Read Book Pete Townshend: Who I Am Kindle

Total Page:16

File Type:pdf, Size:1020Kb

Read Book Pete Townshend: Who I Am Kindle PETE TOWNSHEND: WHO I AM PDF, EPUB, EBOOK Pete Townshend | 544 pages | 11 Oct 2012 | HarperCollins Publishers | 9780007466047 | English | London, United Kingdom Review: Pete Townshend memoir 'Who I Am' gloomy yet addictive Tags: George Harrison , Pete Townshend. Now he wants to keep his beliefs, about Jesus at least, to himself. This, of course, contradicts the bible. He used to talk about some guru called Meher Baba. Meher Baba was a Sufi mystic. It is a religion more related to Islam and Zoroastrianism than Hinduism. I had a seven hour conversation with a woman who was an Iranian Muslim mystic. It is very different than other forms of Islam. Townshend turned to this after a several day long bad trip on STP — in which he had hellish outer body experiences. He sad that after this he went looking for answers. I think there is something to it in mind training because his music changed a lot after this and The Who became successful — when they were bankrupt following their first three albums. It may have caused him to become demon possessed too. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Brent L. If Tommy was a positive interpretation of a negative memory, in , negative turned nightmare when Townshend was linked to an FBI investigation into online child pornography. He says he was doing research: "My plan was to run a story on my website illustrating that online banks, browser companies and big-time pornographers were all complicit in taking money for indecent imagery of children. Instead, I have relied on my friends and the general public to speak for me — until now. It's a horrible way to cap a legendary life, and yet if anyone was prepared for a depressing denouement, it's Townshend. After all, at the funeral of the destructive Moon, who died in at the age of 32, Daltrey was a mess; Stones drummer Charlie Watts was, too. As for Townshend: "My eyes were hard and dry. Townshend, it should be noted, never cries for himself either. Not through personal or professional pain, not through the muddying of his name. In the end, he reasons, he has been saved time and again by that windmilling arm, by that smashed guitar, by the songwriting demons in his head. In the end, Pete Townshend both takes, and offers, good advice: "If in doubt, just play. Subscribe Manage my subscription Activate my subscription Log in Log out. Much of what I read was much the same as the tales of my other pop heroes. I did learn about his great love for and understanding of the technical chores and challanges of recording. Also to be discovered is Pete's need to use 'big words' that chased me to seek the assistance of Webster sometimes three times on one page. Yes, I do feel mixed. I am both annoyed and challenged to better my own vocabulary It seems somehow appropriate to draw Much of what I read was much the same as the tales of my other pop heroes. It seems somehow appropriate to draw parallels of Pete and me. I am a generation younger than the bands of the British Invasion, but yet, I wanted the life that I believed they enjoyed. I had many joyful experiences in the garage band days. At some point, before it got to be too late, I came to understand that I wanted a settled family life, not the gypsy life of a touring band. And, I also admitted that I was 'pretty good' It is my belief that Pete and his peers were captives of the success they achieved. They coped by whatever means necessary I've got a head full of hair I think Pete is going to be okay Jun 18, Deborah Stevenson rated it it was ok. Painful read. Thought I would never get thru it! Was very highly reviewed which led me to choosing it for my book club. Not a Who fan and found he went on endlessly about recording each and every album with details I am sure even fans would find too much. In one breath he talked of no money, in the next bought a new house or a new boat. Would not recommend! Mar 11, Kirk rated it liked it Recommends it for: my generation. Shelves: nonfiction , music , memoir. Every year is the same And I feel it again I'm a loser, no chance to win Leaves start falling Comedown is calling Loneliness starts sinking in But I'm one I remember reading a Rolling Stone interview in the student bookstore of my university some eons ago, trying not to laugh too conspicuously while Pete held forth on various peers. The internets kindly allowed me to track it down and read it again. Kurt Loder was the interviewer, he seemed to suss out that Pete was in an unguarded, expansive mood, and dangled enough bait until Pete took it and went to town. It may be the best thing he's done in a while — it sounds real nice. KL: Well. PT: No, he never did. He's got a couple of years on me, but it could be ten years, we're so different. Whereas I don't think Little Richard mattered, you know? But one of the reasons I'm excited about Paul's latest project is because it's him and George Martin working together again; because he's making a conscious effort to really get into serious record-making, rather than pissin' about in home studios — which I, for one, think he's terrible at. When "Ebony and Ivory" came out, everybody was saying, "Christ, have you heard it? It's terrible. I thought, "That's it, that's McCartney! It's wonderful! It's gauche! It's Paul McCartney! I've always said that I've never been a big fan of the Beatles: to me rock was the Stones, and before that Chuck Berry, and before that, maybe a few people who lived in fields in Louisiana. But I can't really include the Beatles in that. The Beatles were over with Herman's Hermits. Because they were such a big pop phenomenon. I've always enjoyed some of their stuff as light music, with occasional masterpieces thrown in. But with a lot of their things, you can't dig very deep. Either you come up against Lennon's deliberately evading what it is that he's trying to say, so it's inscrutable, or Paul McCartney's self-imposed shallowness, because he sees music as being. I mean, he's a great believer in pop music, I think. But I wonder whether McCartney, perhaps, rests a little bit on the laurels of the Beatles. PT: Absolutely. I remember hearing "S. But it was too late, because I was already transported by it. I just thought it was such a great sound, you know — great bass drum and the whole thing. They make great records. Also, what's quite interesting is that Abba was one of the first big, international bands to actually deal with sort of middle-aged problems in their songwriting. And it was quite obviously what was going on among them — that song, "Knowing Me, Knowing You. Anyway, reading the entire interview there in the student bookstore was hilarious and exhilarating. Partly because I got the joke. I intuited that this was not all to be taken at face value various other interviews thru the years would confirm that Pete isn't actually so contemptuous of the Beatles as he was letting on , but it was even funnier knowing it would be taken that way by many and inspire a plethora of angry letters from readers in the next Rolling Stone. Which it did. The Abba bit was just icing on the cake, as I have always unapologetically liked and defended Abba. So the short version of my 3-star rating for Who I Am is that the above isn't the Pete we get in this book. But he eases up a bit when he surveys the musical landscape, very much in elder statesman mode. Pete mentions this with a completely straight face, offers no comment whatsoever. I mean, can you imagine the Pete referenced above being served such a factoid and not grabbing it with both hands? The interview would have expanded three more pages on that alone. Or, if instead of Moon it had been Roger Daltry who had an untimely demise and had been replaced with, say, Billy Joel. One problem is there seems to be too much effort to be comprehensive, to cover everything. Answer: a whole lot less than this. There are various boats Pete bought that get more ink than his all-too-brief comments on The Who By Numbers , an underrated album I would have loved to read much more about. Which, yeah ok, but…really? However, there is a lot to like. The material on the inner workings of The Who, how these four personalities meshed, and often clashed, is generous and fascinating. Here, there is no sense of papering over past conflict. Each of them at different times comes off as petty or spiteful or selfish, except possibly John Entwistle, who at worst is sometimes misguided but appears to have been as true and steadfast a friend as Pete ever had, and he says as much.
Recommended publications
  • My Generation
    im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 01805 - 060347 90476 [email protected] “Hope I die before I get old…” The Who – My Generation Das Frontcover von My Generation, dem Debütalbum von The Who, steht für eine ganz Ära, genauso wie die Musik darauf. Auf dem Foto trägt John Entwistle lässig eine Jacke über der Schulter, die aus einem Union Jack gefertigt wurde. Heutzutage findet man dieses Symbol auf Kaffeetassen, Kissenbezügen, T-Shirts und diversen anderen Kleidungsstücken. Aber im Dezember 1965, als My Generation herauskam, weigerten sich die meisten Schneider auf der Savile Row, den Union Jack in eine Jacke umzunähen. “Sie dachten, sie kämen dafür ins Gefängnis”, erzählte Roger Daltrey. Die abweisende Attitüde von The Who und die dreiste Verwendung der Nationalflagge waren die beste Werbung für My Generation, die man sich vorstellen konnte. Das Album klingt, wie es aussieht: kurz angebunden, auf Konfrontation aus und voller jungendlichem Zorn und Energie. Da überrascht es kaum, dass der Entstehungsprozess von Konflikten durchzogen war. My Generation war das Ergebnis eines mentalen Armdrückens – zwischen mutigen, neuen Ideen und Popmusiktradition. Als die Platte endlich in die Läden kam, war der Union Jack der Band zerrissen und blutverschmiert – als hätte er zwei Weltkriege mitgemacht. Das Album wurde von Shel Talmy produziert und die Erstveröffentlichung in Großbritannien im Dezember 1965 lief über Brunswick Records. In den USA kam es im April 1966 mit dem Titel ‘The Who Sings My Generation’ heraus. Auf der britischen Version findet sich das legendäre, von Decca Records Fotograf David Wedgbury in den Surrey Docks im Südosten London gemachte Foto, auf dem die vier Musiker alle in die über ihnen befindliche Linse schauen – eine Pose, die auch Jahre später noch von vielen Bands kopiert wurde.
    [Show full text]
  • Dec. 22, 2015 Snd. Tech. Album Arch
    SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London.
    [Show full text]
  • Vinyl Theory
    Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3.
    [Show full text]
  • Glenn Gould in the Style of Thuggish Lunatics, Smashing Were a Series of Uneven Releases, Long Hia
    TEACHING WITH IN TUNE I C O N GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG WHO: Rock quartet from London, England WHAT: One of the essential acts of the original 1960s British Invasion; loud, lyrical, and ambitious WHEN: Formed in 1964, still active in 2017, even after losing two key members and matured into one of the towering songwriters of the time. With their 1969 “rock opera” Tommy, the Who showed they could make a conceptually uni- BY PETER GERSTENZANG ed album that brought in elements of classical music ICONOGRAPHY and told a story—a strange ICON GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG tale about a deaf, dumb, The Who and blind boy who mirac- Singer and ulously regains his senses GREAT MUSICIANS IN HISTORY WHO: OR THE FIRST 10 years of their existence, the Who and becomes a prophet—while never WHO: Classical pianist ICON electric guitar player A gospel and thrillingly stretched the boundaries of rock, becoming sounding pretentious. WHAT: A brilliant, if eccentric, WHAT: The music only improved from there musical interpreter who R&B pioneer who may one of the most important and in uential British bands redefi ned how a classical just be the mother of F with the 1971 masterpiece Who’s Next and HE ARGUMENT rock music musician could play, record, Born Mar. 20, of the ’60s, along with the Beatles and the Rolling Stones. a second rock opera, 1973’sQuadrophenia, act, and look about who was WHEN: which told stories of both the mods and BY PETER GERSTENZANG 1915, Cotton Plant, After a brief stint as the Detours, gui- WHEN: Born Sept.
    [Show full text]
  • Download Pete Townshend: Who I Am Free Ebook
    PETE TOWNSHEND: WHO I AM DOWNLOAD FREE BOOK Pete Townshend | 544 pages | 11 Oct 2012 | HarperCollins Publishers | 9780007466047 | English | London, United Kingdom Smashed Guitars and Other Damage The book details Townshend's work as an editor at London publisher Faber and Fabersome of the literary personalities he worked with, and some the books he commissioned. View 1 comment. Townshend's style of guitar playing vastly influenced mine as I developed it as well. He claims to have accidentally gone to a child porn web page as part of his ongoing "campaign" against child sex abuse, but never mentions any such campaign before this; in fact, I found nothing online about him being involved in the issue at all prior to the charge. The material on the inner workings of The Who, how these four personalities meshed, and often clashed, is generous and fascinating. But it was too late, because I was already transported by it. He does say he regrets having continued the tour and playing the Pete Townshend: Who I am next night. That being said, this is an honest memoir from a person who knew at a certain point in his young life, that rock and roll music would be his future, even if he had to destroy it. Retrieved 4 January Pete wrote of the party and Roger et al: We saw fighting aplenty, and I have Roger to thank for the fact that no one ever laid a hand on me. Hardcoverpages. View all 6 comments. Thought I would never get thru it! The Pete Townshend: Who I am Crisis less than two years before had proved that.
    [Show full text]
  • “Quiet Please, It's a Bloody Opera”!
    UNIVERSITETET I OSLO “Quiet Please, it’s a bloody opera”! How is Tommy a part of the Opera History? Martin Nordahl Andersen [27.10.11] A theatre/performance/popular musicology master thesis on the rock opera Tommy by The Who ”Quiet please, it’s a bloody opera!” Martin Nordahl Andersen 2011 “Quiet please, it’s a bloody opera!” How is Tommy part of the Opera History? Print: Reprosentralen, University of Oslo All photos by Ross Halfin © All photos used with written permission. 1 ”Quiet please, it’s a bloody opera!” Aknowledgements I would like to thank my supervisors Ståle Wikshåland and Stan Hawkins for superb support and patience during the three years it took me to get my head around to finally finish this thesis. Thank you both for not giving up on me even when things were moving very slow. I am especially thankful for your support in my work in the combination of popular music/performance studies. A big thank you goes to Siren Leirvåg for guidance in the literature of theatre studies. Everybody at the Institute of Music at UiO for helping me when I came back after my student hiatus in 2007. I cannot over-exaggerate my gratitude towards Rob Lee, webmaster at www.thewho.com for helping me with finding important information on that site and his attempts at getting me an interview with one of the boys. The work being done on that site is fantastic. Also, a big thank you to my fellow Who fans. Discussing Who with you makes liking the band more fun.
    [Show full text]
  • FRIQB ALBUM REPORT March 20, 1981 BILL HARD, Editor
    ¡ I •4:1 1tt ,. KAL RUDMAN PUBLISHER THE FRIDAY MORNING MJARTERBACKTN PROGRAMMING GUIDE CHERRY HILL PLAZA • 1415 E. MARLTON PIKE (Suite 505) e CHERRY HILL NEW JERSEY 08034 • (609) 428-8648 FRIQB ALBUM REPORT March 20, 1981 BILL HARD, Editor Easy Choices SANTANA, "ZEBOP", COLUMBIA You'd have to be on a permanent promo lunch to miss all the radio raves on the advance 12", and that doesn't even have the best tracks!! I court a total of 59 adds on the 12" and once the "Primera Invasion/Searchin'" segue hits radio, all cf that 12" play will convert to Lp-presto---Instant Chart Mauler. WYNF's Nick Van Cleve nails it with, "I echo all comments that refer back to the energy and excitement Carloi-Tid on the rAbraxis' album. This sucker is a smash and will be one of the biggest recordsfor album rock this year. The 'Searchin" track is far and away my pick for the strongest." "CONCERTS FOR THE PEOPLE OF KAMPUCHEA", ATLANTIC Alan WoTmark played me the RockpiTe and Wings/Rockestra tracks shortly after Christmas, and lo and behold in slides twin Lp package at deadline. I really haven't had a chance to live with the record, but with a quick skip through I recommend "Sister Disco" from the Who, "The Wait" and "Tatooed Love Boys" from the Pretenders, "Crawling From The Wreckage" and "Little Sister" from Rockpile (the Robert Plant vocals will drive 'ern nuts), "Now I'm Here' from Queen, and all of side 4---as Paul clearly outclasses everyone. In fact, I'll wager side 4 gets more play than all others put together.
    [Show full text]
  • Guitar TAB Anthology
    Guitar TAB Anthology Produced by Alfred Music P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com Printed in USA. No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, stored in a retrieval system, or transmitted by any means without written permission from the publisher. In order to comply with copyright laws, please apply for such written permission and/or license by contacting the publisher at alfred.com/permissions. ISBN-10: 1-4706-1100-7 ISBN-13: 978-1-4706-1100-2 Cover photo used by permission Album art: The Who Sings My Generation © 1965 MCA Records • A Quick One © 1966 MCA Records • The Who Sell Out © 1967 MCA Records • Tommy © 1969 MCA Records • Live at Leeds © 1970 MCA Records • Who’s Next © 1971 MCA Records • Meaty Beaty Big and Bouncy © 1971 MCA International • Quadrophenia © 1973 MCA Records • The Who by Numbers © 1975 MCA Records • Who Are You © 1978 MCA Records • Face Dances © 1981 MCA Records • It’s Hard © 1982 MCA Records CONTENTS Title Album Page 5:15 ................................... Quadrophenia ............................... 4 Baba O’Riley ........................... Who’s Next ................................ 15 Bargain ................................ Who’s Next ................................ 22 Behind Blue Eyes ....................... Who’s Next ................................ 35 Eminence Front ........................ It’s Hard ................................... 42 Happy Jack ............................ 1966 single ................................ 48 I Can See for Miles
    [Show full text]
  • November '92 Sound
    mb Nove er ’92 . 2 , NoSS UUNN DD HHHH, YOU DON’T know the shape I’m “O in,” Levon Helm was wailing plaintively over the P.A. as the lights came up at Off Broad- way, a St. Louis nightclub. The DJ’s choice of that particular Band normally prohibits). Brian McTavish of the number couldn’t have been more Star’s “Nighthawk” column was on assign- relevant. Four days on the road ment, so no luck there. A television spot with the Tom Russell Band were wasn't in the budget, so we'd have to rely coming to a close, leaving me primarily on word of mouth for ticket sales. fatigued and exhilarated at the same time. Day 1 – Kansas City The show had run late, and The Tom Russell Band, standin’ on the corner: Barry the management was doing its Ramus (bass), Fats Kaplin (accordion, pedal steel, Waiting at the Comfort Inn for the band harmonica, and more), Tom Russell (guitar, vocals), to roll in to town provided a chance to see a best to herd patrons out the Mike Warner (drums, backing vocals), Andrew Hardin door. As the crowd congratulat- (guitar, harmony vocals). prima donna in action. A member of Lash ing the band dispersed, S LaRue’sband was pressuring the desk clerk staff cartoonist Dug joined me in ap- to change his room assignment, first to down the hall, then, deciding that wasn’t proaching Tom, and in our best Wayne and up a request for an interview left on his toll good enough, to a different floor.
    [Show full text]
  • THE BIRTH of HARD ROCK 1964-9 Charles Shaar Murray Hard Rock
    THE BIRTH OF HARD ROCK 1964-9 Charles Shaar Murray Hard rock was born in spaces too small to contain it, birthed and midwifed by youths simultaneously exhilarated by the prospect of emergent new freedoms and frustrated by the slow pace of their development, and delivered with equipment which had never been designed for the tasks to which it was now applied. Hard rock was the sound of systems under stress, of energies raging against confnement and constriction, of forces which could not be contained, merely harnessed. It was defned only in retrospect, because at the time of its inception it did not even recognise itself. The musicians who played the frst ‘hard rock’ and the audiences who crowded into the small clubs and ballrooms of early 1960s Britain to hear them, thought they were playing something else entirely. In other words, hard rock was – like rock and roll itself – a historical accident. It began as an earnest attempt by British kids in the 1960s, most of whom were born in the 1940s and raised and acculturated in the 1950s, to play American music, drawing on blues, soul, R&B, jazz and frst-generation rock, but forced to reinvent both the music, and its world, in their own image, resulting in something entirely new. However, hard rock was neither an only child, nor born fully formed. It shared its playpen, and many of its toys, with siblings (some named at the time and others only in retrospect) like R&B, psychedelia, progressive rock, art-rock and folk-rock, and it emerged only gradually from the intoxicating stew of myriad infuences that formed the musical equivalent of primordial soup in the uniquely turbulent years of the second (technicolour!) half of the 1960s.
    [Show full text]
  • U.K. Blank Tape Firms
    .., :.':... See giant pull -output -up centerfold 08120 t30 Z49GRE E N L YM O'JT L+G Mt kbt t4O'NTY GREENLY C T Y NEWSPAPER 374) ELM LING BEACH CA «eb07 A Billboard Publication The Radio Programming, Music /Record International Newsweek ly June 13. 1981 $3 (U.S.) New Life For WEA Adopts NAIRD, Indie U.K. Blank Tape Firms CX- Encoded Distribs Agree Unite, Fight Levy Lobby By LEO SACKS CBS System By PETER JONES PHILADELPHIA -A dramatic turnaround By ALAN PENCHANSKY & in the fortunes of the National Assn. of Inde- LONDON -A newly orchestrated cam- He says: "We just cannot accept that the JIM McCULLAUGH pendent Record Distributors and Manufac- paign to fight record company demands for home -taping problem is as bad as the CHICAGO -The WEA labels' adoption of turers, reflecting the growing economic health a sizable levy on blank tape in the U.K. to record companies say. It's not home-taping CBS' CX- encoded disk program has pushed of specialty indie labels and their wholesalers, compensate for home taping, is under way in isolation that is responsible for slumping that noise reduction system farther toward marked the organization's 1981 convention, here following the formation of the Tape record sales. Also to blame are high prices, large scale consumer reality. which convened here last Sunday (30). Manufacturers Group (TMG). poor technical quality and artistic quality. Product on all WEA labels -Atlantic, NAIRD, whose convention in Kansas City The fiery new organization is headed by "But it is time the record companies real- Elektra /Asylum, Nonesuch and Warner Bros.
    [Show full text]
  • Our County, Our Story; Portage County, Wisconsin
    Our County Our Story PORTAGE COUNTY WISCONSIN BY Malcolm Rosholt Charles M. White Memorial Public LibrarJ PORTAGE COUNTY BOARD OF SUPERVISORS STEVENS POINT, \VISCONSIN 1959 Copyright, 1959, by the PORTAGE COUNTY BOARD OF SUPERVISORS PRINTED IN THE UNITED STATES OF AMERICA AT WORZALLA PUBLISHING COMPANY STEVENS POINT, WISCONSIN FOREWORD With the approach of the first frost in Portage County the leaves begin to fall from the white birch and the poplar trees. Shortly the basswood turns yellow and the elm tree takes on a reddish hue. The real glory of autumn begins in October when the maples, as if blushing in modesty, turn to gold and crimson, and the entire forest around is aflame with color set off against deeper shades of evergreens and newly-planted Christmas trees. To me this is the most beautiful season of the year. But it is not of her beauty only that I write, but of her colorful past, for Portage County is already rich in history and legend. And I share, in part, at least, the conviction of Margaret Fuller who wrote more than a century ago that "not one seed from the past" should be lost. Some may wonder why I include the names listed in the first tax rolls. It is part of my purpose to anchor these names in our history because, if for no other reas­ on, they were here first and there can never be another first. The spellings of names and places follow the spellings in the documents as far as legibility permits. Some no doubt are incorrect in the original entry, but the major­ ity were probably correct and since have changed, which makes the original entry a matter of historic significance.
    [Show full text]