Kurt, being a student of rock history, knew that the story of a rock band is essentially a legend—in the sense that there’s some wiggle room in the truth as long as it serves the over-all myth. So Kurt was an unreliable narrator of his own story. That’s nothing new—it would be hard to name any rock star who wasn’t the same. It’s up to the journalist to determine what’s true and what isn’t. But sometimes journalists play along because they’re naïve, lazy, or overworked, or they want to be in on the game because it makes for sensational copy. Whatever the reason, it works to the artist’s advantage. I wasn’t rigorous about investigating Kurt’s mythologizing—for one thing, a tight deadline meant that I just didn’t have the time, and, for another, he had charmed me and I unquestioningly bought a lot of his tall tales—which turned out well for him.
The second night was a repeat of the first: me and a guy reading the book I wrote about him, in a generic little hotel room, punctuated by the rustle of paper and the occasional grunt of appreciation or soft chuckle. He told me it was illuminating to read about his entire life in chronological order. Very few people have that luxury. Sometimes he’d take a break, and we’d stand together by the window overlooking Fourth Avenue and talk, eat cookies, or look down to the street, where little gangs of homeless kids swarmed around taxis stopped at red lights, trying to wangle a few bucks out of the cabbies. During those breaks, we didn’t speak about the book—instead, we talked about people we knew in common, music we were listening to, or politics. Sometimes we’d just stare out the window at the city without saying anything at all.
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“He (Marley) was a card-carrying member of the United Auto Workers’ Union. He had a job at the Chrysler Newark Assembly plant in Newark, Delaware; on South College Avenue…Bob usually worked the second shift. The experience would later inspire his song “Nightshift.” https://t.co/MoFoRhQbqm
— Unite All Workers for Democracy (UAWD) (@UAWD_Reform) June 4, 2022
NOTE – Guess it’s not just the United Auto Workers now:
WHO WE ARE
The International Union, United Automobile, Aerospace and Agricultural Implement Workers of America (UAW) is one of the largest and most diverse unions in North America, with members in virtually every sector of the economy.
UAW-represented workplaces range from multinational corporations, small manufacturers and state and local governments to colleges and universities, hospitals and private non-profit organizations.
The UAW has more than 400,000 active members and more than 580,000 retired members in the United States, Canada and Puerto Rico.
Trombone Shorty has announced the return of his all-star Voodoo Threauxdown in 2022 for a national tour featuring an incredible mix of beloved New Orleans artists.
In addition to headliner Trombone Shorty & Orleans Avenue, the 2022 Voodoo Threauxdown tour will feature Tank and the Bangas, Big Freedia, Cyril Neville the Uptown Ruler, and The Soul Rebels. In addition, the tour will feature a very special tribute to the foundational work of funk pioneers The Meters led by founding bassist George Porter Jr. alongside modern-day torch-bearers Dumpstaphunk.
Via @RollingStones on twitter. They do this for most shows I think. Ronnie Wood does the art.
Deeper cuts I had to look up (notes via Wikipedia): Out of Time
“Out of Time” is a song by the Rolling Stones, first released on their 1966 album Aftermath (UK version). The most commercially successful version of the song was by Chris Farlowe, an English solo artist. Farlowe’s single, produced by Mick Jagger, peaked at number one in the UK Singles Chart on 28 July 1966 and stayed at the top for one week. A shorter alternative mix of the Rolling Stones’ recording was released in the US in 1967 on the album Flowers. A third version featuring Jagger’s lead vocal and the orchestration and backing vocals from Farlowe’s cover version (plus a new female backing vocal) was released on the 1975 rarities album Metamorphosis and as a single.
The song was never performed live by the Stones until June 2022.
“Connection” is a song by the English rock and roll band the Rolling Stones, featured on their 1967 album Between the Buttons. It was written by Mick Jagger and Keith Richards (but mostly Richards), features vocals by both and is said to be about the long hours the band spent in airports. The lyrics contain much rhyming based on the word connection. The lyrics also reflect the pressures the band was under by 1967:
My bags they get a very close inspection, I wonder why it is that they suspect ’em, They’re dying to add me to their collection, And I don’t know, If they’ll let me go