It's lonely here in the BBS Hangout, So I'm posting my college paper.

Dude! you F-ing Rock!


I didnt read your paper, that is your professors job. but what a concept. I feel the obligation to start a thread now, just for conversation sake.

 

Nice read. What would you say was the overall class take on gender inequality? (there's a broad question). Non-issue?

 

I'm bored, so I'm going to post my sh!tty review of 'Exile on Main Street' from four years ago:

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The Rolling Stones seminal 1972 LP Exile On Main Street made wretched excess and strung-out weariness two valid modus operandi’s in the music world. This is Mick Jagger and Keith Richards’ finest hour. What it lacked in youthful exuberance it made up with a ‘been there done that’ ethos that rang from the opening riff.

The album was surrounded by myth and mystery. Did they really record the album on pirated electricity, after Richards’ south of France home had its power shut off? Recent interviews seem to suggest so. Was this really their delayed and inadvertent reaction to The Beatles’ Sergeant Pepper’s Lonely Hearts Club Band? Considering the fact that the band’s much-maligned 1967 effort Their Satanic Majesties Request came as a direct response to Sgt. Pepper, could this be the Stones’ very own White Album? Both are sprawling double albums built around sparse musical arrangements, and both come on the heels of earlier albums (The Beatles’ Revolver, and Sgt. Pepper, the Stones’ Beggar’s Banquet, and Let It Bleed) that laid the foundation for future brilliance.

“Rocks Off” kickstarts the double album and lays down the blueprint. Mick Jagger’s vocals are buried in the mix, letting him come over the speakers as a tired rock and roll God that can barely manage to make himself heard over the din of dueling guitars and a chugging rhythm section. Mick’s combination of paranoia, fatigue, and world-weariness is evident right away:

“I’m always hearing voices on the street/I want to shout by I can hardly speak
I’m zipping through the days at lightning speed
Plug in, flush out, and fire the ****ing feed
Heading for the overload/Splattered on a dusty road
Kick me like you’ve kicked before/I can’t even feel the pain no more
And I only get my rocks off when I’m dreaming/I only get my rocks off when I’m sleeping”

These are beaten men, but they ain’t down yet. They rock, but they roll too, and rolling wasn’t exactly a common attribute in the seventies. “Rip This Joint” follows, a tale of the road sang through the eyes of a man who has no time for anyone but himself.

“From San Jose down to Santa Fe/Kiss me quick baby, won’tcha make my day
Down to New Orleans with the Dixie Dean/Cross to Dallas, Texas with the Butter Queen
Wham, bam, Birmingham, Alabam’ don’t give a damn
Little Rock/fit to drop
Ah, let it rock.”

This track is further proof that, along with Bruce Springsteen and his E Street Band, the Stones are the only band that have been able to make rock and roll saxophone work. Everything else is Eddie Money.

“Shake Your Hips,” a Slim Harpo (“King Bee”) tune, gives the pelvic thrust some meaning. This isn’t the Stones’ first admission of blues inspiration. The band got it’s start covering tunes by Jimmy Reed, Howlin’ Wolf, Bo Diddley, Chuck Berry, and, later, blues martyr Robert Johnson. Willie Dixon’s style of Chicago blues songwriting was the band’s early blueprint, and their 1966 album Got Live If You Want It is a take off on Slim Harpo’s classic “Got Love If You Want It.”

“Casino Boogie” lets us know that Charlie Watts was the smoothest drummer of the rock and roll era. And “Tumbling Dice,” which ends the first side, makes you feel like dropping to your knees and shouting:

“I BELIEVE! GOOD GOD ALMIGHTY! I BELIEVE!”

This is the way it should be done. Guitar that slinks up and down your spine, background vocals that for some reason force you to crave some honey, and ole Mick tellin’ us that he’s got to move on:

“‘Cause all you women is low down gamblers
Cheatin’ like I don’t know how
But baby, baby, there’s a fever in the funk house now
This low down b****ing got my poor feet-a itching
You know you know the deuce is still wild
But baby, I can’t stay, you got to roll me
And call me the tumbling dice.”

Is this macho posturing? Misogynist pigeonholing? The bravado of a superstar made insecure by his own failure to create meaningful and lasting relationships with a member of the opposite sex? **** that! This is Mick an’ Keef, they make us believe in whatever they feel like preaching about! The last of the outlaws, dirty womanizers who need a shave and a new change of clothes but have to “keep on rollin.’” Just like their namesake, a Muddy Waters song about a man who can’t stay still. And this is the fifth song!

As the 1970’s dawned, starting with Mick’s marriage to Bianca Jagger and Keith’s introduction to hard drugs, the relationship between the two splintered. Mick became a man about town, living the life of a superstar, frequenting the talk shows and getting his name in the papers. Keith lived a degenerate life; paling with former Flying Burrito Brother Gram Parsons, losing his teeth, and sinking into a heroin-fueled haze. Consequently, the music suffered, with two disparate styles of living failing to mesh in the studio and producing several mediocre efforts until 1979’s Some Girls. Exile, in time, came to be regarded as the band’s perfect synthesis.

The second side (back when we went vinyl) starts off with “Sweet Virginia,” another tale straight out of the eyes of a band that has been on the road too damn long. Gotta get home soon, to “scrape the **** right off my shoes.” Until, of course, they realize that they have no home (England is out of the picture because of tax restrictions, and we know about Richards’ home in France). Listen to “Let Me Follow You Down,” the next track:

“Well the ballrooms and smelly bordellos/and dressing rooms filled with parasites
On stage the band s’got problems/They’re a bag of nerves on the first night
He ain’t tied down to no hometown/yeah, and he thought he was reckless
You think he’s bad/He thinks you’re mad
And the guitar player gets reckless
Just as long as the guitar plays
Let it steal your heart away.”

Now which one of the “Jagger/Richards” songwriting partnership scrawled this one down? Jagger? The Mick who wants to be known as “the tumbling dice?” Or Keith? The same Keith who was years into a heroin addiction that almost cost his life as well as his reputation. Was it Keef crying out for attention, even help? Or Jagger, giving shots to the more self-destructive half of the Glimmer Twins?

Both “Sweet Black Angel” and “Loving Cup” benefit greatly from the Stones’ interest in forms of black music other than rhythm and blues. The former finds its roots in African tribal rhythms, the latter in gospel piano (courtesy of Nicky Hopkins, God bless ‘im). Keith’s convincing outlaw anthem about the pleasures of a simple man, “Happy,” rocks the house. “Turd On the Run” is allowed to hit fourth gear due to the presence of Jagger’s blues harp, the one that Keith persistently begs him to play. “I lost a lot of love over you,” he chides to an ungrateful one.

“Ventilator Blues” gets even more low down. Mick Taylor, the second half of the guitar duo, makes his bottlenecked-presence felt here. “I Just Want To See His Face,” is nice, though the music’ll scare the crap out of you. Set to an ethereally percussive sway, Jagger tells us that if you “let the music relax your mind, you won’t want to walk and talk about Jesus, you’ll just want to see His face.” And, with “Let It Loose,” Exile’s mantra repeats once more: Don’t ever let your guard down, no matter how tired you are, or else they’ll eat you alive.

“Stop Breaking Down,” a Robert Johnson tune from the 1920’s, is listed as ‘Traditional, arranged by Jagger/Richards’ to allow the Glimmer Twins to collect the necessary royalties. This was not unusual, Led Zeppelin rearranged several Robert Johnson songs (“Preachin’ Blues,” “Terrapline Blues,” “Traveling Riverside Blues,” and “Me and the Devil Blues”) under their own songwriting titles to sell in the millions. At the same time they were considered desecrators of the Johnson flame, after John Hammond Jr. and Eric Clapton had given Johnson due credit after covering his tunes.

Still, while such trickery might seem downright blasphemous for any other band on earth, the Stones can get away with it because it comes out sounding so damn good. The sound is the same; though the acoustic instruments are merely switched for plugged-in Telecasters, plus de riguer bass and drums, the feel is still there. When Mick snarls “I love my baby ninety nine degrees, but that mama got a pistol, laid it down on me,” it hits you with the same force as Johnson’s pre-World War II version. That always seems to happen, doesn’t it? They know exactly what they’re doing.

This is a reoccurring theme. The Rolling Stones aren’t breaking any new ground with Exile On Main Street, the musical basis and lyrical bent had been in place since 1968’s Beggars Banquet, yet Exile is considered by many to be the definitive rock and roll album. What they had done was perfect their craft, refine their game, and lay out eighteen songs worth of it. This was a landmark, done without putting french horns next to electric guitars, without suggestive lyrics bent on shocking your parents, and without playing by someone else’s rules. If Sergeant Pepper’s Lonely Hearts Club Band gave rock and roll legitimacy, then Exile On Main Street threw it right back in the gutter where it belonged.

“Shine A Light” and “Soul Survivor” seem to perfectly encapsulate the two conflicting ways of thinking for the Stones, circa 1972. The former is made heavenly by Billy Preston’s dueling keyboards (piano and overdubbed organ), and the delicate presence of the Blackbirds on background vocals. Jagger swoops down from the clouds above in time to rescue his own angel in the gutter:

“When you're drunk in the alley, baby, with your clothes all torn
And your late night friends leave you in the cold gray dawn.
Just seemed too many flies on you, I just can't brush them off.
May the good Lord shine a light on you,
Make every song you sing your favorite tune.
May the good Lord shine a light on you,
Warm like the evening sun.”

Then comes Keith’s “Soul Survivor,” with his descending chord pattern and “I’m going to hell” ethos:

“Running right on the rocks/I've taken all of the knocks.
You ain't giving me no quarter/I'd rather drink sea water,
I wish I'd never had brought you/It's gonna be the death of me
Soul survivor, soul survivor/Gonna be the death of me,
It's gonna be the death of me.”

And with that the album ends.

 

I want to be bored with Latin American and Caribbean babes...so, let me translate your paper to Spanish:


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Memorias de un Cajun Me excitaron ciertamente para oír cuando el jefe del departamento de la película me dijo sobre el nuevo curso que era ofrecido, un curso interdisciplinario llamado spanish Women en literatura y película. Necesité algunos créditos de la película, y en el mismo tiempo, necesité un curso que satisfizo el requisito ge'nero-basado del pluralism y de la diversidad aquí en el cazador. Debo admitir que era el entrar nervioso ; Lo sabía cubriría muchos genres, incluyendo los estudios de los estudios del género, de la película y de la literatura, todo el rato basado en la lengua española. El primer día de clases confirmó mis suspicacias: éste iba a ser un nuevo experimento en el cazador y estaba alegre ser una parte de ella. Comenzaré diciendo que no hablo español. Irónico, crecí para arriba en Houston, Tejas, donde hay una comunidad hispánica próspera. Viví en Austin, frecuenté San Antonio, muestreado muchos platos de "Tex-Mex", ahora escuchados una cierta música de Tejano cada y entonces, entonces finalmente embaló mis bolsos para New York City. ¿Dónde ahora vivo? Ningunos con excepción de Harlem español de Manhattan, si no conocidos como EL Barrio. La gente de todas las culturas comparte a nuestra comunidad: Puerto Ricans, Dominicans, mejicano y americanos del sur, Haitian, jamaicano, europeo etcétera. Pero el sabor español todavía prospera. Negocié mi Tex-Mex para más tradicionalmente el cuisine español, y cuando giro la radio yo oigo Salsa más bien que Tejano. Con todo no puedo conjugar una oración simple en la lengua española. Sin embargo, el minuto que comencé a leer "como el agua para el chocolate," yo comenzó a hacer conexiones mis el propios más allá de, recordando Tejas del sur y las ciudades de la frontera con México. Sentía el discurso cómodo en clase sobre el libro, e hizo mi transición en la clase más fácil mientras que progresó el semestre. Comencé a sentir mi lugar en la clase, y la acepté. También hice conexiones a mi propia madre, que era la más joven de cuatro muchachas en una familia de New Orleans que viene de un fondo francés y alemán de Cajun. Tan aquí estoy, un muchacho meridional que familia ha estado literalmente aquí desde 1724, y sentía hablar perfectamente fino con primero y la segunda generación Dominicans, Puerto Ricans, Peruvians, y el resto de gente maravillosa que compuso nuestra clase. Gocé del formato en el cual saltamos a partir de una perspectiva cultural al siguiente, repasando a mujeres del español y de Latina dentro de la historia y del contexto de su propio país. Mientras que viajamos el mundo de México a Guatemala, la Argentina, Cuba, alrededor del Caribe y de la parte posteriora, aprendí sobre cada cultura y su significación en historia. Vi las diferencias entre los papeles que las mujeres desempeñan en su cultura respectiva, y dibujé fácilmente comparaciones a las luchas en las cuales todas estas mujeres van a través a crecer como seres humanos. El material fue presentado claramente todo el semestre de largo, y las conferencias se abrieron los ojos en ciertas ediciones, tales como sexuality de las mujeres e identidad. La clase era más biográfica e histórica que esperé. Qué significo por esto es, como comandante de la película, yo nos sospechó estaría defendiendo más historias de la ficción. Pero ahora que la clase encima, gocé del equilibrio entre las películas documentales y las películas de la característica, combinadas con las novelas y una cierta gran poesía. El curso era haber redondeado muy bien, y fui satisfecho con lo que he absorbido todo el semestre de largo. Por supuesto, habría gozado el ver de la "central hago Brasil (estación central)", por director Walter Salles (1998) o" Y Tu Mama Tambien "por director Alfonso Cauron (2001). Aunque ni uno ni otro fue dirigido o escrito por una hembra, los focos de cada historia en un carácter femenino fuerte. la "estación central" cuenta la historia de una mujer apacible, maternal que los befriends un muchacho joven que perdió a su propia madre. Junto, buscan para a muchachos estranged a padre. Aunque no la he visto, la oigo soy poético y hermoso. "Y Tu Mama Tambien" es el venir de la historia de la edad de dos hermanos que emprendan un viaje juntos cuando satisfacen a más vieja mujer magnífica. Sexuality se explora a través de la película, y los hombres jóvenes aprenden una cosa o dos sobre las mujeres y ellos mismos. Todo el semestre, gocé el hacer de realizaciones y de descubrimientos. Como stu

 

OK...here you go:

please splice at your bored and leisurely pleasure.

and I can't believe you have no trade rumor that never happened....yeah, just use my late night posts for your own benefit why don't you, without offering me threads anything...what is this bored world coming to.