Tor of the Laboratory of Genome Architecture and Dynamics a L Ic E G a Dau

Total Page:16

File Type:pdf, Size:1020Kb

Tor of the Laboratory of Genome Architecture and Dynamics a L Ic E G a Dau Issue 158 April 2019 A NEWSLETTER OF THE ROCKEFELLER UNIVERSITY COMMUNITY Natural Selections Interviews Rockefeller’s Viviana Risca, Principal Investiga- tor of the Laboratory of Genome Architecture and Dynamics A LICE G A DAU At the age of fourteen, Viviana Risca spent her summer break unlike most teenag- ers. Every morning, she took the train from Long Island to work in Dr. Daniel Eich- inger’s parasitology laboratory at New York University. Despite the cabinet full of dead worms in formaldehyde she had to pass ev- ery morning, this first exposure to biological research was highly influential in propelling her into a lifetime of research. Since then she has been excited about using molecular techniques to understand the processes that occur in cells. NATURAL SELECTIONS NATURAL Viviana has now joined the Rockefell- | er community as one of the two new tenure- track assistant professors hired in 2018. Af- ter completing her Ph.D. in Biophysics at the University of California, Berkeley, she con- tinued her scientific career as a postdoctoral ALICE GADAU scholar at Stanford University with Profes- sor William J. Greenleaf. Viviana is interest- Viviana Risca ed in the biophysical rules that contribute to the dynamics and stability of the genome. In they express different sets of genes that give therapies and diagnostics. addition, she wants to understand how the rise to their unique identities. As a postdoc at Stanford, I worked three-dimensional genome architecture can My lab seeks to understand how on exploring how the landscape of enzyme- regulate DNA-based processes. three-dimensional chromatin structure con- accessible chromatin can give us insights trols the ways in which various proteins, into the regulatory networks that control Alice Gadau: What is the central ques- including those involved in transcription, gene expression in several cell types, includ- tion you are trying to address in your lab, access their binding sites on DNA in order ing a cancer model, using a popular method and how is this an expansion from your past to perform their biological functions. One called ATAC-seq. I also did a lot of technol- work? of the driving hypotheses of our work is that ogy development, which resulted in RICC- Viviana Risca: The three-dimensional chromatin structure acts as an integrator of seq, a method for mapping chromatin fiber structure of the genome is controlled by its many molecular inputs to modulate access structure at high resolution, and ChAR-seq, association with a variety of proteins, to- to DNA. I am particularly interested in how a method for mapping contacts between gether making up a DNA-protein complex chromatin modifications, inter-molecular RNA and DNA genome-wide. In my own we call chromatin. Through the efforts of interactions, and polymer effects give rise lab, we will continue to use and develop large-scale sequencing projects, we now to specialized parts of the cell’s nucleus that these technologies, applying them toward know much of the linear sequence of bases stably repress transcription and help main- the goal of understanding the basic biophys- that make up the human genome, but we tain cell identity and normal cell function. ical and molecular mechanisms responsible are still far from fully understanding the Both chromatin structure and the processes for stable transcriptional repression and mechanisms that control how and when the that shape it are often perturbed in cancer, overall control of access to genomic DNA. information encoded in DNA sequence is as well as during aging, and I hope that our read out by transcription. A skin cell and a work on these fundamental processes will muscle cell contain the same genome, but provide useful leads toward better cancer CONTINUED TO P. 2 - 1 CONTINUED FROM P. 1 - tentially phase-separated domains like the nucleolus. How this long-range organization AG: How does three-dimensional ge- relates to short-range chromatin folding is Editorial Board nome architecture contribute to DNA regula- also an area that my lab plans to explore. tory processes? Sarah Baker Editor-in-Chief, VR: Since the 1920s when Emil Heitz AG: What is RICC-seq and how can it Managing Editor, Webmaster coined the terms euchromatin and hetero- accurately examine short range DNA con- chromatin, we have known that the cell nu- tacts? Jim Keller cleus is divided between regions of high and VR: RICC-seq stands for ionizing Ra- Editor-at-Large low chromatin density. Since then, we have diation-Induced Correlated Cleavage. In the Megan Elizabeth Kelley learned that organization of chromatin is far 1990s, it was shown that the pattern of DNA Associate Editor, Communication from random—it is in fact organized at mul- damage induced by X-rays or gamma-rays tiple length scales. on a cell’s genome is shaped by the way the Emma Garst Editorial Assistant At short length scales, every 150- DNA is folded into chromatin. RICC-seq 200 bp of eukaryotic genomes is wrapped takes advantage of this convenient property Nicole Infarinato around roughly 10 nm-wide histone com- of chromatin. We irradiate cells with X-rays Copy Editor, Distribution plexes called nucleosomes. Regions of DNA or gamma rays, carefully extract the short Melissa Jarmel that are depleted of nucleosomes tend to be pieces of resulting single-stranded DNA, Copy Editor, Website Traffic hyper-accessible to exogenous enzymes we and then sequence those pieces. Their ends use to probe them, and we interpret these tell us about the pattern of DNA damage Donna Tallent regions to be also accessible to endogenous and consequently, about the way the DNA Copy Editor proteins like transcription factors, chroma- was folded in the original cell. This method Nan Pang tin remodelers and polymerases. Indeed, works well for mapping high-resolution Guadalupe Astorga many of these proteins seem to localize to DNA-DNA contacts on the order of less Designers nucleosome-depleted DNA. We also know than 10 nm and less than a thousand base that some histone modifications, like lysine pairs, making it complementary to other selections.rockefeller.edu acetylation, is associated with low-density, three-dimensional structure mapping meth- [email protected] euchromatic regions of the genome that ods like Hi-C, which work better for con- tend to be more accessible to protein bind- tacts spanning thousands of kilobases. ing. The high-density, heterochromatic parts with chromatin engineers to develop pertur- of the genome are less well understood, AG: What makes RICC-seq novel from bations that will help us dissect causal and from a structural standpoint, and many other sequencing techniques? functional relationships between molecular labs, including my own, are currently try- VR: RICC-seq has two unique ad- factors and chromatin structure. ing to decipher the mechanisms that drive vantages. First, it can be performed on liv- the exclusion of transcriptional machinery ing cells that are not fixed or permeabilized. AG: Are there other hobbies you have from these silent genomic regions. Candi- Therefore, we can probe chromatin struc- that incorporate science? date mechanisms that have been proposed ture in its native state. Second, it uses hy- VR: I’ve long loved incorporating skills include occlusion of binding sites by DNA droxyl radicals generated by radiation as its that I pick up in the lab into my other hob- buried in compacted chromatin, chemical probe. The radiation can penetrate all areas bies. When I learned microscopy and optics, exclusion by phase-separated liquid do- of the nucleus, no matter how dense, and the I also took up photography in my spare time, mains, and simple volume exclusion from radicals are smaller than water and can eas- because the basic concepts are the same. I high density regions. ily diffuse. Therefore, we can get data from love art in general and see a lot of parallels We also know that there is functional not only the low-density euchromatin in the between the lives of scientists and artists. We communication between genomic regions at nucleus, but also from highly compacted, are both seeking fundamental truths, and much longer length scales spanning tens of dense heterochromatin. both need to continually find ways to nur- thousands and sometimes hundreds of thou- ture our creativity. I also love to cook. I often sands of kilobases. Enhancer elements in the AG: What other tools are you incorpo- use it to relax because it uses many of the genome, which are acetylated, hyperacces- rating in your lab to understand genome ar- same skills as biochemistry or molecular bi- sible, and bound by transcription factors chitecture? ology, but you can usually determine failure when active, somehow must communicate VR: RICC-seq is not a single-cell or success more rapidly than at the bench, with gene promoter regions because they method and requires quite a bit of input ma- and it is also easier to share your successes regulate these promoters. This is thought terial, so we will be combining it with lower- with your friends. to happen via DNA looping interactions in input methods like single cell or bulk ATAC- Lastly, I love science outreach and three dimensions, but the exact nature and seq and RNA-seq, as well new cutting-edge communications, but I would not call those dynamics of these contacts are an active technologies as they emerge. We will also hobbies. I think all of us as scientists have area of research and not yet understood. be complementing this work with protein a responsibility to share our work with the Lastly, we also know that the cell nucleus is binding measurements like ChIP-seq or public that, after all, supports our work divided up into regions with different func- CUT&RUN, and microscopy that can tell through taxes and donations, to advocate for tional profiles, through associations with us about the long-range organization of the the societal benefits of basic research, and to the nuclear lamina or self-association of po- nucleus.
Recommended publications
  • Course Outline and Syllabus the Fab Four and the Stones: How America Surrendered to the Advance Guard of the British Invasion
    Course Outline and Syllabus The Fab Four and the Stones: How America surrendered to the advance guard of the British Invasion. This six-week course takes a closer look at the music that inspired these bands, their roots-based influences, and their output of inspired work that was created in the 1960’s. Topics include: The early days, 1960-62: London, Liverpool and Hamburg: Importing rhythm and blues and rockabilly from the States…real rock and roll bands—what a concept! Watch out, world! The heady days of 1963: Don’t look now, but these guys just might be more than great cover bands…and they are becoming very popular…Beatlemania takes off. We can write songs; 1964: the rock and roll band as a creative force. John and Paul, their yin and yang-like personal and musical differences fueling their creative tension, discover that two heads are better than one. The Stones, meanwhile, keep cranking out covers, and plot their conquest of America, one riff at a time. The middle periods, 1965-66: For the boys from Liverpool, waves of brilliant albums that will last forever—every cut a memorable, sing-along winner. While for the Londoners, an artistic breakthrough with their first all--original record. Mick and Keith’s tempestuous relationship pushes away band founder Brian Jones; the Stones are established as a force in the music world. Prisoners of their own success, 1967-68: How their popularity drove them to great heights—and lowered them to awful depths. It’s a long way from three chords and a cloud of dust.
    [Show full text]
  • Linn Lounge Presents... the Rolling Stones
    Linn Lounge Presents... The Rolling Stones Welcome to Linn Lounge presents… ‘The Rolling Stones’ Tonight’s album, ‘Grr’ tells the fascinating ongoing story of the Greatest Rock'n'Roll Band In The World. It features re-masters of some of the ‘Stones’ iconic recordings. It also contains 2 brand new tracks which constitute the first time Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood have all been together in the recording studio since 2005. This album will be played in Studio Master - the highest quality download available anywhere, letting you hear the recording exactly as it left the studio. So sit back, relax and enjoy as you embark on a voyage through tonight’s musical journey. MUSIC – Muddy Waters, Rollin’ Stone via Spotify (Play 30secs then turn down) It all started with Muddy Waters. A chance meeting between 2 old friends at Dartford railway station marked the beginning of 50 years of rock and roll. In the early 1950s, Keith Richards and Mick Jagger were childhood friends and classmates at Wentworth Primary School in Kent until their families moved apart.[8] In 1960, the pair met again on their way to college at Dartford railway station. The Chuck Berry and Muddy Waters records that Jagger carried revealed a mutual interest. They began forming a band with Dick Taylor and Brian Jones from Blues Incorporated. This band also contained two other future members of the Rolling Stones: Ian Stewart and Charlie Watts.[11] So how did the name come about? Well according to Richards, Jones christened the band during a phone call to Jazz News.
    [Show full text]
  • Albums‐ Chart‐History Regarding Albums Top 50 ‐ Charts the Rolling Stones
    Month of 1st Entry Peak+wks # 1: DE GB USAlbums‐ Chart‐History Regarding Albums Top 50 ‐ Charts The Rolling Stones 1 2 3 4 04/1964 3 1 12 11 11/1964 3 12/1964 4 01/1965 1 3101 The Rolling Stones (England's 12 X 5 Around And Around Rolling Stones No. 2 Newest Hit Makers) 5 6 7 8 04/1965 5 08/1965 2 2 1 3 11/1965 1 4 12/1965 4 The Rolling Stones, Now! Out Of Our Heads Bravo Rolling Stones December's Children (And Everybody's) 9 10 11 12 04/1966 1 881 2 04/1966 4 3 01/1967 6 01/1967 2 Aftermath Big Hits (High Tide And Green Got Live If You Want It The Rolling Stones Live Grass) 13 14 15 16 01/1967 2 3 2 08/1967 7 3 12/1967 4 3 2 12/1968 8 3 5 Between The Buttons Flowers Their Satanic Majesties Request Beggars Banquet Month of 1st Entry Peak+wks # 1: DE GB USAlbums‐ Chart‐History Regarding Albums Top 50 ‐ Charts The Rolling Stones 17 18 19 20 09/1969 13 2 2 12/1969 3 1 1 3 09/1970 6 1 2 6 04/1971 30 4 Through The Past Darkly (Big Let It Bleed Get Yer Ya‐Ya's Out! Stone Age Hits Vol. 2) 21 22 23 24 04/1971 1 351 1 409/1971 19 01/1972 3 4 03/1972 14 Sticky Fingers Gimme Shelter Hot Rocks 1964 ‐ 1971 Milestones 25 26 27 28 05/1972 2 1 241 11/1972 41 01/1973 9 09/1973 2 1 241 Exile On Main Street Rock'n'Rolling Stones More Hot Rocks (Big Hits & Goat's Head Soup Fazed Cookies) 29 30 31 32 10/1974 12 2 1 1 06/1975 45 8 06/1975 14 6 12/1975 7 It's Only Rock'n'roll Metamorphosis Made In The Shade Rolled Gold ‐ The Very Best Of The Rolling Stones Month of 1st Entry Peak+wks # 1: DE GB USAlbums‐ Chart‐History Regarding Albums Top 50 ‐ Charts The Rolling
    [Show full text]
  • Neg(Oti)Ating Fusion: Steely Dan's Generic Irony by Ethan Krajewski A
    Neg(oti)ating Fusion: Steely Dan’s Generic Irony by Ethan Krajewski A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Ethan Patrick Krajewski To my parents for music and language Acknowledgements My biggest thanks go to my advisor, Professor Julian Levinson, as a teacher, mentor, and friend, for helping me think, talk, write, and (most importantly, I think) laugh about seventies rock music. You’ve helped make this project fun in all of its rigor and relaxed despite all of the stress that it’s caused. I’d also like to thank Professor Gillian White for leading our cohort toward discipline, and for keeping us all grounded. Also for her spirited conversations and anecdotes, which proved invaluable in the early stages of my thinking. I wouldn’t be here writing this if it weren’t for Professor Supriya Nair, who pushed me to apply for the program and helped me develop the intellectual curiosity that led to this project. The same goes for Gina Brandolino, who I count among my most important teachers and role models. To the cohort: thank you for all of your help over the course of the year. You’re all so smart, and so kind, and I wish you all nothing but the best. To Ashley: if you aren’t the best non-professional line editor at large in the world, then you’re at least second or third. I mean it sincerely when I say that this project would be infinitely worse without your guidance.
    [Show full text]
  • Contents Memo from Turner
    Contents Memo from Turner ........................... Performance soundtrack .........................57 Midnight Rambler ........................... Let It Bleed .........................................60 TITLE RELEASE PAGE Monkey Man .................................. Let It Bleed .........................................64 19th Nervous Breakdown .................. Single (1966) ....................................... 6 Mother’s Little Helper ....................... Flowers ..............................................66 2000 Light Years from Home .............. Their Satanic Majesties Request ................. 4 No Expectations ............................. Beggars Banquet ..................................68 As Tears Go By .............................. December’s Children (and Everybody’s) ...... 9 Out of Time ................................... Flowers ..............................................70 Bitch ........................................... Sticky Fingers ......................................10 Paint It, Black ................................. Aftermath ............................................72 Brown Sugar ................................. Sticky Fingers ......................................12 Parachute Woman ........................... Beggars Banquet ..................................63 Can’t You Hear Me Knocking .............. Sticky Fingers ......................................16 Play with Fire ................................. Out of Our Heads ................................. 74 Country Honk ...............................
    [Show full text]
  • Im Auftrag: Medienagentur Stefan Michel T 040-5149 1467 F 01805 - 060347 90476 [email protected]
    im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 01805 - 060347 90476 [email protected] STICKY FINGERS PRODUCT DESCRIPTIONS & TRACK LISTINGS Original CD UPC: 00602527015620 Remastered album with 12 page booklet. Track listing 1. Brown Sugar 2. Sway 3. Wild Horses 4. Can’t You Hear Me Knocking 5. You Gotta Move 6. Bitch 7. I Got The Blues 8. Sister Morphine 9. Dead Flowers 10. Moonlight Mile Original LP Remastered album on black heavyweight vinyl plus 12x12 insert. Track listing Side A 1. Brown Sugar 2. Sway 3. Wild Horses 4. Can’t You Hear Me Knocking 5. You Gotta Move Side B 1. Bitch 2. I Got The Blues 3. Sister Morphine 4. Dead Flowers 5. Moonlight Mile Deluxe 2CD Remastered album plus bonus CD featuring previously unreleased alternate takes and live performances with 24 page booklet. UPC: 00602537648368 CD1: 1. Brown Sugar 2. Sway 3. Wild Horses 4. Can’t You Hear Me Knocking 5. You Gotta Move 6. Bitch 7. I Got The Blues 8. Sister Morphine 9. Dead Flowers 10. Moonlight Mile CD2: 1. Brown Sugar (Alternate Version with Eric Clapton) 2. Wild Horses (Acoustic Version) 3. Can’t You Hear Me Knocking (Alternate Version) 4. Bitch (Extended Version) 5. Dead Flowers (Alternate Version) 6. Live With Me (Live At The Roundhouse, 1971) 7. Stray Cat Blues (Live At The Roundhouse, 1971) 8. Love In Vain (Live At The Roundhouse, 1971) 9. Midnight Rambler (Live At The Roundhouse, 1971) 10. Honky Tonk Women (Live The Roundhouse, 1971) Deluxe Edition Boxset UPC: 00602537648399 Remastered album, bonus CD featuring previously unreleased alternate takes and live performances plus DVD with 2 tracks from ‘Live At The Marquee’.
    [Show full text]
  • 1 ANTHRO 106 2018 Rock 80'S 90'S
    1 ANTHRO 106 2018 Rock 80’s 90’s- subculture and canon New Wave Punk Goth Metal Alternative Grunge Post Canon • How do rock sub genre set themselves in opposition to the ‘mainstream’? Why is this important to them? • What are some of the distinguishing features of the various sub genre? • How and when have the various rock sub-genre, fed back into the mainstream rock style? New Wave Punk, Glam, Pop Commercial Many Musical Styles Visual (MTV) Androgynous fashion, bizarre, satirical, futuristic, avant-garde, colourful, stylish Synthesizers Dance • Adam Ant • B-52 • Duran Duran • Cars • Tears for Fears • A-Ha • Flock of Seagulls “I Ran” • Japan “Quiet Life” • The Human League “Don't You Want Me” Punk . Working class youth rebelliousness . Oppositional tendency . DIY . Resistance to authority, work and conventional politics . The underground sustain and politically active and subversive tendency . Subversiveness within pop culture . Early punk was nihilistic, later became more activist . 1979 . Sang about urban alienation . Appocalypticism . Hostility to the forces of the state (the police) . Working Class pride . Violence 2 . Pastiche, bricolage • The Jam “Going Underground” • The Clash “Should I Stay or Should I Go” • The Sex Pistols “God save the Queen” USA Ramones (New York) Often regarded as the first true punk-rock group, the Ramones were an American punk band whose music influenced later generations of punk bands. Their story begins in Queens, NY, where the band members took their musical influences (The New York Dolls, The Stooges) and channeled them to create their own songs. Greatest rock and roll band of all time The Ramones “I wanna be sedated” Velvet underground“Venus in furs” Quite simply everything about The Velvet Underground was astonishing.
    [Show full text]
  • L'època Més Prolífica De La Història De La Música
    L'època més prolífica de la història de la música IES Antoni Cumella 2n Bax. B 17-1-11 AGRAÏMENTS Primer de tot voldria agrair al meu tutor del treball, que amb la seva inestimable ajuda deixant- me llibres i aconsellant-me com fer bé les coses, ha fet possible que la realització d’aquest treball sigui la millor possible. A la meva professora de llatí, la Roser, que va col·laborar voluntàriament ha corregir-me tot el treball sense cap obligació alguna i que segurament sinó fos per ella el treball no hagués quedat tan bé. A la meva família que m’ha estat recolzant durant la realització del treball (i que m’ha deixat durant tots aquests anys poder gastar-me els diners en música), i en especial a la meva germana, a la que he tingut que fer fora de la seva habitació moltes vegades per poder posar- me al ordinador a fer el treball. També menció especial per al meu pare i al meu tiet que m’han aconsellat molts dels grups que avui dia són els meus preferits, i segurament sense ells no hagués conegut mai per al meu compte, ni hagués pogut realitzar aquest treball. I per últim els vull agrair aquest treball als meus amics, que gràcies als seus ànims la paraula rendir-se no existia en el meu vocabulari. ÍNDEX -Introducció. 4 - El sostre del Beat al 1967. 10 - Cap al Vantguardisme. 16 - 1969: Underground, Vantguardisme i música progressiva. 21 - Consideracions al voltant d’una evolució. 26 - El naixement d’una dècada.
    [Show full text]
  • Citation: Mcgrath, JP (2019) "Doctor, I'm Damaged": Medical and Cultural
    Citation: Mcgrath, JP (2019) "Doctor, I’m Damaged": Medical and Cultural Narratives of Nicky Hopkins and The Rolling Stones. In: Beggars Banquet and the Rolling Stones Rock and Roll Revolution: ‘They Call My Name Disturbance’. Ashgate Popular and Folk Music . Routledge. ISBN 9781138304758 Link to Leeds Beckett Repository record: https://eprints.leedsbeckett.ac.uk/id/eprint/7234/ Document Version: Book Section (Accepted Version) This is an Accepted Manuscript of a book chapter published by Routledge in Beggars Banquet and the Rolling Stones Rock and Roll Revolution: ‘They Call My Name Disturbance’ on 09 December 2019, available online: http://www.routledge.com/9781138304758 The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. Doctor, I’m Damaged: Medical and Cultural Mythologies of Nicky Hopkins and the Rolling Stones ‘We are deeply indebted to Nicky Hopkins and to many friends’, ends the list of acknowledgements on the Rolling Stones’ 1968 album Beggars banquet.
    [Show full text]
  • The Rolling Stones Complete Recording Sessions 1962 - 2020 Martin Elliott Session Tracks Appendix
    THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962 - 2020 MARTIN ELLIOTT SESSION TRACKS APPENDIX * Not Officially Released Tracks Tracks in brackets are rumoured track names. The end number in brackets is where to find the entry in the 2012 book where it has changed. 1962 January - March 1962 Bexleyheath, Kent, England. S0001. Around And Around (Little Boy Blue & The Blue Boys) (1.21) * S0002. Little Queenie (Little Boy Blue & The Blue Boys) (4.32) * (a) Alternative Take (4.11) S0003. Beautiful Delilah (Little Boy Blue & The Blue Boys) (2.58) * (a) Alternative Take (2.18) S0004. La Bamba (Little Boy Blue & The Blue Boys) (0.18) * S0005. Go On To School (Little Boy Blue & The Blue Boys) (2.02) * S0006. I'm Left, You're Right, She's Gone (Little Boy Blue & The Blue Boys) (2.31) * S0007. Down The Road Apiece (Little Boy Blue & The Blue Boys) (2.12) * S0008. Don't Stay Out All Night (Little Boy Blue & The Blue Boys) (2.30) * S0009. I Ain't Got You (Little Boy Blue & The Blue Boys) (2.00) * S0010. Johnny B. Goode (Little Boy Blue & The Blue Boys) (2.24) * S0011. Reelin' And A Rockin' (Little Boy Blue & The Blue Boys) * S0012. Bright Lights, Big City (Little Boy Blue & The Blue Boys) * 27 October 1962 Curly Clayton Sound Studios, Highbury, London, England. S0013. You Can't Judge A Book By The Cover (0.36) * S0014. Soon Forgotten * S0015. Close Together * 1963 11 March 1963 IBC Studios, London, England. S0016. Diddley Daddy (2.38) S0017. Road Runner (3.04) S0018. I Want To Be Loved I (2.02) S0019.
    [Show full text]
  • About the Author
    About The Author Felix Aeppli was born in 1949. He lives in Zurich, Switzerland, with his wife and their two children. A student of History and English, the author spent the academic year 1969/1970 in Great Britain as an assistant German teacher in two South Wales grammar schools. His graduate thesis was entitled Thomas Jefferson: The Urban Critic Of The City (1975). Felix Aeppli is also the author of the book Swiss Cinema, 1929-1964 (1981, in German). For Heart Of Stone (Ann Arbor, 1985) and The Rolling Stones, 1962-1995: The Ultimate Guide (London, 1996), see the Introduction of this book, ‘The First Forty Years’. A part-time employee in further education for Politics and Social Sciences, Felix Aeppli also regularly lectures at the Film Department of Zurich University and is an analyst of social, cultural and historical issues (see his website http://mypage.bluewin.ch/aeppli/index.html). In Spring, 2002, he was approached by the «NZZ am Sonntag» (a Zurich Sunday Newspaper) to name his personal FORTY LICKS by The Rolling Stones. This was his choice: 1. Honky Tonk Women 21. Do Ya Think I Really Care? 2. Stray Cat Blues 22. Street Fighting Man 3. Little Red Rooster 23. Down Home Girl 4. Child Of The Moon 24. Backstreet Girl 5. Sympathy For The Devil 25. Start Me Up 6. Sway 26. Who’s Been Sleeping Here? 7. Dear Doctor 27. Cry To Me 8. Dead Flowers 28. Sweethearts Together 9. It’s All Over Now 29. Time Is On My Side 10. The Last Time 30.
    [Show full text]
  • Beggars Banquet When Is an Album Born?
    Beggars Banquet When is an album born? Is it when the first lyrics are written? The first notes played? The first track is laid down? Or is it later, when the accumulated efforts of the artists begin to look like something that needs a name? Or does it take an album cover sleeve? Something from which we remove and return the album, with a strong visual connection? The Stones entered Olympic Studios in London on March 17, 1968 to begin a roughly two-week session during which they would begin recording songs that would appear on Beggars Banquet. The album remained unnamed for 111 days. It would not be released until December 6, 1968 153 days after it was publicly named. Every good Stones fan knows the story of the “graffiti” cover for Beggars Banquet, fewer know that was not the first choice for the album cover. This is the story of how Beggars Banquet came to look like an invitation that was embarrassingly close to the Beatles White Album. The Rolling Stones needed a win, “Cause you see I’m on a losing streak.” Andrew Loog Oldham was gone, Keith who stole Brian’s girl may have had her borrowed by Mick who was filming love scenes with her in Performance as Keith penned Gimme Shelter. The drug busts had slowed but their aftermath churned on, Brian was on his way out and the rock and roll lifestyles went on. After the psychedelic debacle of Their Satanic Majesties Request the new album was a make or break endeavor. Mick had hoped to have the album come out on June 26, his 25th birthday.
    [Show full text]