Thursday, December 3, 2015

Poems and Inspirations

Poems and Inspirations
Antonio G. Pereira © 2015 Antonio G. Pereira

Wed. Feb. 24th, 1979 - Denver Colorado


This morning
I woke up
with "Evergreen"
playing in my head
I'm gonna be all right now.

Sunday June 3rd, 2012 - New York City

Awakening 2

This morning woke up
As theme song from The Sandpiper, 'The Shadow of Your Smile'
was playing in my head
Deep Purple and Blue shadings
Someone's waiting
Paintbrush colours
Orange and Blue
Someone's waiting
Wonder who

Some men see things
As they are
And ask why,
I dream things that never were
And ask why not

                           Bobby Kennedy - 1968

I have a dream today....

                           Martin Luther King Jr. - 1963

My Soul spoke unto me and counselled me
to love all that others hate,
and to befriend those whom others defame

My Soul counselled me and revealed unto me
that love dignifies not alone
the one who loves, but also the beloved
Unto that day love was for me a thread of cobweb
between two flowers
close to one another
But now it has become a halo with neither
beginning nor end
Encircling all that has been, and waxing
eternally to embrace all that shall be

My Soul counselled me and taught me
to see beauty veiled by form and colour
My Soul charged me to gaze steadfastly
upon all that is deemed ugly until it appears lovely
Before my Soul had thus charged and counselled me,
I had seemed to see beauty like unto wavering torches
between pillars of smoke,
But now the smoke has dispensed and vanished
and I see naught but the burning

My Soul counselled me and besought me
to watch while others sleep
and to seek my pillow while they are wakeful,
For in all my years I had not perceived their dreams,
nor they mine.
But now I am winged by day in my daydreaming,
and when they sleep I behold them free upon the night,
and I rejoice in their Freedom

My Soul counselled me and charged me
Lest I be exalted because of overpraise
and lest I be distressed for fear of blame.
Until that day I doubted the worth of my own handiwork,
But now I have learned this:
That the trees blossom in the Spring,
and bear fruit in Summer,
and drop their leaves in Autumn
to become utterly naked in Winter
without exaltation and without fear or shame

My Soul counselled me and assured me
that I am neither higher than the Pygmy
nor lower than the Giant.
Before that day I beheld mankind as two men,
the one a weakling whom I derided or pitied,
and the other a mighty man whom I would either follow,
or oppose in Rebellion.
But now I know that I was formed even
from the same dust of which all men are created,
that my elements are their elements,
and my inner self is their inner self.
My struggle is their struggle,
and their pilgrimage is mine own.
If they transgress, I am also the transgressor,
and if they do well, then I have a share in their well-doing.
If they arise, I too arise with them,
If they stay behind, I also, to company them.

My Soul counselled me and instructed me
to see that the light which I carry
is not my light,
that my song was not created within me,
For though I travel with the light,
I am not the light,
and though I am a lute fastened with strings,
I am not the lute player

My Soul counselled me, my brother
and enlightened me.
And oftentimes has your Soul counselled
and enlightened you.
For you are like me,
and there is no difference between us
Save that I speak of what is within me
in words that I have heard in my silence,
and you guard what is within you,
and your guardianship is as goodly as my much speaking.

                                 Kahlil Gibran - My Soul Counselled Me

Friday, October 9, 2015

The Beatles: The BBC Archives 1962-1970 & The Beatles Live At The BBC: The Collection

The Beatles: The BBC Archives 1962-1970 & The Beatles Live At The BBC: The Collection
Antonio G. Pereira © 2015 Antonio G. Pereira

The Beatles: The BBC Archives 1962-1970 by Kevin Howlett
Published by Harper Design - An Imprint of Harper Collins Publishers

       Author Kevin Howlett was a producer at the BBC and knew The Beatles quite well, and his book, 'The Beatles: The BBC Archives 1962-1970' is expertly put together (and an excellent companion to his other project, 'The Beatles Live At The BBC: The Collection' - the 4 CD set, Vols. 1 & 2, of the group's performances live in the BBC studios, that make up the second half of this double review), tastefully done and a pleasure to read. Wonderfully packaged in a colourful box containing the 336 page hard cover book, full of important (as well as amusing) information and packed with rare photographs. A folder containing very rare BBC documents and a beautiful historical photographic print of The Beatles, from the BBC Files.
       What's interesting about this book is that it's very evident from the beginning, that there was a segment of the BBC listening audience, who were still steeped in England's traditional class system mindset, who had a particular dislike for The Beatles and everything they symbolized and represented; which unfortunately for those listeners meant that a drastic change to their world was coming. Nothing as they knew it, would ever be the same again. And suddenly the era of Swinging '60s London gripped Britain, and The Beatles were placed squarely in the forefront and etched into history forever; as they were joined with an entirely new culture that became part of England. This book, 'The Beatles: The BBC Archives 1962-1970', gives you a clear window into musical and sociological history in the making, that produced change in how Pop Culture itself would be perceived from then on.
       What's equally interesting here is the interview material, where we see through the years, as The Beatles' interest in recording techniques developed and changed, how they in turn began viewing their craft in a much more expansive manner; as new ideas flowed freely within the group. This is a marvelous look back.
       What's most fascinating in 'The Beatles: The BBC Archives 1962-1970', is the gradual maturation process that (inevitably) took place within the group, after the death of their manager Brian Epstein (who was irreplaceable - {to understand why, read Brian Epstein's final and remarkable 3 part interview, given to Melody Maker, in The History of Rock/1967 - Uncut Magazine Issue No. 3, Pages 100-105}). The sections on 1968 show the busy optimism through the formation and birth of Apple Records after the Retreat with the Maharishi in Rishikesh, 1969 which was when individual interests within the group began to diverge and go in different directions, and finally 1970 when the process was complete, John, Paul, George and Ringo, the individual men, moved on with their own lives. And John put it so well in his 1971 interview with Radio Host David Wigg (which also ends The Beatles Anthology DVD set, accompanied by Linda Eastman's silent footage of the final group shot of The Beatles at John's Tittenhurst home),and which ends the 1970 section and this book, 'It's just natural. It's not a great disaster. People keep talking about it as if it's the end of the Earth. It's only a Rock group that split up. It's nothing important. You have all the old records there if you want to reminisce. It's like a Rugby Team. Sometimes you have to get married and leave the boys on a Saturday night...And that's how it is'.

The Beatles Live At The BBC: The Collection
Apple Corps LTD in association with Capitol Records, LLC

       The Beatles Live At The BBC is a wonderful companion piece on CD (and also produced and with liner notes by Kevin Howlett) to The Beatles: The BBC Archives book.
       As someone who grew up during the '60s, when there was a choice of purchasing your LPs in Stereo or Mono, I think it's wonderful that although these 4 CDs Vols. 1 & 2, have been Digitally Remastered, that the Mono Sound has remained intact; so these recordings really sound good and historic (which they are) at the same time. A perfect example of a difference you could hear between Mono and Stereo sound, is the LP soundtrack which Herbie Hancock composed for the explosive '60s film 'Blow Up'; which also contained a recording of the Jeff Beck/Jimmy Page era Yardbirds. The sound difference is like night and day, with the Mono version of the LP soundtrack sounding the best and clearest. Hence these BBC recordings of The Beatles playing live in the BBC studios, sound superb in Mono. Again Keven Howlett has done a wonderful job and his expert liner notes in the accompanying booklets to the CDs enhance everything to perfection. The booklets also contain rare photographs of The Beatles in both colour and black and white. A treasure trove of memories.
       The first thing that's noticeable about Live At The BBC is that The Beatles were not only very good performers, but very good musicians as well. Without having to compete with all the constant hysterical screaming (which is not in evidence in most of these recordings) these guys really cut loose in the BBC studios. Going through a repertoire that represented all of their influences.
       Beginning with a Ray Charles number, 'I Got A Woman', John cuts loose on vocal. A bit of Buddy Holly here, a bit of Little Richard there, and some Elvis Presley to drive the point home. And George working it on guitar. Then we get Chuck Berry's 'Too Much Monkey Business', and Lennon cuts loose with perfect enunciations of Berry's lyrics verbatim; as George really cuts up on lead guitar and Ringo kicks that bass drum with a vengence. By the way, the radio interviews, interspersed between the song tracks, are delightful in their spontaneity.
       One of the Lennon/McCartney compositions that was never on one of the Beatles albums, but which they performed in the BBC studio, 'I'll Be On My Way', is absolutely beautiful (The Beatles, by the way, did wonderful versions of their own songs that they wrote for other artists. Their version of 'I'll Be On My Way' on this set, and also 'That Means A Lot', which was on Vol. 2 of The Beatles Anthology.); and reminds you of 'I'll Follow The Sun'. The live in concert cuts like "Some Other Guy' and 'Thank You Girl', were done before the screaming got out of hand. Followed by a beautiful Bacharach/David 'Baby It's You' played live by the group in the BBC studio. And the boys put in a smokin' version of The Miracles' 'You Really Got A Hold On Me'. And a very good version of Phil Spector's, 'To Know Her Is To Love Her'. And a beautiful version of 'A Taste Of Honey'. An explosive live in concert 'I Saw Her Standing There', and a lovely 'The Honeymoon Song' written by composer Mikis Theodorakis (Z) for the 1959 film 'Honeymoon'.
       On the second CD in Vol. 1 of Live At The BBC, Lennon really kicks butt on Chuck Berry's 'Sweet Little Sixteen', and George does one hell of a guitar solo. And John slithers his way sleekly and silkily through Johnny Burnett's 'Lonesome Tears In My Eyes'. And Paul tears up on Chan Romero's 'The Hippy Hippy Shake'. 'I Feel Fine' drives like a locomotive with Ringo's drumming as the engine. Then we have the Country Folk Rockish 'I'm A Loser' with John on vocals, guitar and rack harmonica. And then John does it again and tears his way through another Chuck Berry classic 'Rock and Roll Music'. And The Beatles sound like they are really having a good time. And 'Ticket To Ride' is another butt kicker with Ringo's kick drum beat, and Paul's fat sounding dramatic bass. And Ringo kicks some more butt on vocals and drums on Carl Perkins' 'Matchbox', with John soloing on guitar. 'I Got To Find My Baby', another Chuck Berry song, has John singing, blowing some mean blues harp, and George squeezing some biting guitar. 'Don't Ever Change', a song previously done by Buddy Holly's backing group The Crickets, is done with heartbreakingly beautiful grace by The Beatles. And John, Paul, George and Ringo drive some more locomotive Rock and Roll on Larry William's 'Slow Down'. On Carl Perkins' 'Honey Don't', John does the vocal (subsequently done by Ringo on record) and does an admirable job. This is quite a set, full of wonderful performances done live in the BBC studios, with The Beatles putting in fresh performances at their best. And it's obvious how much they loved these songs.
       On Air - Live At The BBC Volume 2, is the second set of recordings The Beatles played live in the BBC studios. And we have John, Paul, George and Ringo performing a bright and happy version of Buddy Holly's 'Words Of Love'. And then a beautiful 'Do You Want To Know A Secret'. And Ringo sounds great on drums during Little Richard's 'Lucille' with Paul singing a great lead vocal. (This was the Beatles' very first recording in the BBC studios.) And then we get John singing Arthur Alexander's haunting ballad 'Anna', and doing a beautifully moving version. A real standout here is Chuck Berry's 'I'm Talking About You'. The arrangement, performance by the band, and the vocal by John, are just incredible. As this was done in front of a live audience in the studio, they whip the audience into a frenzy. And we get a lovely version of the Beatles performance of 'Till There Was You' from the Broadway play 'The Music Man'. Another kick butt version of 'The Hippy Hippy Shake', like the one on Live At The BBC (Vol.1). Next with George on vocal, they rip it up in the studio through Chuck Berry's 'Roll Over Beethoven'. Then a gorgeous 'There's A Place' with John and Paul harmonizing on vocals. They close out the first CD with a rockin' version of The Isley Brother's 'Twist and Shout'. The CD ends with two Bonus Tracks, which are very enlightening 1965 BBC Pop Profile Interviews with John and then George; which you can read along with as you listen to the CD recording, in the book 'The Beatles: The BBC Archives 1962-1970'.
       And finally we have the second CD in the 'On Air - Live At The BBC Vol. 2' set. We begin with a rocking 'I Saw Her Standing There', with George cutting loose with a great solo on guitar. Then a rocking version of Carl Perkins' 'Glad All Over' with George on vocals and working in another great guitar solo. Following, we get another Beatle gem. The strikingly beautiful 'I'll Get You' with lovely harmonies from John and Paul. And next comes a great 'She Loves You' with everyone in perfect voice and playing beautifully. Following is a funky version of Chuck Berry's 'Memphis Tennessee', with John on vocals and John and George playing cross riffs across each other. What a band! As we go along after a comical 'Happy Birthday Saturday Club' and a live in concert 'From Me To You', The Beatles breathe fire into Berry Gordy and Janie Bradford's 'Money'. Then we get a nice 'I Want To Hold Your Hand'. And next an absolutely gorgeous 'This Boy' with John, Paul and George on three part harmony. Next we get The Beatles doing a Country Rock version of Ray Charles' 'I Got A Woman' with John shouting with blues joy on vocals. Then we get a wild 'Long Tall Sally' by Little Richard, with Paul on vocals. And then comes a lovely 'If I Fell', followed by a gorgeous 'And I Love Her'. After a good 'You Can't Do That', we get Ringo on vocals on Carl Perkins' 'Honey Don't. Following this is a beautiful 'I'll Follow The Sun'. Then The Beatles hit us with Little Richard's 'Kansas City/Hey-Hey-Hey-Hey!' Finally we get the unedited version of The Beatles getting the feedback intro to 'I Feel Fine' just right, before they performed it. And perform it they did. Obviously enjoying themselves. The set ends with two very revealing 1966 Pop Profile BBC Interviews with Paul and then Ringo. As with the first CD in Vol. 2, you can read along with the interviews in the book 'The Beatles: The BBC Archives 1962-1970'.
       What 'The Beatles Live At The BBC: The Collection' has done, is opened up a whole new world about The Beatles that previously, we in the U.S., had only a glimpse of. This concerns what the young Liverpool fan with the short blonde hair in The Beatles Anthology DVD set, was so upset about as she saw John, Paul, George and Ringo leaving Liverpool and The Cavern for what was becoming worldwide success. She recognized then, what we recognize now; after having listened to the Live At The BBC recordings. These guys were living historians of all of the influences on the music. And they loved it as much as the fans did. We never actually got to hear The Beatles playing all of these songs for a live audience, as they did in The Cavern and other venues around Liverpool. This (along with their engaging personalities) was what made them so loved in Liverpool, and why this young female fan was so upset, as she watched them leaving their home base for fame and success beyond. The reason these BBC recordings are so important is because it documents where they came from. It is a real pleasure to listen to, and the tracks with their banter in the studio with different hosts of the programs are delightful; some are absolutely hysterical. I'm sure that to some stuffed shirt-straight laced suits, they probably sounded like a bunch of smart ass wise guys. GOOD! Let me tell you, enjoy this one. Enjoy it to the hilt. Highly, Highly Recommended.

Saturday, August 15, 2015

You Can't Always Get What You Want

You Can't Always Get What You Want
Antonio G. Pereira © 2015 Antonio G. Pereira

        You Can't Always Get What You Want by Sam Cutler Published by ECW Press, Canada
        This is an interesting and at times informative, as well as entertaining, and yet ultimately disturbing book. Disturbing for the existing blatant corruption in this story. (There is of course Stanley Booth's book, 'The True Adventures of The Rolling Stones', where once you identify Mr. Booth's cracker mannerisms, he's not a bad writer; Stanley being a native of the same Waycross, Georgia that well known actor and deadly serious Civil Rights Activist Pernell Roberts came from.) Sam Cutler was Road Manager for The Rolling Stones on their 1969 North American Tour. His inside, fly-on-the-wall, riveting re-telling of that ill-fated concert tour makes this book worth checking out, as well as the enlightening story of his early life before and leading up to his association with the Stones; while Brian Jones was still in the band: Go to The Internet Archive  Type  into the Wayback Machine, press Enter, then choose Sept.24th, 2009.  . The subsequent fallout of the Altamont Free Concert  , his dealing with the Hells Angels (thugs with money - For some interesting related further reading on this subject, check out Chapter 3 'Doing It On-Camera', in the late NBC Newsman Bob Teague's book, 'Live and Off Color: News Biz' Published by A&W Publishers Inc. New York), and work afterwards with the Grateful Dead. The mysterious John Jaymes, and his direct connections to and with the Mafia; who in turn became involved in the Stones' tour. Cutler's contact with Jimi Hendrix who was visiting the Stones backstage at Madison Square Garden (along with Janis Joplin) during the '69 tour  , {just before Hendrix left New York for his trial in Toronto - For more on this, go to The Internet Archive  Type   into the Wayback Machine, press Enter, then choose 2005}, and again with Hendrix, during a joint concert with the Dead and the Steve Miller Band at Temple University in Philadelphia in 1970, and Sam's contact with Janis Joplin, Delaney and Bonnie,The Buddy Guy Band, "Pigpen" McKernan, Rick Danko etc... on the Festival Express Tour in 1970  , and Cutler's final unpleasant parting of the ways with the Dead, finishes the story completely. This book may be a little difficult to obtain, but makes informative reading of what amounts to a cautionary tale.

Wednesday, June 10, 2015

From Hobo Flats To The Fifth Dimension: A Life Fulfilled in Baseball, Photography and Music

From Hobo Flats To The Fifth Dimension: A Life Fulfilled in Baseball, Photography and Music
Antonio G. Pereira © 2015 Antonio G. Pereira

        You may be quite surprised when reading this book to learn that Lamonte McLemore, one of the original members of the Fifth Dimension, was also a Baseball player for the Los Angeles Dodgers and a very well known photographer, whose photographs graced the pages of Ebony, Jet, Playboy etc...
        From Hobo Flats To The Fifth Dimension: A Life Fulfilled in Baseball, Photography and Music by Lamonte McLemore as told to Robert-Allan Arno Published by The Soul of The Voice, LTD. is a very enjoyable book to read. Robert-Allan Arno, who created the Forever Fifth Dimension site, was the perfect person to do this book.

        Chock full of great photographs, many taken by Lamont McLemore himself. And he has plenty of fascinating stories to tell. About his early life in St. Louis Missouri, the many people he has met, known, been influenced by and who have left a deep lasting impression on him (his own close family, his fellow Fifth Dimension members, Johnny Mathis, The Supremes, Stevie Wonder, Marvin Gaye, Berry Gordy, Bones Howe, Jimmy Webb, Ray Charles, Beah Richards, Frank Sinatra, Sammy Davis Jr., Ava Gardner, Ed Sullivan, Michael Jackson.... I could go on). As the wonderful stories keep coming at you one after another. I was left wishing the book was even longer. And then to top it off, the amazing story of how he got the recipe for 'Stoned Soul Gumbo', followed by the recipe itself.
        Hey guys, 'From Hobo Flats To The Fifth Dimension', deserves a second helping with more great stories!

Highly Recommended.

Saturday, February 21, 2015

And a moment for Nina Simone....

And a moment for Nina Simone....
Antonio G. Pereira © 2015 Antonio G. Pereira

        And a moment for Nina Simone....

       And one for Woody Guthrie....

The Times They Are A'Changin....

Thursday, February 12, 2015

The Haight: Love, Rock, Revolution - The Photography Of Jim Marshall

The Haight: Love, Rock, Revolution - The Photography Of Jim Marshall
Antonio G. Pereira © 2015 Antonio G. Pereira

       It was an interesting experiment, while it lasted. (See last month's posting of Jan. 12th.) And Jim Marshall was the perfect photojournalist to document it in pictures. As I look at my old copy of 'Monterey Pop' (the book Joel Selvin did with Jim Marshall back in 1992), I'm very happy Selvin did this book as well. I'm a little at a loss for words as the memories rush back. This is a wonderful hard-cover, beautifully presented by the Jim Marshall Team, and should be sitting in every Library and Educational Institution in the country. I think 'The Haight: Love, Rock, Revolution', as a Historical Document, will be studied and marvelled at, long past our lifetimes; well into the next century. And Dear Reader, if you decide to purchase this book, it's worth every cent.

Monday, January 12, 2015

Brian Jones: The Making of The Rolling Stones & Brian Jones - Who Killed Christopher Robin?: The Truth Behind The Murder of a Rolling Stone

Brian Jones: The Making of The Rolling Stones & Brian Jones - Who Killed Christopher Robin?: The Truth Behind The Murder of a Rolling Stone
Antonio G. Pereira © 2015 Antonio G. Pereira

        I must say that I was pleasantly surprised by Paul Trynka's book, 'Brian Jones: The Making of The Rolling Stones'. ,although I've always considered Mojo Magazine to be an opportunistic pile of sensationalist garbage.
       Trynka's new information (very well researched) about Brian Jones' early life in Cheltenham (a classic conservative town full of dirty laundry with rotten secrets, if there ever was one), was quite illuminating, and a classic case study of self-righteous townspeople living their lives like a bunch of hypocrites, by the numbers.
       As anyone who has always been able to think for themselves (rather than waiting to be told what to think) already knows, 'The Rolling Stones' are a Corporate Entity; and have been for a long, long time. So this is no earth shaking news. Partly out of necessity at first, but later, as the 1970s moved along, what became and what amounted to (as successful surviving acts moved away from Concert Halls to Stadiums, and different camps of megalomania formed within the Music Industry itself, and in the 1980s, in turn, became the mergered empires we have today), complete image control.
       It's nice that Paul Trynka took the time to reconstruct and detail Mr. Jones contribution OF and contributions TO The Rolling Stones {He rightly places Brian Jones at the pivotal period just after Muddy Waters and Otis Spann (promoted by Chris Barber) first visited England at the tail end of the 1950s. As this was also near the end of the classic period when Muddy Waters' original Chicago Blues Band aka 'The Headhunters', were tearing up clubs and taverns in and around Chicago, this was the sound that Muddy and Otis brought with them to Britain; that resulted in news headlines like 'Screaming Guitar, Howling Piano'. - Listen to Brian's perfectly crafted slide work on that poorly recorded live in concert cut of Route 66 on the Stones' mid '60s LP December's Children.}, as anyone who continues to wait for Mick Jagger and Keith Richards to do it, will be waiting ad infinitum. I still find it a little strange that there is no proper documentary having been produced about Brian Jones, or about that 1967 Stones European Tour for that matter.
       It's heartening that Trynka spotlites Jones being an early pioneer along with George Harrison (as are Taj Mahal and Ry Cooder), of what we now term as 'World Music'.
       Having seen The Tami Show on television many years ago, The Rolling Stones' performance following James Brown and The Famous Flames, is pretty much anti-climactic; with Jagger appearing as a joke following James Brown, although you really can't take your eyes off of Brian Jones performance to the side, especially when he starts grinning, moving forward toward the audience and beating that tambourine. It's interesting to not only watch the audience, but the MAKEUP of the audience. Trynka, along with a lot of current writers (strangely) tend to write about the '60s era as if only white teenagers existed (and were listening to music and experiencing the groundbreaking societal changes) and no one else. Pity. I for one thought we had all learned something. Perhaps not.
       For an eye opener that no one yet seems to be discussing, search down a 1963 LP released on the King Federal Record Label (US) by a gentleman named Johnny Guitar Watson. Besides the great songs and of course, fantastic guitar playing, who does the vocalist remind you of? And let's see.... The Rolling Stones first LP is finally released the following year of 1964?
       Unfortunately the picture of Brian Jones remains unclear and unfocused. I would have liked to have known more about his relationships with people like Tom Jones, Jimi Hendrix, Howlin' Wolf, Little Walter, Richard and Mimi Farina, Stevie Winwood, Jimmy Page, Rocki Dijon, Eric Burdon, Devon Wilson, Chas Chandler, Brian Epstein, Bob Dylan, Alfred G. Aronowitz, each of The Beatles, Pete Townshend, Donyele Luna , Donovan, Taj Mahal, Jim Morrison, Ike Turner, Marshall Chess etc...
       The circumstances of Jones death are still open to question, which Paul Trynka just about stops short of admitting himself in his own book.
       What has always amazed me, since this very slick and calculated Conservative Retrenchment of the 1980s, is the proliferation of books finding publication by amateur bumpkin Psychiatrists and Psychologists, practicing a one sided snow job on anything that has to do with deceased figures from the '60s Counterculture. Amateur bumpkin Head Shrinkers accompanied by the way, by their amateur bumpkin counterparts (Read: 'Compilation Experts'), who stack and document Concert Dates and Venues and Set Listings of songs performed by said deceased '60s Countercultural figures, without the slightest understanding of WHAT the vast cultural SIGNIFICANCE of any of this MEANT; and in turn, want YOU to help THEM correct THEIR information, so they can SELL more material. {As the late New Music Musician and Educator Bill Dixon once put it (only partly in jest) in an extensive three part interview in Cadence Magazine a couple of decades ago, "You can't even die."} And (no surprise) it sells books, and incorporates magazines that present themselves as authoritative representatives of warehouses of '60s countercultural analyses.
       ACADEMIA of course, is full of malcontents with an agenda, racists with a tunnel vision view of World History, and old-timey, incompetent, lazybones freeloaders. (see Frank Zappa's observations in his autobiography, 'The Real Frank Zappa Book' by Frank Zappa with Peter Occhiogrosso - Published by Poseidon Press {e.g. Chapter 13: All About Schmucks - subsection 5 - The Exaltation of Ignorance}).
       Anyway, 'Brian Jones: The Making of The Rolling Stones' is a step in the right direction. Worth checking out.

       Brian Jones' quicksilver presence has always been something which you couldn't quite grasp, but Terry Rawling's, 'Who Killed Christopher Robin?' is a well written and intriguing biography, that brings Jones into better focus. Rawlings gives a clearer picture of what Jones' life and relationships were like after the Stones were formed; leading up to and after they became famous.
       The circumstances of his death, have always been open to question, and Rawling's investigation into it, makes fascinating reading. You're left with the feeling that there is more to come.
       The book includes a selection of carefully chosen photographs of Jones, as well as photographs relating to Rawling's investigation.
       There is of course, filmmaker Stephen Woolley's movie, 'Stoned' (partly based on Rawling's book). A slick and fruity production. Help yourself.
       However, if you look hard enough, there are glimpses of Brian Jones you can find in Peter Whitehead's rare 1965 documentary 'Charlie is my Darling'  , Tom Nolan's essay "Groupies: A Story of Our Times" {originally published in Cheetah magazine, but reprinted in the book 'The Age of Rock: Sounds of the American Cultural Revolution' Edited by Jonathan Eisen }, and an article of remembrance by Alfred G. Aronowitz, 'Over His Dead Body', that was written for his Pop Scene column in the New York Post. {Reprinted in the book, 'No One Waved Good-bye: a casualty report on rock and roll' Edited by Robert Somma }
       'Who Killed Christopher Robin?' is well worth reading and leaves intriguing questions, yet to be answered.