By Peter Fornatale
On July 12, 1962, London's Marquee membership debuted a brand new act, a blues-inflected rock band named after a Muddy Waters track - The Rolling Stones. They have been a hard-edged band with an aptitude for the dramatic, styling themselves because the devil's solution to the sainted Beatles.A younger, green manufacturer named Andrew Loog Oldham first heard the band at a consultation he recollects with 4 phrases: 'I fell in love.' notwithstanding unexpected with such uncomplicated practices as blending a recording, he made a super determination - he pitched the band to a studio that had handed at the Beatles. Afraid to make a similar mistake two times, they signed the Stones, and commenced a history-making career.This is only one of the 50 vintage tales that make up 50 Licks. Many are never-before advised, a few are from unique interviews - together with with elusive bassist invoice Wyman - and all are illustrated and advised by means of the folks who lived them.Half a century on, the Rolling Stones are nonetheless the best band operating. And this can be the publication to commemorate their unheard of success in rock tune.
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Additional info for 50 Licks: Myths and Stories from Half a Century of the Rolling Stones
Frömmigkeit in der frühen Neuzeit: Studien zur religiösen Literatur des 17. Jahrhunderts in Deutschland und Spanien. Volkskündliche und kulturkündliche Beziehungen, Zusammenhänge äbendlandischer und ibero-amerikanischer Sakralkultur (Amsterdam: Rodopi, 1984), 5–25. Note also Dougal Shaw’s essay criticizing the facile identification of propaganda, “Nothing but Propaganda? Historians and the Study of Early Modern Ritual,” Cultural and Social History 1 (2004): 139–58. Scribner cautioned against a facile view of popular culture as inherently subversive; see his “Volksglaube und Volksfrömmigkeit.
But on festal occasions, especially, artificial sounds such as cannon fire, bells, and large-scale polychoral music would have been all but impossible to escape, and proved especially provocative in cities with substantial Protestant populations. 55 In Counter-Reformation Bavaria sound and music frequently embraced symbols of confessional controversy. Among the most potent of these was the Eucharist, whose relationship to—or identity with—the body and blood of Christ went straight to the heart of the nature of the divine service and the role of the clergy as mediators between the laity and God.
Indd 17 s p a c e , a n d c o n f e s s i o n | 17 10/28/2013 10:35:40 PM begin with the celebration of the Mass, which by the early seventeenth century was the site of ever-more-frequent and opulent polyphony in the larger parishes. 48 These sounds inflected what was increasingly a strong and programmatic visual focus on the ritual acts of the clergy—in particular, the elevation of the host and the chalice as the real, transubstantiated flesh and blood of Christ—and the central mysteries of the Catholic faith.