Bob Dylan: Don't Look Back 65 Tour Deluxe Edition

Bob Dylan: Don't Look Back 65 Tour Deluxe Edition
Antonio G. Pereira © 2013 Antonio G. Pereira
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        This is the mother lode of the mother of them all. D.A. Pennebaker's Cinema Verite film of Bob Dylan's 1965 concert tour of England. Beautifully packaged, containing two DVDs, the first one, a digital transfer of the original film, the second one a wonderfully put together collection of previously unseen and unreleased outtakes from the original documentary. A reproduction of the original 1968 companion book with all of the dialogue from the film, and a wealth of photographs, and finally, a thumb sized Flipbook with frame by frame pictures of the Promo film of Dylan's early Folk Rock hit 'Subterranean Homesick Blues'; that was on his LP, Bringing It All Back Home. This Box Set is put out by Docurama. http://www.docurama.com
Throughout are appearances and cameos by Dylan's Manager Albert Grossman, Joan Baez, British Promoter Tito Burns (who unintentionally has you in hysterics by his deportment and antics), Dylan's Producer Tom Wilson, Road Manager and close friend Bobby Neuwirth, Beatnik Poet and Writer Alan Ginsberg, Donovan (Go to the Internrt Archive: www.archive.org  Type http://www.sabotage.demon.co.uk/donovan/scrap.htm  , into the Wayback Machine, click Search, then choose Dec. 7th, 2014.), a recently departed from The Animals Alan Price who is already showing signs of the beginnings of a bad drinking problem, along with maybe a guilty conscience concerning how he ended up with all of the Royalty Money for The Animals' arrangement of their biggest hit 'House Of The Rising Sun', British Folk legend Derroll Adams, a strikingly beautiful Nico (after having appeared in Frederico Fellini's influential masterpiece, 'La Dolce Vita' (the term 'Paparazzi' was coined in that film), and who at that point, was gravitating toward the Dylan/Grossman sphere (but subsequently ended up as a Chess Piece in the bizarre world of Andy Warhol and the Velvet Underground) as recounted in Andy Warhol's somewhat twisted autobiography, 'PoPism: The Warhol '60s' by Andy Warhol & Pat Hackett Published by Harper & Row Publishers New York), London Evening Standard journalist Maureen Cleave, who in the beginning of the film has a warm and playful exchange with Dylan while interviewing him, and there are occasional mentions of that elusive Pop Group, The Beatles.
The first DVD is a pristine transfer of the original documentary with great sound. Additionally there are Bonus Features of the Film Trailer for the movie, and an alternate Promo of  'Subterranean Homesick Blues'; as well as outstanding uncut Audio Recordings from the '65 British Tour of: (1) It Ain't Me Babe, (2) It's All Over Now, Baby Blue, (3) Love Minus Zero/No Limit, (4) The Lonesome Death of Hattie Carroll, (5) To Ramona.
The second DVD is a specially put together collection of previously unseen outtakes from the film. And D.A. Pennebaker has done a magnificent job. There are snatches of Bob Dylan and Joan Baez singing beautifully together on several Traditional Songs. Tom Wilson listening to Dylan composing, 'It Takes A Lot To Laugh, It Takes A Train To Cry' on Piano. That version sounding almost like a Gospel Song. {An obvious influence from all the time Dylan was befriended and mentored by Victoria Spivey, during his early days in Greenwich Village as a struggling Folk Artist. Check out Anthony Scaduto's illuminating biography on Bob Dylan for THAT story.} A very clear picture of how essential Bobby Neuwirth was to the team as Road Manager. We catch a glimpse of how deeply moved Dylan is when some teenage female fans accompany him and Bobby Neuwirth to Newcastle Train Station to say goodbye, and run along the platform as the train is pulling out; while Dylan is waving goodbye to them. Among the live in concert (and performed in their entirety) outtakes are, a beautiful 'Don't Think Twice It's Alright', a riveting 'It's Alright Ma, I'm Only Bleeding', a boisterous 'If You Gotta Go, Go Now', a lovely 'To Ramona' and a gorgeous 'She Belongs To Me'. Finally, there is another version of the Promo for 'Subterranean Homesick Blues', filmed on a roof with Tom Wilson (wearing a Fez) and Bobby Neuwirth in the background, both with canes.
It should be mentioned regarding the reproduction of the original companion book to the movie, which is included in this Box Set, that there is a photograph of George Harrison, taken during the latter part of 1968 at Apple Headquarters, reading a copy of the original version of the 'Don't Look Back' companion book, in Derek Taylor's (sort of) autobiography 'As Time Goes By'.
Lastly, the thumb sized Flipbook included in the Box Set (a novel and thoughtful idea), is a lot of fun to use.
And I must mention with delight in closing, that the wonderfully and immensely talented Photographer Don Hunstein, who took so many very well known photographs of Bob Dylan (e.g. from the same session that produced the Promo Film for 'Subterranean Homesick Blues', as well as the album cover photo of Dylan and Suze Rotolo http://www.guardian.co.uk/books/2008/aug/16/biography.bobdylan on 'The Freewheelin' Bob Dylan'), has a new book out http://www.amazon.com/Keeping-Time-The-Photographs-Hunstein/dp/1608872246 is having a Special Exhibition showing of his photographs through the month of December http://www.bethelwoodscenter.org and has his own website http://www.donhunstein.com

Graham Nash - Wild Tales: A Rock & Roll Life

Graham Nash - Wild Tales: A Rock & Roll Life
Antonio G. Pereira © 2013 Antonio G. Pereira
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        Graham Nash - Wild Tales: A Rock & Roll Life Published by Crown Archetype/Random House New York http://www.amazon.com/Wild-Tales-Rock-Roll-Life/dp/0385347545
Much as I like Crosby, Stills, Nash and Young (and I consider the first two albums, 'Crosby Stills and Nash' and 'Deja Vu' to be '60s classics {Along with Crosby's, 'If I Could Only Remember My Name', Still's first (and his masterpiece), 'Stephen Stills', Nash's 'Songs For Beginners', and Young's (before he started getting sloppy in the mid-'70s), 'Everybody Knows This Is Nowhere'-with the original Crazy Horse, 'After The Gold Rush', and 'Harvest'}), I'm a little disappointed with this book. On the positive side, Graham Nash's recounting of his early life in the North of England, his family, and especially the career of the Hollies, are very informative, detailed and make compelling reading. However, when we get to CSN (Go to The Internet Archive: http://www.archive.org  Type in http://suitelorraine.com/suitelorraine/Pages/trips.html Click Take Me Back Then choose 2004) and in particular CSNY (Go to The Internet Archive: http://www.archive.org  Type in http://suitelorraine.com/suitelorraine/Pages/csnyfillmore.html and Click Take Me Back), the story begins to get patchy. By now, having read accounts in Bill Graham's autobiography, 'Bill Graham Presents' (in which CSNY by 1970, are described as a bunch of egomaniacs out of their depth singing off key, perpetually stoned), there appears to be some gaping holes in Nash's memory. Most glaring in this respect, (having read Neil Young's biography 'Shakey'), is the subject of Greg Reeves. (I wonder what type of account Reeves would write if he ever decided to write a memoir?  Go to the Internet Archive: https://www.archive.org  Type https://www.4waysite.com/exclusive-4waysite-2/exclusive-4waysite-catches-up-with-greg-reeves-in-2012/ into the Wayback Machine, then choose 2016 ) The best live in concert footage that exists of the original lineup is from 1969, in the film, 'Celebration At Big Sur'. (Go to The Internet Archive: http://www.archive.org  Type in http://suitelorraine.com/suitelorraine/Pages/rncsny69.html Click Take Me Back Then choose 2004) It would be  great to see the entire CSNY set, where you hear and see CSNY with Reeves and Dallas Taylor, tearing up the stage. {By the way, you can catch a glimpse of Lillian Roxon, author of the original 'Rock Encyclopedia', being interviewed in this film.} CSNY were always engaging politically (Just like Jimi Hendrix circa 1969/1970 - listen to what Hendrix says between songs, where you hear him say what he's thinking, in the unedited Bootleg versions of The Band Of Gypsys concerts at Fillmore East, and the L.A.Forum 1970, Jim Morrison in quite a few surprisingly candid and observant interviews, The Impressions, Nina Simone, Eric Burdon, Janis Joplin {Sometimes forgotten is that Janis Joplin was a former Teacher, highly intelligent and very well-read. What was happening on American College Campuses in 1970 (e.g. Kent and Jackson State) deeply upset her, and she said so.}, John Lennon (obviously), Sly and The Family Stone, The Jefferson Airplane, Phil Ochs, and the musicians of the emerging Post-Coltrane New Music from the same era, to name a few), and to give Nash his due, he does not mince words in this autobiography; additionally, when he quotes Joni Mitchell on page 180, in a political argument they had during the winter 1969 CSNY/Mitchell European Tour, she sounds quite mealymouthed and puerile {And this coming from someone who has held Ms. Mitchell's songs in such high esteem as to have quoted 'The Circle Game' near the end of his senior evaluation in college. - Y'know in  retrospect I wonder what Mitchell, and others who at the time held her position (and from a completely different perspective and perceptive stance than hers, Elvis Presley and the characters who hung around him), thought when they saw tricky dicky end up resigning and his cohorts doing jail time, and ending up with criminal records; as well as Clyde Tolson (after his partner J. Edgar Hoover croaked) shredding documents (that would have eventually become key evidence in the scale of this monstosity) like nobody's business}. This is a highly readable book, as Graham Nash is a very good writer, and the first half of the book concerning the rise and fall (and rise?) of his relationship with the Hollies is very good reading. He mentions having been invited by Paul McCartney to participate in the Beatles live Worldwide Satellite Broadcast of 'All You Need Is Love' from Abbey Road Studios, but strangely makes no mention of having sung background vocals on Hendrix' wild and very enjoyable psychedelic aural sound painting 'You Got Me Floatin'', off the Experience's second album, Axis Bold As Love. The seeds of CSN (of which Cass Elliot was an integral part), the formation of the trio with the key background participation and help of Ahmet Ertegun at Atlantic Records, and resultant recording of the first album, are related in a painstaking and meticulous manner. However, the CSNY recounting needs more work on Nash's part and much deeper reflection. (Go to The Internet Archive: http://www.archive.org  Type in http://crosbystillsnash.tripod.com/page13.html and Click Take Me Back, Type in http://www.4waysite.com Click Take Me Back Then choose 2005 and click Articles on Homepage, for reviews of 1974 tour etc...) His work outside of music, in the fields of Photography (a lifelong interest that started with his father) and Art (Painting and Sculpting), are of great interest, especially for people who may not know that side of him. There are a nice selection of photographs throughout the book that represent every period of his life, but I think there should have been more. Ah well... Worth a look.

Tomorrow Never Knows: The Beatles Last Concert

Tomorrow Never Knows: The Beatles Last Concert
Antonio G. Pereira © 2013 Antonio G. Pereira
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        The year 1966 was a pinnacle year for the Beatles. They released a (U.S. only) compilation album, 'Yesterday and Today', with a controversial cover, and an album that became a historical landmark, 'Revolver'; ending the year with a (U.K. only) greatest hits album, 'A Collection of Beatles Oldies: But Goldies'. This was also the last year they performed live in concert (after having done a brief UK tour the previous Winter of 1965 https://webgrafikk.com/blog/beatles-photos/final-uk-tour-december-1965/   ), starting with the NME Poll Winners Concert in London, followed by a world tour http://observer1984.blogspot.com/2008/10/eight-days-week-inside-beatles-final.html  ;and ending with their 1966 North American Tour. 1966 would see a slow deterioration set in on Beatles' manager Brian Epstein, due to his increasing dependence on pills and alcohol. For the unedited and quite explosive section from 'Lennon Remembers' referring to Brian Epstein, click on the link below for the essay, 'A Meditation On Hendrix, Lennon and The Counterculture'. In the Alfred G. Aronowitz section of 'A Meditation', you'll find a link to Alfred G. Aronowitz' articles from the Saturday Evening Post, The New York Post etc... referring to The Beatles (collectively and individually), The Ronettes, Murray The K, Bob Dylan, Phil Spector etc... http://observer1984.blogspot.com/2007_10_01_archive.html  In March of 1966, John Lennon would give an interview to a friend and journalist, Maureen Cleave from the London Evening Standard. Besides what eventually exploded (after it was carefully taken out of context by some 'characters' in the U.S.), into the 'Jesus Christ Controversy', it's quite interesting to note that in the last two paragraphs near the end of Maureen Cleave's interview, John Lennon all but predicts what his future will be. http://www.beatlesagain.com/bapology.html  (Check out the archival footage in Part 14 "Mighty Good: The Beatles" {interestingly written by Derek Taylor} in Tony Palmer's ambitious "All You Need Is Love" multi-part documentary series. http://www.imdb.com/title/tt1560518/ Having sung about 'The Word' on Rubber Soul, their groundbreaking album of the previous winter of 1965, The Beatles were now releasing their masterwork, 'Revolver'; as the American Tour got under way. And as they played their final concert at Candlestick Park, San Francisco was peaking in the throes of what they had sung about in 'The Word'. What history would remember as the birth of The Counterculture. The opening acts for the 1966 tour were Bobby Hebb (whose song 'Sunny' became a standard and one of the biggest records of the year. http://www.bobbyhebb.com/?q=node/2  He essentially {when it came to drawing power} co-headlined the tour with the Beatles), The Cyrkle (a group managed by Brian Epstein, that had two pretty good records on the charts, 'Red Rubber Ball' and 'Turn Down Day'. An interesting footnote to this is that after the tour with the Beatles was over, the Cyrkle released one more album, 'Neon' and composed a soundtrack for a film, 'The Minx'; after which the band broke up. One of the guitarists in the band, Don Dannemann, became a fairly successful jingle writer for television during the late '60s Pop Art explosion, and composed the first 7Up Uncola song; which if you remember, had snatches of Pop Art (remember 'What's a Kooladny?') and the subtle influence of that late 1800s southwestern Gold Prospector's sounding dirge, 'My Wild Love', that was on The Door's recent (at the time) album, 'Waiting For The Sun'.) The Ronettes - http://books.google.com/books/about/Ebony.html?id=9zlc1lcRd44C   (who had a couple of very good records with Phil Spector. Unfortunately Ronnie, their lead singer, was being kept away from the tour by Phil Spector; and her cousin substituted in the group - nobody seemed to notice.) and The Remains (a very professional band who backed both Bobby Hebb and The Ronettes during their sets, as well as doing their own set.)
The Beatles only did a handful of Press Conferences during this tour, which began in Chicago.
There are two Press Conferences done in Chicago. The first one is a complete fiasco. John Lennon continually apologizing for something that was never his original intention. One reporter in particular is obviously intent on fanning the flames by using the term "Godhood on earth" referring to the Beatles. (It's interesting that Paul McCartney mentions the public trying to hold them in a perpetual state of standing still, and not evolving; something he would break out of in 1966/67, by composing the soundtrack for a film, 'The Family Way', and in 1967, by his admission on ITV that he was using L.S.D.) And during this Press Conference, George Harrison completely agreeing with what John's original intention was in his statement about Christianity. http://www.beatlesinterviews.org/db1966.0811.beatles.html
The second Chicago Press Conference seems to be attended mostly by a more intelligent group of reporters, and the Christianity questions are handled more professionally. It's also interesting that the subject of racism comes up in this second Press Conference. After all, this is Chicago. http://www.beatlesinterviews.org/db1966.0812.beatles.html
The Press Conference in Toronto Canada stands out as the most open minded so far during the tour. Intelligent questions covering a lot of ground, and interestingly the first one where Paul's moped accident the previous December is mentioned. John, it should be noted (albeit jokingly) already smells trouble in Memphis. http://www.beatlesinterviews.org/db1966.0817.beatles.html
Memphis Tennessee. To set this up, we have to remember the year. 1966. The old legally segregated South where only white people were allowed to vote, to in turn keep cracker segregationist politicians continually in power, thereby perpetuating racist policies that essentially kept anyone else from living like an American citizen within the United States (the old Catch 22 loophole that had been used by characters like these for decades, under the code words, 'States Rights'), was in the throes of having it's back broken by not only the Civil Rights Movement, but also the American Government. And like it or not, the old South's days were numbered. This was the Memphis that the Beatles flew into in 1966. What's interesting about this interview, is that it's being conducted by the ITV News, a British outfit that flew in from London. So what you're getting is a very British discussion and a European take on the whole situation. You can imagine what kind of Beatles Press Conference would have taken place in Memphis with the local American Press. http://www.beatlesinterviews.org/db1966.0819.beatles.html
And now New York City, {For the clearest, most accurate, and detailed first hand account of what New York was like BEFORE the explosive and revoloutionary social changes that took place during the '60s era, read Sammy Davis Jr's autobiography, 'Yes I Can. The Story of Sammy Davis Jr.' by Sammy Davis Jr. and Jane and Burt Boyar. Published by Farrar, Straus & Giroux New York} where The Beatles first broke big on the Ed Sullivan Show, and afterwards Carnegie Hall; and in 1965 selling out Shea Stadium in Long Island. This year they are returning to Shea Stadium again. http://www.pbase.com/tg6string/beatles  During this Press Conference the subject of John beginning filming of, 'How I Won The War' after the tour is over is brought up, and so is the Vietnam War; which by now was escalating. The Beatles and Jesus Christ subject is brought up yet again, and as the tour is now nearing it's end, it's obvious from his answer now (particularly as this is post-Memphis) that John is fed up. It becomes very clear that George in the future will become a big advocate for Indian music. I've always wondered why the Beatles never appeared on Ed Sullivan in 1966 before doing Shea Stadium, as they had the year before. Hmmm... http://www.beatlesinterviews.org/db1966.0822.beatles.html
The book, 'Tomorrow Never Knows: The Beatles Last Concert' by Eric Lefcowitz (who does a pretty good overview of the tour and digs up some very informative archival San Francisco newspaper clippings) with photographs by Jim Marshall {Published by Terra Firma - An Imprint of Retrofuture Products} covers the final concert at Candlestick Park in San Francisco. (The photographer Jim Marshall, who was incredibly gifted, appeared in Guitar Player's Oct. 1985 Issue, where he gave quite an eye opening interview; and included a portfolio of some of his greatest photographs.)
Jim Marshall in these pictures captures The Beatles backstage talking with Music Journalist Ralph J. Gleason, Folksinger Joan Baez (quite a ravishing beauty, who had traveled with the Beatles on their 1964 tour of America {she discussed this in her interview in the April 14th, 1983 Issue of Rolling Stone} and her gorgeous sister, Musician Mimi Farina (wife of legendary Musician and Songwriter Richard Farina, who had been killed in a motorcycle accident earlier in the year during a book party for his new novel, 'Been Down So Long It Looks Like Up To Me'. And Dylan ironically, had had a motorcycle accident shortly before the Beatles began their concert tour. {It's quite interesting that Mimi Farina mentions in the interview she gave for this book, that Bob Dylan and Joan Baez had had their lives threatened in the South by the Ku Klux Klan during their National Tour together earlier in the decade, when they sang Dylan's song, 'The Lonesome Death of Hattie Carroll'; which makes you wonder about so-called British 'Dylan Expert' Clinton Heylin's motivations regarding this song, in his Dylan biography, 'Behind the Shades Revisited'.} Mimi Farina years later, would make a breathtakingly beautiful album with Musician Tom Jans named, 'Take Heart'.) who were specially invited guests. You can't help but notice how calm and reflective John looks in these pictures. As if he knows this is the ending of one phase of his life, leading into a new one; and a great burden had been lifted off his shoulders. You wonder if John was a fan and admirer of Richard and Mimi Farina's music, from the way he is gazing at Mimi Farina. Nobody got photographs like this, except Jim Marshall. I've often wondered if San Francisco FM Radio was playing 'Rain' during the Beatles last visit. This song seems the perfect backdrop to the mood captured by Jim Marshall in these photographs. A time and place that would never happen again. And so we leave it here. And as this is John's birthday, we'll end with a song from the movie, 'Celebration At Big Sur', which I think in turn is perfect for celebrating John Lennon's birthday and his immense contributions: There's A Place, I'll Get You, This Boy, If I Fell, I'll Be Back, Yes It Is, You've Got To Hide Your Love Away, In My Life, Julia, Good Night, Happy Xmas (war is over) etc... http://www.youtube.com/watch?v=62mAYkHrM2Y       

Phil Ochs: There But For Fortune - DVD

Phil Ochs: There But For Fortune - DVD
Antonio G. Pereira © 2013 Antonio G. Pereira
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        As someone who remembers Phil Ochs, I couldn't help but be moved by this documentary. Having regularly watched the 'Live From Cafe Wha?/Underground Tonight Show' series on Public Access New York Cable Television during the 1970s, including the night Phil performed, 'Here's To The State of Richard Nixon' on there, of which part of his appearance is shown in the documentary, though not the performance (he also made mention of his friend Victor Jara during the program, and it was noticeable that Phil was not well), and the Phil Ochs Tribute which was shown on PBS a couple of decades ago (The Dave Van Ronk segment of Van Ronk singing 'He Was A Friend Of Mine', just grabs you by the heart - Ramsey Clark began the tribute with a spoken Incantation backed by the playing of Scottish Bagpipes, with other great subsequent performances by Melanie Safka {Miranda}, Tim Hardin {Pleasures Of The Harbor}, and I also remember a husband and wife duo singing a stirring 'The Crucifixtion'), it was moving to be reminded of how much Phil Ochs meant to so many people. {The authors Steve Chapple and Reebee Garofalo, dedicated their highly informative book, 'Rock 'n' Roll Is Here To Pay: The History and Politics of the Music Industry' Published by Nelson-Hall/Chicago, to him.} 'There But For Fortune' follows Phil's life with photographs, very rare film footage, interviews with among others, his wife and daughter, his brother Photographic Archivist Michael Ochs, Joan Baez, Tom Hayden, Pete Seeger, Ed Sanders (I find it a little strange that no one interviewed Melvin Van Peebles who was a stablemate of Phil's at A&M Records, and a participant in the Evening with Salvador Allende/Chile Benefit, as there are also photographs in the documentary of the event - Phil also performed at the John Sinclair Freedom Rally in Ann Arbor; as well as continually during the previous years, performing at Benefits for {among others} the Civil Rights Movement, the Coal Miners Union, the Black Panther Party and the AntiWar Movement.), Abbie Hoffman, Jac Holtzman, Peter Yarrow etc... And most importantly, HIS SONGS. Who can forget the beauty of his songs, 'There But For Fortune' {which became a standard}, 'Changes' and when he set Edgar Allan Poe's poem, 'The Bells' to music. Even though I feel it could have been longer, this documentary is a wonderful work, and damn near a masterpiece. http://www.amazon.com/Phil-Ochs-There-But-Fortune/dp/B004VN7RN0

Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him?) - DVD

Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him?) - DVD
Antonio G. Pereira © 2013 Antonio G. Pereira
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Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him?) http://www.amazon.com/Harry-Nilsson-Everybody-Talkin-About/dp/B003VZNAUS
        Y'know it's funny, Harry Nilsson was somebody who you heard quite a bit in the late '60s/early '70s. His songs being performed by other people (The Monkees, Three Dog Night), composing a movie soundtrack (Skidoo - Harry must have been short on cash at the time. This super gobbler was an L.S.D. inspired tale that starred {among others} Jackie Gleason {That's right folks, the MC and Role Model for the 1969 Teens For Decency Rally, Ralph Kramden himself.}, Graucho Marx {Still listening?}, Donyele Luna {Who the film, 'Mahogany' was based on. You'll catch glimpses of her in The Rolling Stones Rock & Roll Circus, and photographs of her with Brian Jones and Rocky Dijon, in photographer Mike Randolph's book of photographic stills from the film.}, or his voice singing over a television theme (The Courtship of Eddie's Father), or a movie (Midnight Cowboy); but you never actually 'saw him' very much (though he did pop up occasionally if you were paying attention) that is, not until he was making headlines hanging out with John Lennon in Los Angeles in '73/'74.
Harry Nilsson was a very good tune smith, with an ear for melody and with a Pop Music songwriting sensibility. He also possessed an extraordinarily beautiful singing voice. Part Music Hall, part Jazz, part Tin Pan Alley, well versed in these different forms he'd obviously studied and listened to; which made him a contemporary of Lennon/McCartney, Brian Wilson of The Beach Boys (after they had scraped the bottom of the barrel with the Surf Music and the poor rewrites of Chuck Berry songs with different lyrics, and Brian had advanced to create the 'Pet Sounds' LP along with the 'Good Vibrations' 45), and Arthur Lee (e.g. the expansive selection of Pop Songs that Arthur Lee began composing for the second version of Love, on the albums 'Four Sail' and 'Out Here'); and of course Phil Spector (who by this time, had become a total recluse).
This documentary collects together some very rare footage of Harry Nilsson's appearances on Television Shows (among them, Hugh Hefner's 'Playboy After Dark' {a great series}, two BBC Specials, 'Beat Club' from German Television), The Grammys, Home Movies and Studio Recording Sessions. There are interviews with people who knew him (from those interviewed, it would appear that his circle of acquaintances was very limited and almost completely white). He led a strange life, and after winning a series of awards at The Grammys for his album 'Nilsson Schmilsson', he began to deteriorate (though putting out two further exceptional albums, 'Nilsson Sings Newman' {covering the songs of Randy Newman} and 'A Little Touch of Schmillson In The Night' {an album of Jazz and Pop standards}), disintegrate and lose his audience (his audience being the people who bought his records, as he didn't perform in public), and in the process unfortunately, during an out of control, drug fueled recording session, lost his beautiful voice too. In retrospect, as L.A. in the 1970s and the entertainment field itself (which included the Film Industry, Music and Television), was engulfed in Cocaine Use, and unwise thoughts of arrogant invincibility were rampant throughout the Industry, Harry ended up a casualty. John Lennon, who was smart enough to get out, spoke at length about what madness was going on in L.A. during this period, in his 1975 television interview with Tom Snyder on the Tomorrow Show on NBC.
Harry Nilsson ends up being a tireless advocate for Gun Control, after his friend John Lennon's life is ended in late 1980, as a result of senseless Gun Violence; and that ends up being Harry Nilsson's final legacy. A brave attempt at sanity, in this (what is at present) cleverly and subliminally (using income selectivity) militaristic, and still dangerously out of control, Gun Happy and Gun Loving culture.

House Of Cards Trilogy - 4 DVD Set

House Of Cards Trilogy - 4 DVD Set
Antonio G. Pereira © 2013 Antonio G. Pereira
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        Francis Urquhart, known as F.U. to his (friends?) and opponents in this powerful and shocking Political Thriller, is truly the face of evil; as played in an astonishing performance by British actor Ian Richardson, (with actress Diane Fletcher playing his wife Elizabeth, who is also his chief adviser). 'House Of Cards Trilogy', the original UK series done for the BBC, is a well written masterpiece that was aired on PBS in the U.S. more than two decades ago. The complete series is now on DVD as a 4 disk set {The 4th disk, Bonus Features, contains a very colourful and lively studio discussion with Andrew Davies, who was the screenwriter for the series. There is also a documentary in which Tony Benn MP {Member of Parliament}, gives us a highly informative and historical Tour of Parliament, during which he makes some eyebrow raising observations. Firstly while viewing an ancient painting of The Crusades, he mentions that the Fall of Communism will eventually lead to a defining confrontation between The West and Islam, and secondly stating that it is only 'the people' themselves who can control what kind of government they will have.} The main character in 'House Of Cards', Francis Urquhart, Chief Whip of the Conservative Tory Party is a very ambitious man, and has his eye on much greater things. As the story begins, it is Post-Thatcher, with the Tories still holding firmly onto power in Parliament, but with growing discontent all over the U.K. with regard to their policies, and Urquhart has secret plans for a different leadership of his party. HIMSELF. As this whole story unfolds, within each intricate layer of detail, Francis' arrogant maneuvering for more power within the Conservative Party and underhanded dirty tricks and manipulation to try to keep the opposing Liberal Party from gaining any ground, we get a riveting 'through the looking glass' intimate view of British Political Power Struggle and Intrigue; Francis Urquhart sharing his most private thoughts with us, at important junctures in each chapter of this three part saga. We watch him move from Whip to Prime Minister, someone who will stop at nothing in his personal vision of what Britain and it's relation to the rest of Europe and indeed 'the world' should be. This is a very disturbing look at Thirst for Power, Deep Corruption, and Moral Bankruptcy, that will keep you glued to your seat until the very end. And in turn, when we listen to the views and thinking of a Francis Urquhart, we recognize a chilling similarity to the thinking of what now controls what we see and hear in our own informational media of print, television and radio {with some notable though constantly financially struggling exceptions like PBS and NPR}; leaving 'ironically', one outlet still open for Free Thought, the very Internet we are now using. http://www.amazon.com/House-Cards-Original-Remastered/dp/B009Z59ZNE

The Rat Pack: The Original Bad Boys

The Rat Pack: The Original Bad Boys
Antonio G. Pereira © 2013 Antonio G. Pereira
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        The Rat Pack: The Original Bad Boys by James Kaplan and The Editors of Life. Published by Life Books An Imprint of Time Home Entertainment Inc. This is quite a fascinating softback magazine. An intriguing look back at a group of men at an important time of what became monumental and long, long overdue changes in the basic fabric of the United States of America. The Rat Pack aka The Clan or The Summit, were poised at the vanguard of this undertaking in U.S. History. One hell of a story is there, but it's still waiting to be told. Unfortunately, writer James Kaplan (along with the Editors of Life), fall into the same trap as writer Shawn Levy did in his book, 'Rat Pack Confidential', embellishing the truth: in whatever way you view reinterpretation. To give Levy credit, he does occasionally add some interesting information to the Rat Pack story, but has a bad habit of exaggerating. One has only to view 'The 60th Anniversary Celebration For Sammy Davis Jr.', (taped in 1990, shortly before he became so sick he couldn't leave home, but well enough to not only attend, but get up on stage and do some startling Tap Dancing with Gregory Hines, get up and give a long, warm embrace to Shirley MacLaine and get up onstage again to give a similar embrace to Michael Jackson {in essence passing the baton to him}) to see the deep love between Frank Sinatra (who started off the proceedings) and Sammy Davis Jr.; which puts to shame the garbage written by a few 'Experts', with regard to their relationship. The cover of this magazine (a photograph of Dean Martin, Sammy Davis Jr. and Frank Sinatra sharing a joke backstage at a Carnegie Hall benefit in honour of Martin Luther King Jr. and to aid the Civil Rights Movement, which at the time was exposing the horrendous racial climate in the south for all the world to see) is a perfect example of why this magazine is badly flawed. You will find nothing inside which will explain or tell you anything about the cover photograph or the circumstances under which it came about. What we do get in this magazine is plenty about Hollywood Showbiz Glitz and a peculiar and incomplete 'tsk tsk tsk, isn't that a shame' picture of Sammy Davis Jr., similar to the profile in the Shawn Levy book, 'Rat Pack Confidential'. If we're going to tell the whole story, let's remember in retrospect that in 1967 The Wasps took back Las Vegas. And it's stayed that way ever since. Having been taught a lesson by the Civil Rights Movement, with additional scrutiny by the New Government and no nonsense enforcement by the new Attorney General, the days of preaching Democracy to the rest of the world, while continuing lynching practices and segregation at home, was something the United States could no longer afford; as Democracy without Justice was exactly what it appeared to be, an empty contemptible lie. This of course is the rest of the 'embellishment of the truth' in this magazine, relating to Sammy Davis Jr. being booed by the Southern Delegates while singing the National Anthem at the Democratic Convention. These characters could see and feel a threatening change blowing in the wind. And now that there were National and (worse still) 'International' News Cameras there to capture all of this on film, there were no rocks to hide under anymore.
To give this magazine it's points though, the archival photographs (what there are of them) are beautifully presented. (I would have liked to have seen a comical black and white photograph of The Rat Pack reproduced in this book, that was once in Vanity Fair years ago. It showed a mock scene in which Sinatra, Davis, Martin and Lawford are seated next to each other. Dean Martin (feigning a wise guy with a cigarette), is picking a fight (backed up by a puffed up and smugly staring Peter Lawford) with an unsure and putting on a brave face Sammy Davis Jr., who is being nudged by the elbow by a supportive Frank Sinatra, to not back down and put up a fight.) The story of how the original Rat Pack came into being at Humphrey Bogart's home is very clearly retold in this magazine, as well as the birth of what became the original Las Vegas. An interesting footnote to all of this (strangely absent as it relates to the early Mafia influence in Vegas and the blatant racism that existed there) is the murder of Jazz and Be Bop Saxophonist Wardell Gray. Log onto http://www.maebrussell.com  click Articles, excerpts and notes, scroll down and click, 'The Covert War Against Rock' by Alex Constantine Chapter 7; for the footnote relating to Wardell Gray. For what 'The Rat Pack: The Original Bad Boys' is, which is a pulp publication, put out for mass consumption, this is pretty much typical of what you'd expect. Luckily, we have Sammy Davis Jr.'s three books, 'Yes I Can', 'Hollywood In A Suitcase' and 'Why Me?'. Additionally, Frank Sinatra's valet, George Jacob's book, 'Mr. S: My Life with Frank Sinatra', was quite an overdue surprise. Sam Giancana, who weaves in and out of The Rat Pack story and everything related to it, ended up as you would expect. A paranoid caged rat, whose ill gotten gains, by the time he was brutally murdered, didn't do him any good; as in the end even Sinatra distanced himself from him. British Investigative Journalist Anthony Summers pieced together some amazing research on the players in this real life drama in his three books, 'Frank Sinatra: The Life', 'Official and Confidential: The Secret Life of J. Edgar Hoover' and 'The Kennedy Conspiracy'. So there are other places to look where you can read and fill in the rest of this story.