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Thread: 67-12-22, LONDON, 'CHRISTMAS ON EARTH CONTINUED'

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    67-12-22, LONDON, 'CHRISTMAS ON EARTH CONTINUED'

    Saturday 22 December 1967
    London, Olympia, England

    Jimi’s first recorded mention of Vietnam, by name, at a concert.
    Backstage Jimi is wearing: Cowboy hat w. purple band, brooches & plumage; dark suit jacket; pale print shirt; choker necklace, ‘sun’ medallion; R one ring, L. 2; dark trousers w. round chain-link belt.
    Flying V w. ‘floral roundels’ strap.
    On stage Jimi is wearing: Cowboy hat w. purple band, brooches & plumage; Afghan waistcoat; purple & gold satin dragons shirt, choker necklace, ‘sun’ medallion; R one ring, L. 1; powder-blue velvet suit trousers w. round chain-link belt, blue & white scarf belt.
    White/rose strat w. cloth ‘0’s & X’s’ strap & painted flying V w. ‘floral roundels’ strap + spare white strat; fuzz face & wah-wah pedals.
    Concert: ‘Christmas On Earth Continued’ (title came from a 1965 avant-garde film script by Barbara Rubin of New York)
    Lou Reed: “Barbara was the moving force and coordinator between us all.” [December 2012]
    "[Barbara Rubin] was most obsessed with her exotic script Christmas on Earth Continued, which she wrote in 1965 and called for the participation of all her heroes, including Walt Disney, the Beatles and Jean Genet, in the construction of a Fairy City set in Ireland. She photocopied scores of the 41-page scripts and distributed them to anyone who took interest."
    Her later poetic title for her first film Christmas on Earth (it was originally titled Cocks & Cunts) was taken from the verses titled Morning from Rimbaud's long poemA Season In Hell:

    [...] From the same desert, toward the same dark sky, my tired eyes forever open on the silver star, forever; but the three wise men never stir, the Kings of life, the heart, the soul, the mind. When will we go, over mountains and shores, to hail the birth of new labour, new wisdom, the flight of tyrants and demons, the end of superstition, - to be the first to adore! - Christmas on earth! [...]

    Quite possibly an inspiration for Jimi's closing speech, which is of a similar nature?:

    Some of Hendrix’ vocals appear to be overdubbed
    Songs: 1. Sgt Pepper, Hey Joe, 2. Foxy Lady, Wind Cries Mary, Purple Haze, 3. Wild Thing & others unknown, possibly including Red House?
    Filmed by David Larcher for Tommy Weber, and partly included in his 1968 film (made for TV) “Watch Out For Your Ears” which was never released.
    Some of the footage was also used in the 1968 (made for TV) promotional film for the “Axis: Bold As Love” LP: “See My Music Talking”

    [Wild feedback]
    Jimi : Yeah, okay, plectrum, got it now…
    Mitch: Here we go
    Jimi : Noel
    Mitch: One, two, three…
    Jimi : Please...plug your ears, watch out for your ears, watch out for your ears, okay?


    1. SGT. PEPPER’S LONELY HEARTS CLUB BAND* (John Lennon & Paul McCartney)

    Hey!
    It was twenty years ago today
    Sergeant Pepper told the band to play
    They’ve been going in and out of style
    Though they’re guaranteed to bring a smile

    So may I introduce to you
    Been together all these years
    Sergeant Pepper’s Lonely Hearts Cub Band, ooh

    [Solo]

    Hang on, needed something

    Hey-I don’t really wanna stop the show
    But I think you might like to know
    We’ve got a singer’s gonna sing a song
    And he wants you all to join along

    So may I introduce to you
    One and only Billy Shears
    Sergeant Pepper’s Lonely Hearts Cub Band

    [Guitar ‘says’: ‘That wasn’t good’ - tape cut]

    *Jimi debuted this as part of his act just a couple of days after the release of Sgt. Peppers at Brian Epstein’s
    Saville theatre. Several of the Beatles were in the audience and McCartney later said, “I put that down as
    one of the great honours of my career.”


    HEY JOE [missing, lost?]

    [Tape cut]


    2. FOXY LADY*

    Well, you know you’re a cute little heart breaker
    And you know you’re a cute little love maker, huh, foxy

    I wanna take you home
    oh-I won’t do you no ha-a-arm, yeah
    You’ve got to be all mine, all mine, ooh, foxy lady, yeah

    I see you, I’m down on the scene
    Yeah, foxy right now
    You make me, wanna get up and scream, oh, foxy
    Listen, baby, now
    I’m gonna take you home
    oh-I won’t do you no ha-a-arm
    You’ve got to be all mine, all mine, ooh, foxy lady

    Foxy…Foxy

    I’ve made up my mind-uh, I haven’t
    I’m tired of wastin’ all my, precious ti-ime
    You’ve got to be all mine, all mine, ooh, foxy lady
    Here’s the part I like, Devon
    Here I come
    Comin’ to get ya, heh

    Yeah,
    Foxy lady, yeah, yea-eah
    Oh-uh

    Foxy

    Foxy

    Foxy

    Yeah...

    [tape cut]

    *Interestingly Jimi played guitar on a 1966 recording ‘(My Girl) She’s A Fox’ by The Icemen

    THE WIND CRIES MARY [missing, lost?]

    PURPLE HAZE [missing, lost?]

    [Tape cut]

    Jimi : [Tuning] I tell you what, listen to this, man, listen [tuning], oh what. Look, look this is
    Christmas time, right? and everybody’s feelin’ all good, right? [tuning] and-uh, like, man, I don’t want to go off the stage without doin’ one little so’, one little number, all right? Where everybody can join in. Wow, everybody, wooh, look at all those people out there. Anyway, dig, we got this song where everybody can join on. Is it all right if we do ‘Wild Thing’?
    Aud: [Cheers]
    Jimi: I mean, you know, we haven’t did it in so long, man, we just wanna do it just for the
    fun of it [tuning], you can believe it’s the last time this year we’ll do it, okay? [tuning] an’-uh, like, we’d like to-uh [tuning], think about all the soldiers comin’ in from Vietnam1 [tuning] and ADEN* and all this, you know, an’-uh, everybody bein’ straight with each other, you know, the President he got his little head together, you know [tuning], on the military line [tuning] - oh, excuse me - for instance, an’-uh instead of marchin’ down the street with-uh, what is it-uh? M-1’s, M-16’s all these rifles and stuff, well, all of ‘em, you know, marchin’ down the street with a little bit o’ guitars, somethin’ like this here…


    3. WILD THING (James ‘Chip Taylor’ Voight) [Backing vocal – Noel]

    [Plays effect like troops marching to bag-pipes as intro]

    Hey, wild thing, you make my heart sing… yeah
    You make, oh, everything groovy, heh
    Hey, wild thing, yeah

    Wild thing I think you move…
    I wanna know for sure, you all
    Come here now, sssock it to me one time
    You move me, look out

    Hey, wild thing
    You make my heart sing
    You make, oh, everything groovy, yeah
    Yeah wild thing
    Wild thing I think I love y…
    But I wanna know for sure
    (I wanna know for sure)
    Come here now, sock it to me one more time again
    Tok! I love you

    Wild thing you make my heart sing
    (Wild thing you make my heart sing)
    You make, oh, everything groovy
    (You make, oh, everything groovy)
    Yeah, yeah, yeah
    Wild thing
    (Wild thing)
    Hey
    Wild thing
    (Wild thing)
    Yeah, yeah
    Wild thing
    (Wild thing)

    Jimi: Thank you…thank you very much...yeah, thank you very much... thank you
    [with guitar also ‘saying’ ‘thank you’ repeatedly in between]

    1 Jimi’s first live recorded mention of the Vietnam war by name
    * Britain had started to pull it’s troops out of ADEN (Yemen) on 29 November, (it would have taken quite a while to ship them all home) and the crisis and withdrawal had been big news in the UK, the widely syndicated cinema news programme ‘British Pathé’ (many households in UK had no television yet) release, ‘Last Troops Withdraw’ aka ‘Last Guard’
    for 3 December 1967 was of the last troops leaving (the Commandos) by helicopter, heavily covered on TV. It was also a major news event around the World, although later overshadowed by Vietnam; especially interesting comment from an outraged UK viewer of the earlier broadcast of the BBC’s (hip!?) ‘Man Alive’ episode ‘What Is A Happening’ which featured the 29 April ‘14 Hour Technicolour Dream’ at Alexandra Palace: “I was utterly disgusted and I would pack the lot off to fight in ADEN” etc. etc


    Barbara Rubin, from “A P.S. to Christmas On Earth” (1966):

    so i shoot & shoot & shoot & shreak
    up over slow & fast down & often all the way around & rewound many times
    the subject, what else could it be, was all about cocks & cunts & fantasies
    that freely expressed our sexual needs & dreaming beliefs
    painted on their nude bodies
    (…)
    so i spent 3 months chopping the hours of film up
    into a basket
    and then toss and toss
    flip and toss
    and one by one
    Absently enchantedly Destined to splice it together
    and separate on to two different reels
    and then project one reel half the size
    inside the other reel full screen size
    and then i showed it
    and someone tells me, ‘my what a good editing job that is indeed!

    The film was projected onto the performing Velvet Underground as a part of Andy Warhol Up-Tight, an early version of Exploding Plastic Inevitable multimedia performance, in February 1966 at the Filmmaker’s Cinematheque, in March of the same year at Rutgers University, and in April at the renamed Exploding Plastic Inevitable performances at the Dom in Manhattan.

    Barbara Rubin (1945-1980) was a filmmaker, writer and scenester who started working for Jonas Mekas at the Filmmaker’s Cinematheque in 1963. This was the year she filmed Christmas On Earth in the Lower East Side apartment of Tony Conrad and John Cale at 56 Ludlow Street. This was also the future home of Sterling Morrison and Lou Reed, and where the first version of “All Tomorrow’s Parties” was recorded in the summer of 1965.
    Rubin introduced The Velvet Underground to Andy Warhol. A photograph exists of her filming The Velvet Underground performing at the Café Bizarre in December 1965. The footage she shot is lost. As a human link document, Rubin also introduced Bob Dylan to Allen Ginsberg, and according to John Cale, Edie Sedgwick to Andy Warhol. She left New York at the tail end of the 1960′s, became heavily involved in Orthodox Judaism, and died in childbirth in 1980 in France.
    After a handful of screenings in the mid- to late- 1960′s, Christmas On Earth remained unseen for years as per Rubin’s instructions for the film to be destroyed. Luckily, Mekas did not follow through on Rubin’s request, as she later changed her mind and allowed him to screen and distribute the film. Since 1983, it has been screened regularly, and is slowly but steadily taking its place in the canon of 1960′s underground films and cultural milestones that unraveled American censorship law and opened the field for artistic studies of sexual narratives.

    Arthur Rimbaud, ‘Morning’ from A Season in Hell:

    Hadn’t I once a youth that was lovely, heroic, fabulous, something to write down on pages of gold? – I was too lucky! Through what crime, by what fault did I deserve my present weakness? You who imagine that animals sob with sorrow, that the sick despair, that the dead have bad dreams, try now to relate my fall and my sleep. I can explain myself no better than the beggar with his endless Aves and Pater Nosters. I no longer know how to talk!
    And yet, today, I think I have finished this account of my Hell. And it was Hell; the old one, whose gates were opened by the Son of Man.
    From the same desert, toward the same dark sky, my tired eyes forever open on the silver star, forever; but the three wise men never stir, the Kings of life, the heart, the soul, the mind. When will we go, over mountains and shores, to hail the birth of new labor, new wisdom, the flight of tyrants and demons, the end of superstition, — to be the first to adore! — Christmas on earth! The song of the heavens, the marching of nations! We are slaves, let us not curse life!
    Last edited by stplsd; 03-03-18 at 04:58 AM.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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