsen.

Rick Nielsen and Joel Danzig of Hamer created the idea for a twelve-string bass. Tom Peterson previously had used an Alembic[31][32] and Hagstrom 8-string basses, and asked Jol Dantzig of Hamer Guitars to make a 12-string bass. The company initially made him a 10-string bass. Following the successful trial use of that bass, the prototype 12-string bass, The Hamer ‘Quad’, was produced. Petersson later used 12-string basses made by Kids (a Japanese guitar maker),Chandler, and signature models from Waterstone. His primary choice of 4-string bass is a Gibson Thunderbird, though he also owns a very impressive array of 4, 5 and 8 stringed basses from other guitar makers. He is also an endorsee ofHofner basses.

Bun E. Carlos has played with many different commercial drum accessories, including Ludwig and Slingerland Radio King drums, Zildjian cymbals, rare Billy Gladstone snare drums, and Capella drum sticks. He is also an avid collector of vintage drums.

Influence[edit]

Cheap Trick is highly respected by its peers and an influence on its descendants. The band was one of Joey Ramone’s all-time favorites and has received acknowledgment from such peers as Gene Simmons (Rick Nielsen appeared on Simmons’ 1978 solo album), Joe Perry[citation needed], and Angus Young[citation needed]. In 1979, Robin Zander was informally approached to join British glam rockers Sweet after the departure of singer Brian Connolly. In the 1980s, Cheap Trick garnered support from the hard rock community when bands like Mötley Crüe, Ratt and Guns N’ Roses cited their influence. An interesting shift happened during the early to mid-90s that helped fortify the band’s credibility – the band was now being seen as influential within the blossoming alternative rock scene. Kurt Cobain mentioned the band as an influence, while Smashing Pumpkins showed their admiration by having Cheap Trick open shows for them. Even earlier, industrial post-punk bandBig Black released a version of Cheap Trick’s “He’s A Whore” as a single in 1986.

According to Poison guitarist C.C. Deville the main riff to “Talk Dirty to Me”, is taken from Cheap Trick’s “She’s Tight”, while his solo for the song is taken from “California Man”.

Smashing Pumpkins leader Billy Corgan has made a number of onstage guest appearances with Cheap Trick over the years. The thrash metal band Anthrax has covered two Cheap Trick songs, “Big Eyes” and “Auf Wiedersehen”. Other bands that have mentioned Cheap Trick as an inspiration and influence include Gin Blossoms, Urge Overkill, Pearl Jam, Weezer, Stone Temple Pilots, The Squids, Webb Wilder, Jason & the Scorchers, Everclear, Extreme, Enuff Z’nuff, Green Day,American Hi-Fi, Foo Fighters, Soundgarden, Fountains of Wayne, Red Hot Chili Peppers, the Rival Mob, OK Go, Terrorvision, Sugar High, Kings of Leon, Hüsker Dü, Slipknot, Jet, Tinted Windows, Surf Punks and The Wildhearts. Alice Cooper, on his “Nights with Alice Cooper” radio show once called Cheap Trick “America’s House Band”, citing their following among a wide range of musical genres. Even R&B/Soul artist Reggie Sears has mentioned Cheap Trick to be a big influence.

In the movie This is Spinal Tap, the fictional, down on its luck band Spinal Tap finds renewed success in a sold-out tour of Japan, an homage to Cheap Trick’s rise to international success after its tour of that country.[citation needed]

Singer-songwriter and guitarist Buzz Osborne of the Melvins, a seminal alternative music group, stated in 2011 that he’s been a Cheap Trick fan and influenced by their work.[33]

The lyric “Got my Kiss records out” in the Cheap Trick song “Surrender”, is rewritten as a tribute to Cheap Trick in The Squids song “Weeeee!! A KISS Concert!!” (2008) as “Got my Cheap Trick records out”.

Members[edit]

Current members
Former members
  • Randy Hogan – lead vocals (1974)
  • Pete Comita – bass, backing vocals (1980–1981)
  • Jon Brant – bass, backing vocals (1981–1987, 2004–2005, 2007; one-off 1999)
Touring musicians
  • Magic Cristian – keyboards, backing vocals (1982–1986, 2008–2011, 2013; one-off 2002, 2012, 2014)
  • Steve Walsh – keyboards, backing vocals (1985)
  • Tod Howarth – keyboards, backing vocals (1986–1987, 1990–1996, 2000, 2008; guest 1999)
  • Daxx Nielsen – drums, backing vocals (2001, 2010–present)

Timeline[edit]

Discography[edit]

Main article: Cheap Trick discography

Studio albums[edit]

References[edit]

  1. Jump up^ Journey, Cheap Trick thrill nostalgic crowd. By Maria Verso. The Arizona Republic. Published Oct. 4, 2008. Retrieved Dec. 26, 2008.
  2. Jump up^ Cheap Trick wants you to want them. By Mark Jordan.The Commercial Appeal. Published November 9, 2007.
  3. Jump up^ Artists of Hard Rock (40–21). VH1. Retrieved December 26, 2008.
  4. ^ Jump up to:a b c d e Strong, Martin C. (2000). The Great Rock Discography (5th ed.). Edinburgh: Mojo Books. pp. 170–1.ISBN 1-84195-017-3.
  5. Jump up^ “Nazz biography”. Technicolor Web of Sound.
  6. Jump up^ “Cheap Trick line-up history”. Classic Webs.
  7. Jump up^ “Music Review: Cheap Trick – The Latest – Blogcritics Music”. Blogcritics.org. Retrieved 2011-10-09.
  8. Jump up^ “Gigs 1974–79”. Ctnewseurope.co.uk. Retrieved2013-08-06.
  9. Jump up^ “Tom Werman Interview”. 12stringbass.net/. Retrieved2008-10-10.
  10. ^ Jump up to:a b “Cheap Trick biography”. Rolling Stone. Retrieved2007-11-10.
  11. Jump up^ Marsh, Dave (1979-11-29). “Cheap Trick: Dream Police”. Rolling Stone No. 305. Retrieved 2007-11-10.
  12. Jump up^ “Cheap Trick – At Budokan (album)”. SwissCharts.com. Retrieved 2007-11-10.
  13. Jump up^ Fricke, David (1981-03-19). “Cheap Trick: All Shook Up”. Rolling Stone No. 339. Retrieved 2007-11-10.
  14. Jump up^ Krewson, John. “Cheap Trick”. The A.V. Club. Retrieved 2011-07-20.
  15. Jump up^ Fricke, David (1985-10-10). “Cheap Trick: Standing on the Edge”. Rolling Stone No. 458. Retrieved 2007-11-10.
  16. Jump up^ Billboard – Google Books. Books.google.co.uk. 1986-12-06. Retrieved 2012-05-07.
  17. Jump up^ “Tom Werman blog”. Popdose.com. Retrieved2010-03-05.
  18. Jump up^ “In Color (Re-recorded version)”. Xtrmntr.com. Retrieved 2008-10-10.
  19. Jump up^ “Yahoo! Interview”. music.yahoo.com. Retrieved2008-10-11.
  20. Jump up^ “Podshow Radio”. Podshow Radio. Retrieved2014-04-17.
  21. Jump up^ “Senate Journal : State of Illinois : Ninety-Fifth General Assembly: 2007” (PDF). Ilga.gov. Retrieved 2012-09-24.
  22. Jump up^ “Performance Details|Hollywood Bowl Presented by LA Phil”. Hollywoodbowl.com. Retrieved 2011-07-20.
  23. Jump up^ Brasor, Philip. “How Cheap Trick put the Budokan on the map | The Japan Times”. Search.japantimes.co.jp. Retrieved 2014-04-17.
  24. Jump up^ “Rick Nielsen Billboard Interview”. billboard.com. Retrieved 2008-11-21.
  25. Jump up^ “CheapTrick.com”. CheapTrick.com. Retrieved2011-07-20.
  26. Jump up^ “Statement – March 19, 2010”. cheaptrick.com. Retrieved 2010-03-30.
  27. Jump up^ Braun, Georgette (September 4, 2013). “3 Cheap Trick members countersue original drummer”. Rockford Register Star. Retrieved 2014-01-18.
  28. Jump up^ Critic, Music (October 3, 2011). “Cheap Trick lobbies Congress to regulate temporary stages”. Chicago Tribune.
  29. Jump up^ “Cheap Trick Countersue Bun E. Carlos”. Rttnews.com. Retrieved 2014-04-17.
  30. Jump up^ http://www.cheaptrick.com/about-the-band
  31. Jump up^ “Cheap Trick 8-String”. Alembic Club. Retrieved2008-10-12.
  32. Jump up^ “Cheap Trick – Voices”. YouTube. Retrieved2008-10-12.
  33. Jump up^ “THE MELVINS: HE’S A BIG MOTHER”. L.A. Record. Retrieved June 9, 2014.

External links[edit]

Wikimedia Commons has media related to Cheap Trick.

__________________________

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Paul McCartney’s song “Uncle Albert/Admiral Halsey”

July 27, 2015 – 1:49 am

________

Paul McCartney Uncle Albert Rare Studio Demo

Paul McCartney; Uncle AlbertAdmiral Halsey. (RAM 1971)

Uncle Albert/Admiral Halsey

From Wikipedia, the free encyclopedia
“Uncle Albert/Admiral Halsey”
Single by Paul and Linda McCartney
from the album Ram
B-side “Too Many People“
Released 2 August 1971 (US only)
Format 7″
Recorded 6 November 1970
Genre
Length 4:49
Label Apple
Writer(s) Paul and Linda McCartney
Producer(s) Paul and Linda McCartney
Paul and Linda McCartney singles chronology
“Another Day”
(1971)		 “Uncle Albert/Admiral Halsey”
(1971)		 “The Back Seat of My Car”
(1971)
Ram track listing

“Uncle Albert/Admiral Halsey” is a song by Paul and Linda McCartney from the album Ram. Released in the United States as a single on 2 August 1971,[1] but premiering on WLS the previous week (as a “Hit Parade Bound” (HPB)),[2] it reached number one on the Billboard Hot 100 on 4 September 1971,[3][4] making it the first of a string of post-Beatles, McCartney-penned singles to top the US pop chart during the 1970s and 1980s. Billboard ranked it number 22 on its Top Pop Singles of 1971 year-end chart.[5]

Elements and interpretation[edit]

“Uncle Albert/Admiral Halsey” is composed of several unfinished song fragments that McCartney stitched together similar to the medleys from the Beatles‘ album Abbey Road.[6] The song is noted for its sound effects, including the sounds of a thunderstorm, with rain, heard between the first and second stanza, the sound of a telephone ringing, and a message machine, heard after the second stanza, and a sound of chirping sea birds and wind by the seashore. Linda’s voice is heard in the harmonies as well as the bridge section of the “Admiral Halsey” portion of the song.

McCartney said “Uncle Albert” was based on his uncle. “He’s someone I recall fondly, and when the song was coming it was like a nostalgia thing.”[7] McCartney also said, “As for Admiral Halsey, he’s one of yours, an American admiral”, referring to Fleet Admiral William “Bull” Halsey (1882–1959).[7] McCartney has described the “Uncle Albert” section of the song as an apology from his generation to the older generation, and Admiral Halsey as an authoritarian figure who ought to be ignored.[8]

Despite the disparate elements that make up the song, author Andrew Grant Jackson discerns a coherent narrative to the lyrics, related to McCartney’s emotions in the aftermath of the Beatles’ breakup.[9] In this interpretation, the song begins with McCartney apologizing to his uncle for getting nothing done, and being easily distracted and perhaps depressed in the lethargic “Uncle Albert” section.[9] Then, after some sound effects reminiscent of “Yellow Submarine,” Admiral Halsey appears to him calling him to action, although McCartney remains more interested in “tea and butter pie.” McCartney stated that he put the butter in the pie so that it would not melt at all.[9] Jackson sees a possible sinister allusion in the use of Admiral Halsey as a character in the song, since Halsey was famous for fighting the Japanese in World War II and claiming that “after the war, the Japanese language will be spoken only in hell,” and McCartney’s ex-Beatle partner John Lennon had recently married a Japanese woman, Yoko Ono.[9] The “hands across the water” section which follows could be taken as evocative of the command “All hands on deck!”, rousing McCartney to action, perhaps to compete with Lennon.[9] The song then ends with the “gypsy” section, in which McCartney resolves to get back on the road and perform his music, now that he was on his own without his former bandmates who no longer wanted to tour.[9]

Reception[edit]

Paul McCartney won the Grammy Award for Best Arrangement Accompanying Vocalists in 1971 for the song.[10][11] The single was certified Gold by the Recording Industry Association of America for sales of over one million copies.[12]

According to Allmusic critic Stewart Mason, fans of Paul McCartney’s music are divided in their opinions of this song.[13] Although some fans praise it as “one of his most playful and inventive songs” others criticize it for being “exactly the kind of cute self-indulgence that they find so annoying about his post-Beatles career.”[13] Mason himself considers it “churlish” to be annoyed by the song, given that song isn’t intended to be completely serious, and praises the “Hands across the water” section as being “lovably giddy.”[13]

On the US charts, the song set a songwriting milestone as the all-time songwriting record (at the time) for the most consecutive calendar years to write a #1 song. This gave McCartney eight consecutive years (starting with “I Want to Hold Your Hand“), leaving behind Lennon with only seven years.

Later release[edit]

“Uncle Albert/Admiral Halsey” also appears on Wings Greatest from 1978, even though Ram was not a Wings album, and again on the US version of McCartney’s 1987 compilation, All the Best!, as well as the 2001 compilation Wingspan: Hits and History.

Personnel[edit]

Song uses[edit]

Charts[edit]

Peak positions[edit]

Chart (1971) Position
Australian Kent Music Report[14] 5
Canadian RPM Top 100 Singles[15] 1
Mexican Singles Chart[16] 3
U.S. Billboard Hot 100[4] 1
West German Media Control Singles Chart[17] 30

Year-end charts[edit]

Chart (1971) Position
Canadian RPM Singles Chart[18] 14
U.S. Billboard Top Pop Singles[16] 22

Certifications[edit]

Region Certification
United States (RIAA)[19] Gold

Notes[edit]

  1. Jump up^ McGee 2003, p. 195.
  2. Jump up^ “89WLS Hit Parade”. 1971-08-02. Retrieved 2013-12-21.
  3. Jump up^ Billboard.
  4. ^ Jump up to:a b “Allmusic: Paul McCartney: Charts & Awards”. allmusic.com. Retrieved 2 May 2013.
  5. Jump up^ “Top Pop 100 Singles” Billboard December 25, 1971: TA-36
  6. Jump up^ Blaney, J. (2007). Lennon and McCartney: together alone: a critical discography of their solo work. Jawbone Press. pp. 46, 50. ISBN 978-1-906002-02-2.
  7. ^ Jump up to:a b McGee 2003, p. 196.
  8. Jump up^ Benitez, V.P. (2010). The Words and Music of Paul McCartney: The Solo Years. Praeger. pp. 30–31. ISBN 978-0-313-34969-0.
  9. ^ Jump up to:a b c d e f Jackson, A.G. (2012). Still the Greatest: The Essential Songs of The Beatles’ Solo Careers. Scarecrow Press. ISBN 978-0810882225.
  10. Jump up^ “Past Winners Search”. National Academy of Recording Arts and Sciences. Retrieved 2 May 2014.
  11. Jump up^ “1971 Grammy Awards”.
  12. Jump up^ riaa.com
  13. ^ Jump up to:a b c Mason, S. “Uncle Albert/Admiral Halsey”. Allmusic. Retrieved 2013-12-25.
  14. Jump up^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6.
  15. Jump up^ “Top Singles – Volume 16, No. 5”. RPM. 18 September 1971. Retrieved 5 May 2013.
  16. ^ Jump up to:a b Nielsen Business Media, Inc (25 December 1971). Billboard – Talent in Action 1971. Retrieved 1 May 2014.
  17. Jump up^ “Single Search: Paul and Linda McCartney – “Uncle Albert/Admiral Halsey”” (in German). Media Control. Retrieved 20 February 2013.
  18. Jump up^ “RPM 100 Top Singles of 1971”. RPM. 8 January 1972. Retrieved 11 March 2014.
  19. Jump up^ “American single certifications – Paul Mc Cartney – Uncle Albert”. Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH

References[edit]

Preceded by
“How Can You Mend a Broken Heart” by Bee Gees		 Billboard Hot 100 number-one single
4 September 1971 (one week)		 Succeeded by
“Go Away Little Girl” by Donny Osmond
Preceded by
“Sweet Hitch-Hiker” by Creedence Clearwater Revival		 Canadian “RPM” Singles Chart number-one single
18 September 1971 – 2 October 1971 (three weeks)		 Succeeded by
“Maggie May” by Rod Stewart

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MUSIC MONDAY Christian Singer’s Controversial Journey Revealed in New Documentary: ‘I Placed Homosexuality on Jesus’ Shoulders’ Oct. 2, 2014 2:23pm Billy Hallowell

June 29, 2015 – 1:00 am

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By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)

MUSIC MONDAY Cole Porter’s songs “De-Lovely” and “Let’s misbehave”

June 22, 2015 – 12:50 am

Cole Porter’s songs “De-Lovely” and “Let’s misbehave”   ‘At Long Last Love’: Let’s Misbehave/De-Lovely Uploaded on Apr 1, 2009 Burt Reynolds and Cybil Shepherd give an extraordinarily charming performance of Cole Porter’s songs in Peter Bogdanovich’s absolutely wonderful tribute to the golden age of film musicals, ‘At Long Last Love’. _____________________ De-Lovely   From Wikipedia, […]

By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)

MUSIC MONDAY Cole Porter’s song’s “My Heart Belongs to Daddy”

June 15, 2015 – 12:12 am

________ _______ Cole Porter’s song’s “My Heart Belongs to Daddy” My Heart Belongs To Daddy Uploaded on Jun 20, 2010 Mary Martin became popular on Broadway and received attention in the national media singing “My Heart Belongs to Daddy”. “Mary stopped the show with “My Heart Belongs to Daddy”. With that one song in the […]

By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)

MUSIC MONDAY Cole Porter’s song “Love for Sale”

June 8, 2015 – 1:32 am

______________ Love For Sale (De-Lovely) Love for Sale (song) From Wikipedia, the free encyclopedia Jump to: navigation, search This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2008) “Love for Sale“ Written by Cole Porter Published 1930 Form […]

By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)

MUSIC MONDAY Cole Porter’s song “Ev’ry Time We Say Goodbye”

June 1, 2015 – 12:15 am

Cole Porter’s song “Ev’ry Time We Say Goodbye” _________________ Natalie Cole – Ev’ry Time We Say Goodbye Ev’ry Time We Say Goodbye   From Wikipedia, the free encyclopedia   Jump to: navigation, search   This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be […]

By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)

MUSIC MONDAY Cole Porter’s song “So in Love”

May 25, 2015 – 12:08 am

Cole Porter’s song “So in Love” __________________ So in love – De-lovely So in Love From Wikipedia, the free encyclopedia Jump to: navigation, search For the song by Orchestral Manoeuvres in the Dark, see So in Love (OMD song). For the song by Jill Scott, see So in Love (Jill Scott song). Not to be […]

By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)

MUSIC MONDAY Cole Porter’s song “Night and Day”

May 18, 2015 – 12:01 am

____________________ Cole Porter’s song “Night and Day” Cole Porter´s Day and Night by Fred Astaire & Ginger Rogers Night and Day (song) From Wikipedia, the free encyclopedia Jump to: navigation, search This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article […]

By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)

MUSIC MONDAY John Lennon and Bob Dylan Conversation mention Johnny Cash and his song “Big River”

May 11, 2015 – 12:00 am

Johnny Cash – Big River Uploaded on Jan 16, 2008 Grand Ole Opry, 1962 _______________________________ John Lennon and Bob Dylan Conversation mention Johnny Cash and his song “Big River” _______________________ Big River (Johnny Cash song) From Wikipedia, the free encyclopedia Jump to: navigation, search This article may require cleanup to meet Wikipedia’s quality standards. No […]

By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)
By Everette Hatcher III | Comments (0)

MUSIC MONDAY The most recognized LED ZEPPELIN song of all time!!!

July 27, 2015 – 12:04 am

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Led Zeppelin – Stairway to Heaven Live (HD)

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Inductees: John “Bonzo” Bonham (drums; born May 31, 1948, died September 25, 1980), John Paul Jones (bass, keyboards; born January 3, 1946), Jimmy Page (guitar; born January 9, 1944), Robert Plant (vocals; born August 20, 1948)

Combining the visceral power and intensity of hard rock with the finesse and delicacy of British folk music, Led Zeppelin redefined rock in the Seventies and for all time. They were as influential in that decade as the Beatles were in the prior one. Their impact extends to classic and alternative rockers alike. Then and now, Led Zeppelin looms larger than life on the rock landscape as a band for the ages with an almost mystical power to evoke primal passions. The combination of Jimmy Page’s powerful, layered guitar work, Robert Plant’s keening, upper-timbre vocals, John Paul Jones’ melodic bass playing and keyboard work, and John Bonham’s thunderous drumming made for a band whose alchemy proved enchanting and irresistible. “The motto of the group is definitely, ‘Ever onward,’” Page said in 1977, perfectly summing up Led Zeppelin’s forward-thinking philosophy.

The group formed in 1968 from the ashes of the Yardbirds, for which guitarist Jimmy Page had served as lead guitarist after Eric Clapton and Jeff Beck. Page’s stint in the Yardbirds (1966-1968) followed a period of years as one of Britain’s most in-demand session guitarists. As a generally anonymous hired gun, Page performed on mid-Sixties British Invasion records by the likes of Donovan (“Hurdy Gurdy Man”), Them (“Gloria”), the Who (“I Can’t Explain”) and hundreds of others. Page assembled a “New Yardbirds” in order to fulfill contractual obligations that, once served, allowed him to move on to his blues-based dream band, Led Zeppelin.

Bassist John Paul Jones also boasted a lofty session musician’s pedigree. His resume included work for the Rolling Stones, Donovan, Jeff Beck and Dusty Springfield. Singer Robert Plant and drummer John “Bonzo” Bonham came from Birmingham, England, where they’d previously played in the Band of Joy. Page described Led Zeppelin in a press release for their first album with these words: “I can’t put a tag to our music. Every one of us has been influenced by the blues, but it’s one’s interpretation of it and how you utilize it. I wish someone would invent an expression, but the closest I can get is contemporary blues.” Integrating Delta blues and U.K. folk influences with a modern rock approach, Led Zeppelin’s symbiosis gave rise to hard rock, which flourished in the Seventies under their expert tutelage. Such classics as “Whole Lotta Love” were built around Page’s heavyweight guitar riffs, Plant’s raw, half-screamed vocals, and the rhythm section’s deep, walloping assaults – all hallmarks of a new approach to rock that combined heaviness and delicacy.

In Jimmy Page’s words, the band aimed for “a kind of construction in light and shade.” The members of Led Zeppelin were musical sponges, often traveling the world –literally traipsing about foreign lands and figuratively exploring the cultural landscape via their record collections – in search of fresh input to trigger their muse. “The very thing Zeppelin was about was that there were absolutely no limits,” explained bassist Jones. “We all had ideas, and we’d use everything we came across, whether it was folk, country music, blues, Indian, Arabic.”

The group’s use of familiar blues-rock forms spiced with exotic flavors found favor among the rock audience that emerged in the Seventies. Led Zeppelin aimed itself at the album market, eschewing the AM-radio singles orientation of the previous decade. Their self-titled first album found them elongating blues forms with extended solos and psychedelic effects, most notably on the agonized “Dazed and Confused,” and launching pithy hard-rock rave-ups like “Good Times Bad Times” and “Communication Breakdown.” Led Zeppelin II found them further tightening up and modernizing their blues-rock approach on such tracks as “Whole Lotta Love,” “Heartbreaker” and “Ramble On.” Led Zeppelin III took a more acoustic, folk-oriented approach on such numbers as Leadbelly’s “Gallows Pole” and their own “Tangerine,” yet they also rocked furiously on “Immigrant Song” and offered a lengthy electric blues, “Since I’ve Been Loving You.”

The group’s untitled fourth album (a.k.a., Led Zeppelin IV, “The Runes Album” and ZOSO), which appeared in 1971, remains an enduring rock milestone and their defining work. The album was a fully realized hybrid of the folk and hard-rock directions they’d been pursuing, particularly on “When the Levee Breaks” and “The Battle of Evermore.” “Black Dog” was a piledriving hard-rock number cut from the same cloth as “Whole Lotta Love.” Most significant of the album’s eight tracks was the fable-like “Stairway to Heaven,” an eight-minute epic that, while never released as a single, remains radio’s all-time most-requested rock song. Houses of the Holy, Led Zeppelin’s fifth album, was another larger-than-life offering, from its startling artwork to the adventuresome music within. Even more taut, dynamic and groove-oriented, it included such Zeppelin staples as “Dancing Days,” “The Song Remains the Same” and “D’yer Mak’er.” They followed this with the Physical Graffiti, a double-album assertion of group strength that included the “Trampled Underfoot,” “Sick Again,” “Ten Years Gone” and the lengthy, Eastern-flavored “Kashmir.”

Led Zeppelin’s sold-out concert tours became rituals of high-energy rock and roll theater. The Song Remains the Same, a film documentary and double-album soundtrack from 1976, attests to the group’s powerful and somewhat saturnalian appeal at the height of their popularity. The darker side of Led Zeppelin – their reputation as one of the most hedonistic and indulgent of all rock bands– is an undeniable facet of the band’s history.

In the mid-to-late Seventies, a series of tragedies befell and ultimately broke up Led Zeppelin. A 1975 car crash on a Greek island nearly cost Plant his leg and sidelined him (and the band) for two years. In 1977, Plant’s six-year-old son Karac died of a viral infection. The group inevitably lost momentum, as three years passed between the release of the underrated Presence (1976) and In Through the Out Door, their final studio album (1979). On September 25, 1980, while in the midst of rehearsals for an upcoming American tour, Led Zeppelin suffered another debilitating blow. Drummer John Bonham was found dead due to asphyxiation following excessive alcohol consumption. Feeling that he was irreplaceable, Led Zeppelin disbanded.

Robert Plant launched a solo career, Jimmy Page formed The Firm with former Bad Company singer Paul Rodgers, and John Paul Jones returned to producing, arranging and scoring music. There were brief reunions at Live Aid and for Atlantic Records’ 40th anniversary celebration. Something of the old power was rekindled in 1994-1995, when Page and Plant reunited to record an album (No Quarter) and tour with a large and diverse ensemble of musicians.

On December 10, 2007, the surviving members of Led Zeppelin reunited for a tribute concert in memory of the late founder of Atlantic Records, Ahmet Ertegun. With Jason Bonham, the son of John Bonham, on drums, the group performed at the O2 Arena in London. They played 16 songs, opening with “Good Times, Bad Times” and closing their set with “Kashmir.” The show was filmed and was finally released to theaters in October 2012. A commercial DVD and CD were released in November 2012. Even though the band members talked about possibly playing more shows, the London concert was the band’s final appearance.

Meanwhile, the Led Zeppelin legend endures and grows long after their demise, much like that of the Doors and Elvis Presley. The lingering appeal of Led Zeppelin is perhaps best summed up by guitarist Page: “Passion is the word….It was a very passionate band, and that’s really what comes through.” At the dawn of the new millennium, Led Zeppelin placed second only to the Beatles in terms of record sales, having sold 84 million units. Led Zeppelin IV is the fourth best-selling album in history, having sold more than 22 million copies, and four other albums by the band – Physical Graffiti, Led Zeppelin II, Houses of the Holy and Led Zeppelin – also rank among the all-time top 100 best-sellers. Fittingly, Led Zeppelin is tied with the Beatles (five apiece) for the most albums on that esteemed list – a mark of both bands’ impact. In their ceaseless determination to move music forward, Led Zeppelin carved out an indelible place in rock history.

– See more at: http://rockhall.com/inductees/led-zeppelin/bio/#sthash.IyslytVh.dpuf

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______________ Love For Sale (De-Lovely) Love for Sale (song) From Wikipedia, the free encyclopedia Jump to: navigation, search This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2008) “Love for Sale“ Written by Cole Porter Published 1930 Form […]

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