All You Need Is LOVE DVD Box Set-Release May 2008 Apr 10, 2008 0:33:47 GMT -5
Post by yerblues1968 on Apr 10, 2008 0:33:47 GMT -5
All You Need Is LOVE - The Story of Popular Music
Tony Palmer's Legendary Classic
DVD Box Set $39.99 - Coming in May 2008
Agnes de Mille
Black Oak Arkansas
Bob Marley and the Wailers
Christies Ethiopian Serenaders
Country Joe McDonald
Danny La Rue
E. Y. Harburg
Earl Fatha Hines
Electric Light Orchestra
Emerson, Lake and Palmer
Flanagan and Allen
Houston Grand Opera and the music of Scott Joplin
Ike and Tina Turner
Jerry Lee Lewis
Joy of Cooking
Mamas and the Papas
Marie and Donny Osmond
Michael John Bowen
Mighty Joe Young
Murray the K
Oscar Hammerstein Jnr.
Paul McCartney and Wings
Peter, Paul and Mary
Rev. Jack Wyrtzen
The Andrews Sisters
The Beach Boys
The Bee Gees
The Carter Family
The Dutch Swing College Band
The Lefevres Family
The Rolling Stones
William Ivey and Stars of the Grand Ole Opry
Willie 'The Lion' Smith
Popular music is an essential part of our daily lives. Yet we know comparatively little about it – where it came from, how it developed, how it has influenced or been influence by social change. Today, the popular music industry controls billions of dollars; it has a greater revenue than the combined efforts of the cinema, theater, sport, and all the other entertainment industries put together. Yet the industry depends, ultimately, on the creative talents of a group of remarkable individuals. The story of popular music, therefore, is a story of the struggle by these individuals to survive the demands of this gigantic industry.
This introductory episode explains some of the aims and ambitions of this 17 part spectacular entertainment.
It is generally assumed that American popular music comes from the coastal regions of Africa; that the slaves brought drums to the United States; that jazz originated, somehow, in New Orleans; that the blues developed in the Mississippi Delta, and later became the cornerstone of everything from rock n roll to ragtime. All of these assumptions are untrue, and this episode with seek to uncover the real story – in Africa, on the edge of the Sahara; in Austria and the Salzkammergut; in the Ozark mountains of Arkansas; in New Orleans and in Texas.
I Can Hypnotise Dis Nation (Ragtime)
Thanks to the hit movie, “The Sting”, everyone reckons they know about Ragtime. But do they? This Episode includes the oldest known piece of film (1898) showing what the cakewalk was really like. Also extracts from The Royal Ballet production based on Scott Joplin’s music, “Elite Syncopations”. Also extracts staged by the Houston Grand Opera of Joplin’s only surviving opera, “Treemonisha”. There is also rare early film of Irving Berlin (Alexander’s Ragtime Band) as well as film of Joplin’s birthplace and of the madhouse where he died. Although reference is made to other early ragtime composers, this episode is essentially the story of Scott Joplin – an extraordinary tragedy of failure, frustration, pride, of the black man’s struggle to achieve for himself a proper place in American society.
Jungle Music (Jazz)
Jazz is not a black music, nor a white music. Nor is it structureless improvisation. Nor did it originate in New Orleans. As created at the turn of the century throughout the American South, it had a quite specific and limited meaning. Its form was strict, as were the morals and musical principles which guided its early exponents. This film will seek to examine the origins of jazz, and show how these were exploited and eventually lost by greed. Jazz is a story of apartheid in music in which a unique blend of white musical discipline and black sensibility was comprised and laid waste.
Who's That Comin'? (The Blues)
Blues is a word you have to think about before it can be understood. Contrary to popular belief, blues – as a form of music – does not appear until 1910 or so, that is after ragtime and jazz. Blues is not, therefore, the cornerstone of popular music. Rather, it has become an emotional response, through music to a variety of oppressive social conditions.
The Episode begins in the Delta of Mississippi and follow the progress of itinerant blues musicians to the steel mills and automobile factories of Chicago; from harmonica and fiddle, to electric guitar and fashionable nightclub. Finally, the Episode shows how blues phrases and harmonies were stolen by white rock n rollers in need of a new gimmick.
Rude Songs (Vaudeville and Music Hall)
Music Hall, as a description, means exactly what it says. A hall, usually at the back of a tavern or pub, in which music was performed by local entertainers for financial gain. It is thus the earliest example of a popular music industry. In a sense, through all its manifestations, music hall or vaudeville or variety has remained true to this original description. Thus, the film begins and ends in Las Vegas (with Judy Garland), a palace of varieties to end all palaces of variety. En route, we travel via London’s Palace Theater, the Palladium and the Windmill.
Always Chasin' Rainbows (Tin Pan Alley)
Tin Pan Alley existed to make money. IT organized and rationalized an embryonic music industry for the mutual benefit of these who did the organizing.
Tin Pan Alley brought to popular music a collective sense of purpose. Songs were no longer the creative prerogative of a few gifted, composers. They could be written to order, in ten minutes, for all combinations of instruments and voices. Its organization included pluggers, copyists, demonstrators and arrangers. Songs were written by committee, by number, and by role. There were “product”, and the greater the “product”, the greater the profit.
Diamonds As Big As the Ritz (The Musical)
This is a story of how a remarkable and very different number of theatrical elements were welded together into something also remarkable and very different called “the musical”. From operetta, vaudeville, variety, burlesque, revue and most importantly British music hall, came “the musical”. But it did not come about by accident. It was the deliberate and conscious achievement of lyricist Oscar Hammerstein (who wrote, among others, “Showboat” and “Oklahoma”) and the director Rouben Mamoulian. Against considerable opposition, both critical and commercial, they created a new art form which was unique and yet familiar.
Swing That Music! (Swing)
For most of its history, popular music has rarely been that which most people like Jazz, for instance, has always been a minority interest. But in the era which was dominated by swing, the music and its popularity were equally matched. White musicians became bored with the asinine popular music they were expected to play, music pumped out by Tin Pan Alley, and tried to emulate the style and freedom of their black counterparts. Most of them were too intelligent as musicians to indulge in mere imitation. What they created was the first white music based on black music which was not stolen from black music.
Good Times (Rhythm and Blues)
In the late forties, white record companies labeled commercial black music “race music”. Eventually, Jerry Wexler, then working at Billboard magazine as a reporter, thought of the phrase, “rhythm and blues” and it caught on. Before long, numerous other descriptions appeared – Motown, the Philadelphia Sound, Soul – but all had in common that the music expressed the rising aspirations of the ghetto.
Meanwhile, a curious imitation of black gospel appeared called white gospel. And among those who loved the sound were two remarkable men; one a record producer, Sam Phillips, who wanted to create a sound which had the discipline of white gospel but with the abandon of black rhythm and blues; the other was Elvis Presley.
Making Moonshine (Country Music)
Country music was, originally, home-made music. It described the births, marriages and deaths that happened in every community. It celebrated love, just as it bemoaned the ill-fortune that came to every man. It was music with which all felt they could identify. As such, it occupied a unique place in white culture. The music was not manufactured, as in Tin Pan Alley, nor sophisticated, and this episode describes the process by which this change came about.
Finally, we will be backstage at the Grand Ole Opry during one of its regular nationwide broadcasts, with a blessing to finish from Grand Ole Gospel Time.
Go Down, Moses! (Folk "War Songs")
After Nashville had raped American country music, it might seem that the folk traditions this music embodied had been lost. Not so, because these traditions had a purpose other than to entertain. We shall see how folk music used popular melodies to spell out unpopular themes, how during the American War of Independence filthy words were penned against the British Crown, but all to the tune of ‘God Save The King’. The same happened during the American Civil War – different words, depending on whether you were from the North or the South but to the same tune.
Song has been used by such as Joan Baez and Bob Dylan, Peter Seeger and Leonard Cohen as a passionate weapon for peace. The effect these singers managed to achieve in the sixties was one of the stronger causes of the American defeat in Vietnam.
Hail! Hail! Rock n Roll (Rock n Roll)
The story of rock n roll begins and ends in Memphis, Tennessee, in the tiny studio of record producer Sam Phillips. He tells of how he discovered Elvis Presley and of the struggle he had to get Presley accepted. It was not the overnight success story that is popularly believed. Before long, however, Presley came to symbolize the spirit of an entire generation. How did this happen, and why? Or was it the product of Sam Phillips’ imagination and Presley’s stage presence?
Mighty Good (The Beatles)
“They were very scruffy” recounts Allan Williams, the Beatles’ first manager, as he describes the Beatles’ early escapades in Hamburg and Liverpool Soon Brian Epstein appeared on the scene, although he didn’t like the sound the Beatles made. Nor did any record producer, and even George Martin now admits that he never believed they would make worldwide hit song writers. There was a cost, of course, which eventually had to paid for this extraordinary euphoria. But, at the time, no-one seemed to care.
All Along the Watchtower (Sour Rock)
The sixties began, according to Eric Burdon as “a party”. “The aim of all of us, Hendrix, The Who, The Stones” Burdon goes on, “was to ball every chick in sight”. Unfortunately, the party went sour. After the death of Epstein, the Beatles quarreled and split up. Jagger was arrested. Drugs became fashionable. The swinging sixties tore itself apart in an orgy of self-congratulation and self-indulgence.
Whatever Gets You Through The Night (Glitter Rock)
This Episode takes place almost entirely on stage; fans are always seen from the performer’s point of view. Thus, we begin to feel and experience first hand the pressures being put upon various individuals by the music industry. We are backstage with David Bowie as he makes himself up for a performance. We watch Alice Cooper ritualistically smashing up a doll, while the fans shriek for more and more. We are with Ian Anderson of Jethro Tull as he prepares to face a screaming crowd. We watch Eric Clapton before drugs, during drugs and after drugs. We are on stage with Keith Emerson as he hurls his electric organ as the audience...
Imagine (New Directions)
The film opens at a pop festival. Drug-smoking is very much in evidence. “These fellows will answer to God” says the Rev Jack Wyrtzen, “for all the pollution and evil they have spread around the world.” “The thing about rock n roll” says Lester Bangs, “is that it is totally about adolescence, and about consumerism brought in the highest degree”. In fact, as the film begins to point out, neither of these extreme points of view is true. Tangerine Dream perform religious music in Coventry Cathedral. Stomu Yamash’ta, a spectacular Japanese percussionist, clearly has nothing to do with adolescence: and no-one could describe Mike Oldfield as the product of consumerism.