The Festival moved to the time of the Summer Solstice and was known as the "Glastonbury Fair". It had been planned by Andrew Kerr and Arabella Churchill who felt all other festivals at the time were over commercialised. It was paid for by the few who supported the ideal so the entrance was free and took a medieval tradition of music, dance, poetry, theatre, lights and spontaneous entertainment. It was in this year that the first "pyramid" stage was constructed out of scaffolding and expanded metal covered with plastic sheeting, built on a site above the Glastonbury-Stonehenge ley line. The musicians who performed recorded a now very rare album. The Festival is also captured "a la Woodstock" by a 1972 film crew that included Nick Roeg and was produced by David Puttnam. This film was called "Glastonbury Fayre"
Russian art student Petr Pavlensky wrapped himself in barbed wire. The confused policemen attempted to untangle and remove him from the public square — first by putting a blanket to hide the horror, then with wire cutters. The protestor was gashed and cut by the self-imposed net. ‘The action symbolises man’s existence in a repressive legal system, where any movement causes severe reaction by the Law as it bites into the body of the individual’ Via You may remember Petr from when he sewed his mouth up at the time of the Pussy Riot trial
As the court martial of Bradley Manning nears a verdict, public opinion
remains sharply divided over the consequences of his actions. The
military's restraints on media coverage may have reduced overall
interest in the trial, but that hasn't stopped dedicated citizens and
journalists from subjecting every syllable of the proceedings to a
steady flow of passionate, often partisan, scrutiny. As well they
should. The case centers on some of the most troubling issues of
contemporary politics: excessive government secrecy, war crimes, the
Arab Spring, encryption technology, and the use of solitary confinement
as torture. Manning's fate may set the precedent for how the United
States regards other leakers, like Edward Snowden, as either
whistleblowers or traitors. To sort out these complex questions,
ReasonTV invited three experts to discuss the trial. Eli Lake, the
national security correspondent for Newsweek and The Daily Beast, is at
once grateful to see cracks in wall of state secrecy, while also
acknowledging that Manning's actions have caused significant harm to
American interests. Citizen journalist Alexa O'Brien defends Manning
against the most serious charges of espionage and aiding the enemy,
arguing that a close reading of the court records shows otherwise.
Courthouse News reporter Adam Klasfeld questions the government's
decision to prosecute Manning as a spy, instead of a conscientious
objector. The three journalists were a combustible mix of
personalities. Tempers flared, and clashes of informed opinion
occasionally descended into personal invective. Lake and O'Brien locked
horns over the issue of what, if any, harm was caused by Manning's
disclosures. There were fierce disagreements about the most basic facts
about the case. Yet throughout the quarreling, the conversation remained
substantive, and it provides insight as to why this trial is among the
most important in recent times.
"As you can all quite well-imagine, the letters that get themselves printed in Gasbag (or Dogbag or Ratbag or Scumbag or whatever jiveass name we've dredged out of our collective misery that particular week) are only the tip of an iceberg.
The iceberg in this case seems to be one of a particularly threatening nature. In fact it is an iceberg that is drifting uncomfortably close to the dazzlingly lit, wonderfully appointed Titanic that is big-time, rock-pop, tax exile, jet-set show business.
Unless someone aboard is prepared to leave the party and go up on the bridge and do something about, at least a slight change of course, the whole chromium, metalflake Leviathan could go down with all hands.
Currently about the only figure who seems to have the least interest in the social progress of rock and roll is the skinny, crypto Ubermensch figure of David Bowie. Everyone else is waltzing around the grand ballroom, or playing musical chairs at the captain's table.
(WHAT IS HE TALKING ABOUT?)
I guess it's the absorption of rock and roll into the turgid masterstream of traditional establishment show biz. For Zsa Zsa Gabor read Mick Jagger, for Lew Grade read Harvey Goldsmith. Only the names have been changed, blah, blah.
If that's the way of the world then keep your head down, make like William Hickey and drink yourself to death.
(OH GOD DIDN'T HE GO THROUGH ALL THIS BACK IN JANUARY?)
That's right, he did. And short of picking up some change by doing it all over again and hoping no one will notice, it would be something of a redundant exercise.
Except that something seems to be happening that wasn't happening back in January. The aforementioned iceberg cometh. And that iceberg, dear reader is you.
Dig? I'm talkin' 'bout you.
Where once the letters that were dumped in the tray marked Gasbag contained smart-ass one liners, demands for album tokens, obscene ideas for the uses of Max Bell, or diatribes against Smith, Springsteen or Salewicz, now the tone has changed.
Stewart Tray of Manchester wouldn't go down and see the Stones if he was pulled there by Keith Richard.
Mart of Oldham doesn't want to see five middle aged millionaires poncing around to pseudo soul funk/rock.
Letter after letter repeats the same thing. You all seem to have had it with the Who, and Liz Taylor, Rod Stewart and the Queen, Jagger and Princess Margaret, paying three quid to be bent, mutilated, crushed or seated behind a pillar or a PA stack, all in the name of modern seventies style super rock.
The roar from the stage of "I shout, I scream, I kill the king, I rail at all his servants" has ben muted, mutated and diluted "I smile, I fawn, I kiss ass and get my photo took".
It was all too easy to to accept that change until you out there pulled the whole thing up short.
"We're not going to take it" wasn't coming from the stage with any conviction. Instead it was coming from the audience. Could it be that once more there's music in the cafes at night and revolution in the air?
It's hard to tell. Like it or not, NME is a part of the rock industry and, to an extent, suffers from the same isolation that is endemic to the whole business.
Certainly the massive rock gala of the last month has produced some kind of backlash. People have become tired of the godawful conditions at places like Charlton. They're sick of having their booze confiscated and being ordered to stop dancing.
Maybe they're also sick of seeing the vibrant, iconoclastic music whose changes did, at least, shake the walls of the city a little, being turned round, sold out, castrated and co-opted.
Did we ever expect to see the Rolling Stones on News at Ten just like they were at the Badminton Horse Trials or the Chelsea Flower Show?
It's not clear just how deep this resistance goes. There's no way of knowing whether the mail we've getting is simply another version of "Dear Esther Rantzen, I just found sewer rat in my Diet Pepsi".
The only thing I know for sure is the effect the whole thing had on me. I woke up guilty and angry. Has rock and roll become another mindless consumer product that plays footsie with jet set and royalty and while the kids who make up its roots and energy queue uo in the rain to watch it from two hundred yards away?
The Who, the Stones, Bowie, are, after all, my own generation. We all grew up togehter. Isaw them in small sweaty clubs, cinemas and finally giant rock festivals. At the same time as everyone else they embraced politics, mysticism, acid. Together we ran through the trends, fads, psychoses and few precious moments of clear honesty that made up the tangle of the sixties.
(ISN'T THIS GETTING A LITTLE...UH...SUBJECTIVE FOR NME? IT'S ONLY ROCK AND ROLL, AFTER ALL?)
Yeah, maybe so. There does, however, come a point when a cynical sold-out front has to drop for long enough to shout "Hold it!" Did we really come through the fantasy, fear and psychic mess of the last decade to make rock and roll safe for the Queen, Princes Margaret or Liz Taylor? Was the bold rhetoric and even the deaths and imprisonments simply to enable the heroes and idols of the period to retreat into a gaudy, vulgar jet set that differs from the Taylor/Burton menace or the Sinatra rat pack only in small variations of style.
It's not so much the lifestyle of stars that is important . They can guzzle champagne till it runs from their ears, and become facile to the point of dumbness. They will only undermine their own credibility.
The real danger lies in what seems sometimes to be a determined effort on the part of some artists, promoters and sections of the media to turn rock into a safe, establishment form of entertainment.
It's okay if some stars want to make the switch from punk to Liberace so long as they don't take rock and roll with them.
If rock becomes safe, it's all over. It's a vibrant, vital music that from its very roots has always been a burst of colour and excitement against a background of dullness, hardship or frustration. From the blues onwards, the essential core of the music has been the rough side of humanity. It's a core of rebellion, sexuality, assertion and even violence. All the things thta have always been unacceptable to a ruling establishment.
Once that vigorous, horny-handed core is extracted from rock and roll, you're left with little more than muzak. No matter how tastefully played or artfully constructed, if the soul's gone then it still, in the end comes down to muzak.
( OKAY, OKAY, WE'VE HEARD THE "MUSIC IS THE LIFE FORCE" MESSAGE PLENTY OF TIMES BEFORE. WHAT ABOUT A FEW SOLUTIONS FOR A CHANGE?)
"Well," he said, avoiding everyone's eyes, "solutions aren't quite so easy."
The one thing that isn't a solution is to look back at the sixties and reproduce something from the past. This is, in fact, one of the problems we're suffering from today. The methods of presenting the biggest of today's superstars were conceived in the sixties when the crowds were smaller and logistics a whole lot easier.
When the Stones play at Earl's Court, or Bowie at Wembley Pool, we're seeing the old Bill Graham Fillmore. The difference is that the crowd is five or ten times the size and the problems of controlling it are multiplied by the same extent.
The promoter's solution is to remove the dancing, freaking about, and general looseness of the old Fillmore days. Instead the audience is expected to sit still in their numbered, regimented seats, under the watchful ear of the security muscle.
The same situation exists when the Who play at Charlton or any other football ground. The stadium rock show is basically the open air festival penned up inside the walls of a sports arena. Again, from the promoter's point of view, it makes everything very much easier. There's no more trouble with ticket takin or the collection of money. Security is simplified, and all the problems of overnight camping are avoided. Unfortunately it's the audience that now tales all the chances. They're the ones who take the risk of being crushed,cramped, bottled, soaked, stuck behind a pillar or a PA Stack, manhandled by security, ripped off by hot dog men or generally dumped on.
It's got to the point where the only celebration at today's superstar concert is taking place on stage. The only role for the audience is that of uncomfortable observers.
There are more ways of taking the soul out of rock and roll than just changing the music.
We're six years into the nineteen seventies, and already the sixties are beginning to sound like some golden age.
(OH NO, NOT THAT AGAIN.)
Of course they weren't. If we could be miraculously transported back there, we'd probably be appalled at some of the dumbness and naivete that went down.
There were wrong moves, screw-ups, disasters and even straight forward robberies. The two things that did exist that don't seem to be prominent today were, first, a phenomenal burst of creativity that wasn't merely confined to the stage but extended into the presentation, the audience and even right through to the press and poster art.
The second thing was that from musicians to managers to promoters to audience, the whole rock scene was in the hands of one generation. It was by no means perfect, but at least the energy levels were higher, and the gap between star and fan wasn't the yawning chasm that it has become today.
From sweaty, shoestring cellar clubs through the multi media extravaganzas like the Avalon in San Francisco, the Grande Ballroom in Detroit or the Technicolour Dream and UFO in London, clear through Glastonbury Fayre and even Woodstock, it was one generation taking care of its own music.
The scene was sufficiently solid to ease out the old farts from the fifties who thought promoting rock was a matter of giving the "kids" the kind of safe product, the kind of thing that was good for them.
(AH-HA! NOW WE GET DOWN TO IT. FARREN'S TRYING TO TURN THE CLOCK BACK TO THE SIXTIES UNDERGROUND SCENE.)
No such thing. Even if I wanted to, that simply wouldn't be possible. The whole of the sixties underground , the free concerts and festivals, Oz, IT the crazed fringe bands and street theatre would be largely impossible today. They survived financially in a tiny margin of a still affluent society that doesn't exist today.
The seventies are without doubt an era of compromise. Even to get this piece into print it is necessary to use the resources of a giant corporation, and adapt ones approach accordingly.
The real question of this decade is not whether to compromise or not, but how much and in what way.
One major lesson can be learned from the sixties, however, and that is that the best, most healthy kind of rock and roll is produced by and for the same generation.
There can be no question that a lot of today's rock is isolated from the broad mass of its audience. From the superstars with champagne and coke parties all the way down to your humble servant spending more time with his friends, his writing and his cat than he does cruising the street, all are cut off.
If rock is not being currently presented in an acceptable manner, and from the letters we've been getting at NME, this would seem to be the case, it is time for the seventies generation to start producing their own ideas, and ease out the old farts who are still pushing tired ideas left over from the sixties.
The time seems to be right for original thinking and new inventive concepts, not only in the music but in the way that it is staged and promoted.
It may be difficult in the current economic climate, and it may be a question of taking rock back to street level and starting all over again.
This is the only way out, if we are not going to look forward to an endless series of Charlton and Earl's Court style gigs, and constant reruns of things from the past, be they Glenn Miller revivals or Bowie's stabs at neo-fascism.
Putting the Beatles back together isn't going to be the salvation of rock and roll. Four kids playing to their contemporaries in a dirty cellar club might.
And that, gentle reader, is where you come in."
Mona says:As someone who started living and breathing pop music and its associated 'kulchur' from about 1972 onwards (I was 12 then) and who was much more of a Slade than Bowie/Bolan fan...(it was something to do with the footstomps and growing up in Glasgow I suspect,) I just knew that something was...well terribly wrong.
Yes? Genesis? Gnidrolog? None of them really hit the mark and yeah sure by 75/76 some of us had read about Hell/TV/Patti Smith in the missives sent back from across the Atlantic by Charles ('Alive To The Jive In 75' from memory) Shaar Murray (NME) and Steve Lake (Melody Maker) but that was...well from across a fugn big ocean!
Then the article above appeared.
Yes (no pun intended) of course Farren could hardly have been unaware of the groundroots revolution that was taking place in London: Eddie and The Hot Rods, The Feelgoods, 101'ers, Pistols, London SS, Nick Kent's Subterraneans et al...but IT WAS a rallying call to all the (social) deviants who were out there in the suburbs and sticks of the UK at the time.
Mohammed Abdullah John Alder, AKA Twink, says: “We certainly had our ups and downs, and I would go so far as to say more downs than ups. However, I will be eternally grateful to Mick who introduced me to Seymour Stein and Richard Gottehreh of Sire Records with a view to him producing a ‘Twink’ album for Sire. I was the drummer with THE PRETTY THINGS at the time, and it came as quite a surprise to me that someone had faith in my abilities to do my own solo album. Thank you, Mick, old pal. R.I.P.” Tim Blake, the Crystal Machine driver from HAWKWIND, remembers Mick: “He’ll remain one of the London Revolutionaries from the ’68 explosion who kept a straight path in his thinking – and never really Deviated!.. Musically, I wasn’t close at all, but read much of his writing on my way through the past 45 years. Someone suggested a “PinkWind” memorial gig… That’d be the thing you’d get from all the Ex-Hawkwinders clammering for attention – and highly inappropriate . Mick did that kind of thing his way, putting on a gig with THE DEVIANTS , and dropping dead on-stage – Man, he’s always admired the legend of rock ‘n roll, an now he’s pulled it off! You cannot but admire him!” Via
Michael Anthony 'Mick' Farren (3 September 1943 - 27 July 2013)
Have you ever heard of a theremin? If you haven’t, you’re definitely not alone. A theremin, thanks to Wikipedia,
is an instrument patented in 1928 by a Russian inventor named Léon
Theremin that can be played without touching it. Watching someone play
it is almost like watching someone play with a marionette or conduct an
orchestra, until you hear the electronic, vaguely piano-like noise that
comes out of it in time with the player’s careful hand movements.
Really, it looks a bit like magic.
Now imagine one of those russian dolls that fit inside each other,
also known as a Matryoshka or Russian nesting dolls. Good. Now picture a
theremin inside of a Matryoshka. You’ve just pictured, or tried to
picture, a very real instrument called a Matryomin.
In China, there are ensembles that play the Matryomin in groups. One
such ensemble is called Matryomin ensemble “Da.” A video of the group’s
performance of Beethoven’s 9th appeared on NPR
today, and watching the 167 members play together simultaneously is
quite a site. In this video they play Beethoven’s 9th with their own
added “boogie,” which kicks in around the 1:30 mark.
Watch the full performance above. You can watch more Matryomin videos here. Via