View allAll Photos Tagged GeIL
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Was ein geiles Festival. Die hier gezeigt Zaunkunst wurde zu beiden Seiten noch mit naturgetreuen Abbildungen des gleichen verziert und waren die Hauptattraktion auf unserem Campingplatz C1 :D Denke in den nächsten Tagen werden hier noch ein paar andere "Ich pose mit meinene Freunden vor einem Bierdosenpenis"-Fotos iwo auf Flickr auftauchen :D
Genauso werden auch hier in den nächsten Tage/Stunden ein paar mehr Bilder erscheinen, wenn ich das Mammutprojekt mal komplett gesichtet habe..
Vielen Dank nochmal an Fabian T., der es mit ermöglicht hat, die Kamera mit aufs Festivalgelände zu nehmen :)
PS: Hier schon das erste Bild von anderen Festivalbesuchern :D
Hier ein Bild ausm StudiVZ
Liberalere Bierdosenzaunkunst
The J. Geils Band / "Live" Full House
Side one:
- "First I Look at the Purse" (Robert Rogers, Smokey Robinson) – 3:56
- "Homework" (Dave Clark, Al Perkins, Otis Rush) – 2:34
- "Pack Fair and Square" (Walter Travis Price) – 1:41
- "Whammer Jammer" (Juke Joint Jimmy) – 2:21
- "Hard Drivin' Man" (J. Geils, Peter Wolf) – 4:23
Side two:
- "Serves You Right to Suffer" (John Lee Hooker) – 9:32
- "Cruisin' for a Love" (Juke Joint Jimmy) – 3:32
- "Looking for a Love" (J. W. Alexander, Zelda Samuels) – 4:55
Peter Wolf - lead vocals
J. Geils - guitar
Magic Dick - harmonica
Seth Justman - keyboards
Danny Klein - bass
Stephen Bladd - drums, vocals
Recorded live at The Cinderella Ballroom, Detroit (April 21-22, 1972)
sleeve design: cover designed by Peter Wolf & Stephen Bladd
Label: Atlantic Records / 1972
ex Vinyl-Collection MTP
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Moped Habicht ....frisiert ....rechts Star.... gut eingefahren......gerade Strecke....75 km/h!!!
Top!...SIMSON.
rechtes Moped "Star" lebt immer noch!!!!
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
On Tour im Dreispitz Areal, Basel, mit der Lokalen Flickr Truppe!
Camera: Mamiya 645 1000s
Film: Kodak TMax 100
Developer: Kodak TMax
Visit me on: Facebook Page || Website
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
The Rolling Stones
Memphis, TN
July 4, 1975
Memorial Stadium / Liberty Bowl
Opening performers:
Charlie Daniels Band
J Geils Band
The Meters
Furry Lewis
crowd: ~50,000
Rolling Stones' set list:
Honky Tonk Woman
All Down The Line
If You Can't Rock Me/Get Off Of My Cloud
Star Star
Gimmie Shelter
Ain't Too Proud To Beg
You Got To Move
You Can't Always Get What You Want
Happy
Tumbling Dice
It's Only Rock And Roll
Band Intros
Doo Doo Doo Doo Doo (Heartbreaker)
Fingerprint File
Angie
Wild Horses
That's Life (Billy Preston)
Outta Space (Billy Preston)
Brown Sugar
Midnight Rambler
Rip This Joint
Street Fighting Man
Jumping Jack Flash
video from 1975 Tour - "Midnight Rambler" : www.youtube.com/watch?v=VvjhdBlvEoo
The Rolling Stones played the Liberty Bowl, then known as Memphis Memorial Stadium on July 4, 1975. It was a wild time that remains infamous in Memphis concert lore, a brutally hot show day that found many concertgoers stripped to the buff, a time when marijuana consumption was so conspicuous that hemp plants could be seen growing out of the stadium turf a few weeks after the concert.
Today, many of those fans are respectable, fully dressed adults who'll be bringing their children to Tuesday's concert. But it was a different world in 1975 and, not surprisingly, Kelley had a rough time securing the date, as some in the city felt a rock and roll show on Independence Day was a form of treason. But while others had plans for patriotic fireworks displays to begin the Bicentennial year, Kelley had secured his bid in first.
Still, the holiday did trip him up a bit, as a few days before the show, the Stones decided they wanted to do something special for the occasion. "So we got this elephant call," Kelley said. "They said that on the day we took the colonies back from them they wanted to ride onstage on elephants."
The Stones' production team had scoured the country, securing elephants from a Ringling Brothers troupe in Minnesota. "That afternoon or the next morning, eight elephants come sauntering into the stadium grounds," Kelley said, still sounding a bit exasperated. "So not only do we have elephants for them to ride onstage, but we have elephants to take care of. Three days before the show, these elephants are hanging around dumping on everything."
But the biggest problem was figuring out how to get them onstage. Every time they tried to get the lead elephant onstage, the wooden ramps were turned into piles of kindling. They reinforced the ramps again and again. "We had that ramp at least 2-, 2 1/2-feet thick and every elephant would go right through." The solution, so they thought, was to use a swing like those used to maneuver large boats into the water and simply hoist the elephants onstage. The stage was rebuilt on show day, using more than 20 carpenters (all working at inflated holiday rates, Kelley recalled), and the first elephant was placed in the boat swing. "This elephant got about six inches off the ground and he starts freaking because he doesn't like being a boat," Kelley said. The pachyderm was tranquilized and slowly raised up to the stage, which had earlier withstood rigorous weight tests with heavy machinery. "We took this elephant, swung him around, put him on the stage," Kelley said, pausing for effect before pounding his fist on his desk. "Right through the . . . stage. That was it. That's when I said, 'Enough, it's not gonna work.' "
But the Stones' American manager, Peter Rudge, refused to tell Mick Jagger. That was Kelley's job, he insisted. Jagger arrived the day of the show by private plane and when he got to the stadium, Kelley, who was being held in place by a terrified Rudge, approached the head Stone. "I said, 'Mick, the elephant thing didn't work out. Nothing we can do will hold them.' And he just said, 'Oh (expletive) it, then. Where's me makeup man?' That classic line, and he just walked right into the dressing room. We spent $45,000 trying to make a stage that would be able to hold elephants."
Furry Lewis did make it to the stage, but just barely. Lewis booster Knox Phillips had landed the octogenarian Memphis bluesman the gig of playing for the Stones when they arrived at Memphis Aero a couple days earlier. "Furry set up on whisky cases on the runway playing, just as they got off and everybody else walked by except Keith (Richards) and (Ron) Wood," said Memphis musician-producer Jim Dickinson, a longtime friend of the Stones who played piano on the "Sticky Fingers" sessions that produced Wild Horses. ''And Keith literally sat at Furry's feet." The band decided they wanted Lewis to open for them, but Kelley, thinking that the J. Geils Band, the Meters and the Charlie Daniels Band were enough, figured they'd forget about Lewis, according to Phillips. But as Knox enjoyed a Fourth of July at his father Sam's house, "I get an emergency call and Bob says, 'Knox, the Rolling Stones will not go on unless you bring Furry out here.' " Phillips called Lewis and told him he'd be picked up at his house and Kelley dispatched a limousine and two motorcycle officers to bring Lewis and his girlfriend Fredonia to the show. "I was there when he got there," Phillips said. Everybody was very kind to Furry, very respectful. But it was really surreal. Here he was, playing guitar, this old man standing there with Mick Jagger in major-league makeup."
Phillips said Lewis, who died in 1981 at 88, was paid $1,000 for playing onstage in front of the 51,000 Rolling Stones fans, the biggest crowd of the bluesman's lengthy career. But when he was done, Lewis was ready to leave. ''Fredonia said, 'Don't you want to see the Rolling Stones? They're the biggest rock and roll band in the world.' And he said, 'I don't care nothing about it.' " But after Lewis left the stage, the crowd still had to wait for the band. ''The Stones waited until sundown to come on," recalled Walter Dawson, former music critic for The Commercial Appeal and now managing editor of the Monterey County Herald. "There was a long gap before the Stones. People were hot and things were getting a little tense. There was no trouble, but things were getting a little tense." Kelley says Jagger delayed the show because he'd taken a private plane to visit a girlfriend in Virginia. "He delayed the show about two hours," Kelley said. "And the crowd was not getting unruly, but it was an extremely hot day and they were getting very, very tired. There was a huge amount of tension. And they came on about two, two-and-a-half hours late, and Jagger just pranced onstage with a parasol, like absolutely nothing was wrong and just said some snide remark to Memphis and then the band proceeded . . . and it was like nothing ever happened. The show was unbelievable."
The Stones made $275,000 from the Memphis date, which Kelley recalls paying in cash (he also bought his house shortly after, paying for it, he said, mostly in cash). Memphis did well, also, stadium manager Nat Baxter estimating the city earned $112,000 in rental, parking and concessions.
from a '93 Commercial Appeal article:
"M. N. 'Nat' Baxter has spent much of his adult life putting out fires, but he's no firefighter. A quarter century as a Memphis Park Commission administrator provided frequent opportunities.
There was the time in 1975 when Mick Jagger and the Rolling Stones wanted to begin a concert in Liberty Bowl Memorial Stadium by riding five elephants onto the stage.
'After (promoter) Bob Kelley had brought the elephants from Virginia or someplace, Jagger decided they didn't need the elephants,' said Baxter, adding the rock concert was wild enough without elephants.
Baxter, 69, who retired Friday as a consultant for the Coca-Cola-Dr Pepper Bottling Co., supervised construction of the stage.
The wildest time for Baxter was the July 4, 1975 concert with the Rolling Stones, which attracted about 51,000.
An estimated 12,000 jammed onto the playing field of the stadium, sitting for hours in 95-degree heat. 'People were pouring in here two days before the concert and sleeping over in the cattle barns (at the fairgrounds) and in cars and trucks,' Baxter said. 'On the day of the concert, we ran out of concessions and ice, and we ended up turning on water hoses to let (spectators) spray each other. . . . The next morning we went down to the field and you wouldn't believe some of the things we found - shoes, glasses, bras, panties. It took us three days to clean up the field.' "
Another story on the concert: www.goner-records.com/board/index.php?action=vthread&... (oops, as of 2023 looks like the goner message board is gone and that page is not archived. Should have saved the story elsewhere)
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.
Foto: Johannes Dietschi
© Studio Publikation, ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion.