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"Rolling Stones Performances."
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The Rolling Stones in concert, 1962/1982 : a show-by-show history
\"This day-by-day chronicle of every live concert by the Rolling Stones from 1962 through 1982. Comprehensive coverage of the shows includes set lists, venues, concert reviews, anecdotes and notable events in the lives of the band members. A list of their radio recordings, television performances, never-before-published posters, programs, tickets, handbills and photographs is included\"-- Provided by publisher.
Book
The Rolling Stones in Concert, 1962-1982
This day-by-day chronicle of every live concert by the Rolling Stones from 1962 through 1982 traces their development from a band playing small clubs around London to the global phenomenon we know today.Comprehensive coverage of the shows includes set lists, venues, concert reviews, anecdotes and notable events in the lives of the band members.
eBook
Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963–1971
AABA form was in decline in popular music in the 1960s, yet the Rolling Stones made extensive use of it at a crucial point in their career. In this article I examine the relationship between Jagger-Richards AABA songs released between 1963 and 1971 and established AABA norms. I use a corpus of 138 AABA songs (112 by other artists and 26 by Jagger-Richards) to compare the Stones’ approach to elements such as starting and ending bridge harmonies and verse melodic form with existing defaults. The analysis shows that the band’s approach to AABA in this time period bifurcates into two strategies, each associated with a tempo extreme: either (1) using the form ironically to critique wealth and privilege, or (2) employing it in a sincere way that invokes soul and gospel artists and thereby claims authenticity for the band.
Journal Article
Bond Behavior of High-Strength Steel Rebar in Ultra-High-Performance Manufactured Sand Concrete: Experiment and Modelling
Manufactured sand (MS), due to its wide availability and cost-effectiveness, is used as an alternative aggregate for quartz sand (QS) in ultra-high-performance concrete (UHPC) to prepare ultra-high-performance manufactured sand concrete (UHPMC). This study aims to assess the bond behavior of 600 MPa-grade, high-strength, hot-rolled ribbed bars (HRB 600) in UHPMC. Thirty specimens were designed for the pull-out tests, taking into account several feature parameters, including MS replacement ratio (0%, 50%, 100%), water–binder ratio (0.17, 0.19, 0.21), steel fiber content (0%, 1%, 2%), and anchorage length (2d, 3d, 4d, 5d). The effects of the feature parameters on the failure mode, bond stress–slip curves, bond strength, bond-slip mechanism, and constitutive model were analyzed and illustrated. The results reveal that the pull-out specimen of UHPMC exhibits three distinct failure modes: rebar pull-out failure, UHPMC splitting failure, and splitting-pull-out failure. The bond strength increases from 46.57 MPa to 56.92 MPa when the steel fiber content increases from 0% to 2%. Additionally, a decrease in anchoring length is beneficial for improving the bond strength; as the anchoring length increases from 2d to 5d, the bonding strength decreases by 35.84%. The bond strength increases with an increase in the MS replacement ratio. As for the water–binder ratio, the bond strength presents the highest value when the water–binder ratio is 0.17. In addition, a new bond-slip constitutive model applicable to UHPMC and HRB 600 rebar, considering the MS replacement ratio, the water–binder ratio, etc., is proposed, which presents favorable prediction accuracy.
Journal Article
Film Treatment: \Orpheus Inc\
Written between 1967 and 1968, the treatment gained support from producer Sam Spiegel who, after seeing Tonite Let's All Make Love in London at the Academy cinema in 1967, was keen to involve Whitehead in feature fi lm production. [...]it has many off- shoots: agencies for actors and singers and musicians, sound recording and fi lm and advertising companies, tele vi sion production and printing and press concerns, and particularly a musical publishing and recording venture named Young Orpheus Inc. The controller of Orpheus Incorporated, who is referred to by everyone as Mr. Orpheus, is never seen. Highly sophisticated computer research carried on by Orpheus Inc. dictates the electronic noises, the harmonics and programmed emotions which will infallibly satisfy the young audience, as well as make them pay for the rec ords to go to the top of the charts. MICK pulls MARIANNE into the control room above the Freak Out, where STELLA and others are following the spoken instructions of Mr. Orpheus and are manipulating the audience by noise.
Journal Article
Through the Lens, Darkly: Peter Whitehead and The Rolling Stones
Only Scorsese would keep a clip like this, since it is evocative of the fundamental culture of the band, capturing the Stones improvising as if they walked into a Saturday afternoon blues jam at the local pub. [...]it is the \"third- party\" spectatorship through fi lm and photography, rather than through the music itself, that has become the most emphatic voice in defi ning The Rolling Stones' cultural position. Committed philosophically to the antiwar cause, and convinced of an encroaching American \"imperialism,\" po liti cally and culturally, Whitehead drew on the immediacy of live fi lming to voice his own protest, resulting in a fi lm that was \"native\" to the setting. [...]through the employment of documentary- style techniques that cloaked his physical presence, Whitehead explored the social and po liti cal circumstances of the period essentially as a participant, successfully extracting deeper cultural meaning from events that were superfi cially branded in the press as the passing fads of \"Swinging London. [...]Whitehead remembers the long, inanimate shots of the dressing room as being \"one of the best things I've fi lmed in my life,\" where he was able to capture, through long sequences in one take, the truncated, internal vocabulary used by the group members in contrast to the verbal, public assault of the Stones' songs in live per for mance.16 \"What I liked most about this fi lm,\" Whitehead told the magazine Film and Filming in 1974, \"was the fact that when the Stones were talking they were really quite inarticulate. . [...]in March 1974, Jagger's solicitors wrote to Whitehead, \"wishing to acquire from you and/or Lorrimer Films Limited the fi lm 'Charlie is My Darling' and all other fi lm footage relating to the Rolling Stones either as a group or as individuals\" for the sum of $20,000.26 The offer was accepted by Whitehead two weeks later,27 but no money changed hands for months, leading Whitehead to plead for this matter to be settled, even in the form of a deposit, while continuing to suggest fi lm projects to Jagger and even to Oldham.
Journal Article
Hard swinging
Veteran blues singer Taj Mahal, who accompanied the Stones during their 1968 film \"The Rolling Stones Rock and Roll Circus,\" performed a fierce \"Six Days on the Road\" while thrashing his guitar.
Newspaper Article
50 years on, the Rolling Stones are still rock stars
Music Review THE ROLLING STONES At: TD Garden, Wednesday Long before the Rolling Stones arrived in Boston, videos emerged online of the band bringing out special guests at earlier tour stops. [...]yes, Charlie Watts remains the underrated statesman of the band, keeping the beat and regal in a polo shirt while his cohorts looked every inch the rock stars they are.
Newspaper Article
REVIEW; Rock legends take over 12-12-12; Younger artists add variety to the Sandy benefit, but the old folks steal the show
In the case of the concert at Madison Square Garden in New York, broadcast on dozens of cable networks, radio stations and websites, the goal was raising money for Superstorm Sandy relief, and the players were some of the monumental names of baby boomer rock and their progeny: the Rolling Stones, Paul McCartney, Billy Joel, Eric Clapton, Bruce Springsteen, the Who, Roger Waters, Chris Martin and Eddie Vedder.
Newspaper Article
POP MUSIC REVIEW; Rock of ages still rolling for Stones; Mick Jagger and Co. manage to shrug off a flurry of recent health issues and turn in a spirited, hit-laden set at Dodger Stadium
CLAP HAPPY: [Mick Jagger] keeps the rhythm while guitarist [Keith Richards], on screen, rips through a guitar riff Wednesday night.; PHOTOGRAPHER: Lawrence K. Ho Los Angeles Times; E1OLD HAND: Stones guitarist Keith Richards, 62, on stage.; PHOTOGRAPHER: Lawrence K. Ho Los Angeles Times Now that the immediacy of 2005's \"A Bigger Bang\" album has receded into the recent past, it was pretty much back to Stones business as usual. The hit-jammed set list included just two songs from \"Bang,\" its liveliest album in a generation -- the confessional ballad \"Streets of Love\" and the quintessentially Stonesy rocker \"Oh No, Not You Again.\" (As if there's a rocker in the group's repertoire that's anything other than quintessentially Stonesy?)
Newspaper Article