What the Stones Teach Us About Lasting Love

Total Page:16

File Type:pdf, Size:1020Kb

What the Stones Teach Us About Lasting Love POV BLOGGER SPOTLIGHT WHAT THE STONES FOR HALF A century, the TEACH Rolling Stones have been pissing each other off. Not that this is unusual in a rock band—power trips and girlfriend stealing come US ABOUT with the territory. For the Stones, there’s been violence (Charlie Watts punched Mick Jagger for calling him “my drummer” ) and LASTING verbal slaps (Keith Richards and Watts referred to Jagger as “that bitch Brenda” in front of him). They regularly bedded each LOVE other’s lovers: Richards’ long- TOGETHER FOR 50 YEARS, THE ROLLING STONES term partner, Anita Pallenberg, HAVE ENDURED LONGER THAN MOST MARRIAGES. allegedly was afraid her second WHAT’S THEIR SECRET? by Ruth Blatt child was Mick’s (it wasn’t), and Richards had a payback dalliance with Jagger’s then girlfriend, Marianne Faithfull. (“While you’re missing it, I’m kissing it,” he revealed in his memoir, Life.) FAnd, like many front men, Jagger tried to turn his bandmates into his subordinates. Yet unlike most bands, the Roll- ing Stones are still at it and touring five decades in. What’s their secret? While we can’t know for sure what keeps the band together a!er so many years, recent research into relationships suggests that the simple answer may be commitment. “We’re a band, we know each other,” Richards noted in his memoir; when in crisis, they solve the problem, “because the Stones are bigger than any of us.” The possibility that the Rolling Stones sim- ARCHIVE/GETTYIMAGES NATKIN PAUL ply made the conscious choice to stay together—and then remade that choice every time their relationship was tested— makes them a case study in commitment for both social and working groups, as well as for couples. Commitment, it turns out, is more PT0913_Blogger_r1.indd 48 16/07/2013 2:15 PM important for relationship longevity than doing or saying the right things, according EACH to a study of two generations of marriages INDISCRETION in the Journal of Marriage and Family. The authors report that the most important MAY HAVE factor in predicting whether unions last BEEN AN is the degree of commitment to staying together—even more than the extent OPPORTUNITY of any fighting. This may help explain FOR THE BAND how the Stones, who do not exhibit exemplary relationship skills (“I gave TO REFLECT no reaction at all to Mick about Anita,” ON WHETHER wrote Richards), can be so resilient. Of course, money probably also plays THEY WERE a role in keeping the band together—the STILL Stones barely need to talk to each other to cash in with a concert—yet there’s reason COMMITTED. to believe it’s not the main thing. They likely make enough from their back cata- log to live comfortably for the rest of their lives. (Many less successful bands, such as The Smiths, have turned down large sums because they refused to share the coauthor Thomas Bradbury has said. In a stage again.) Neither is it likely that the “bank account” relationship, people are need to encounter their adoring crowds less willing to make sacrifices for the sake is what primarily motivates the band to of keeping the relationship going. They forgive and forget. The members of the may split as soon as a more appealing Stones have had relatively successful side alternative presents itself. and solo projects—the band is hardly their It seems very possible that the Stones’ only avenue for recognition. commitment guided the performers out The notion that the band might stay of the hurt they caused each other—and together because of money, applause, or it made their relationships stronger over status corresponds to what psychologists time, growing their capacity to withstand call a “bank account” approach to relation- setbacks. Rather than becoming a source ships: People remain in a couple because of resentment that eventually built up they feel that they get more out of being to a band-destroying crescendo, for the in it than by opting out. They keep track Stones, each indiscretion may have been and keep score: Am I getting my benefits? an opportunity to reflect on whether they Are they worth putting up with things I were still committed and to decide in the don’t like? If yes, they stay. If no, they split. a"rmative. Seems logical, but this approach does “We’d been together 25 years or so not bode well for relationship resilience, before the shit really hit the fan,” wrote according to a recent Journal of Personality Richards about a crisis with Jagger in the and Social Psychology study. Researchers 1980s, “so the view was, this was bound followed 172 couples for the first 11 years to happen. Now’s the test. Does it hold of marriage and found it takes a deep level together?” It appears that the musicians of commitment to hold a couple together. accepted that vulnerability to pain is part “When people are in it for the long term, of the deal, and let it go. As Jagger once they are o!en willing to make sacrifices noted about the hurt between Richards and view themselves as a team,” study and him, “Time, I reckon, to move on.” PT0913_Blogger_r2.indd 49 7/30/13 6:44 PM.
Recommended publications
  • Marianne Faithfull Biography
    Marianne Faithfull’s long and distinguished career has seen her emerge as one of the most original female singersongwriters this country has produced; Utterly unsentimental yet somehow affectionate, Marianne possesses that rare ability to transform any lyric into something compelling and utterly personal; and not just on her own songs, for she has become a master of the art of finding herself in the words and music of others. Marianne Faithfull’s story, has of course, been well documented, not least in her entertaining and insightful autobiography FAITHFULL (1994). Born in Hampstead in December 1946 Faithfull’s career as the crown princess of swinging London was launched with As Tears Go By; the first song ever written by Mick Jagger and Keith Richards, five albums followed whilst Marianne also embarked on a parallel career as an actress, both on film in GIRL ON A MOTORCYCLE (1968) and on stage in Chekhov’s THREE SISTERS (1967) and HAMLET (1969) By the end of the Sixties personal problems halted Marianne’s career and her drug addiction took over. Faithfull emerged tentatively in the mid-Seventies with a country album called DREAMIN’ MY DREAMS (1976) but it was her furious re-surfacing on BROKEN ENGLISH in 1979 that definitively brought her back. Further new wave explorations followed with DANGEROUS ACQUAINTANCES (1981) and A CHILD’S ADVENTURE (1983). But despite her new creative vigour, Marianne was not entirely free of the chemicals that had ravaged her in the sixties. Displaying a sadness tempered by optimism, and a despair rescued by humour Marianne returned, finally clean with a collection of classic pop, blues and art songs on the critically lauded STRANGE WEATHER (1987).
    [Show full text]
  • Keith Richards Has Memories to Burn
    UNCLASSIFIED U.S. Department of State Case No. F-2014-20439 Doc No. C05773954 Date: 08/31/2015 RELEASE IN PART B6 From: Ebeling, Betsy < B6 Sent: Friday, October 22, 2010 11:03 AM To: Subject: for your mom Keith Richards Has Memories to Burn By JANET MASLIN It is 3 p.m. Eastern Daylight Time in the New York office of Keith Richards's manager, a place that might look ordinary if every wall and shelf were not crammed with some of the world's most glorious rock 'n' roll memorabilia. Mr. Richards has a 3 o'clock appointment. "Come on in, he'll be here in a minute," an assistant says — and here he comes in a minute, at 3:01. This from a man who once prided himself for operating on Keith Time, as in: the security staff ate the shepherd's pie that Keith wanted in his dressing room? Then everyone in this packed stadium can bloody well wait. The Rolling Stones don't play until another shepherd's pie shows up. Chalk up the promptness to the man's new incarnation: he is now Keith Richards, distinguished author. True, he is far from the only rock star to turn memoirist, and far from the only Rolling Stone to write a book about himself — very much about himself. The raven-haired Ron Wood wrote "Ronnie," in which he described Brian Jones as "me in a blond wig." Bill Wyman, the band's retired bass player and bean counter, wrote "Stone Alone," in which not a 15-shilling demo disc went unmentioned.
    [Show full text]
  • Keith Richards Wrote Satisfaction in His Sleep
    Keith Richards Wrote Satisfaction In His Sleep Bicipital and incompetent Antonino always ebonising possessively and converts his mythiciser. Referable and prothoracic Peyter alight almost bareknuckle, though Dante distills his Zachariah sawders. Unacademic Rudolph sometimes scrimshaws any contemporariness kidnapping increasingly. The heart of society in. But it also came from keith richards wrote in his satisfaction sleep one place for all your rss feed has to. Can you answer the following question? Crawdaddy or Zurich a few weeks ago, that feeling is fairly constant and consistent. Many top chord shapes and sounds are pale with open D tuning. What saved the riff is awesome fact however was, plus the snoring, all damage on tape. Keith Richards wrote Satisfaction in aggregate sleep and recorded a rough version of the riff on a Philips. Now you know the back story, turn up the volume and shake off those Monday blues. Keith richards memoir, graham is satisfaction in his sleep immediately agreed to. Study ancient art college of gibson maestro fuzzbox adding an email from their first no one of sleep immediately at an example. This picture would show whenever you gonna a comment. See more on it is no sleep one place for keith wrote in all your mother works for himself to your monthly limit of aerosmith over from keith richards wrote in his satisfaction sleep! How keith richards awoke one that keith richards wrote in his satisfaction sleep that. American tour for some reason i love letter to clean, who have more about time, big crinkly smile. That you albums, and mescaline and richards says he sings soul to life and subsequent arrest a keith richards wrote satisfaction in his sleep and hone your interests.
    [Show full text]
  • My Ladies Rock ———————— Choreography Jean-Claude Gallotta Assisted by Mathilde Altaraz Text and Dramaturgy Claude-Henri Buffard
    CREATION 2017-2018 My Ladies Rock Jean-Claude Gallotta ———————— contact cie / Céline Kraff distribution/ Le Trait d’Union +33 (0)4 76 00 63 69 / +33 (0)6 31 33 82 06 +33 545 94 75 95 [email protected] Thierry Duclos [email protected] press relations France / Opus 64 Arnaud Pain + 33 (0)1 40 26 77 94 > [email protected] My Ladies Rock ———————— choreography Jean-Claude Gallotta assisted by Mathilde Altaraz text and dramaturgy Claude-Henri Buffard with Agnès Canova, Paul Gouëllo, Ibrahim Guétissi, Georgia Ives, Bernardita Moya Alcalde, Fuxi Li, Lilou Niang, Jérémy Silvetti, Gaetano Vaccaro, Thierry Verger, Béatrice Warrand scenography and images Jeanne Dard lighting design Dominique Zape video Benjamin Croizy, costume design Marion Mercier assisted by Anne Jonathan and Jacques Schiotto and music by Wanda Jackson | Brenda Lee | Marianne Faithfull | Siouxsie and the Banshees | Aretha Franklin | Nico | Lizzy Mercier Descloux | Laurie Anderson | Janis Joplin | Joan Baez | Nina Hagen | Betty Davis | Patti Smith | Tina Turner | production Groupe Émile Dubois / Cie Jean-Claude Gallotta coproduction MCB° Bourges, Scène nationale, Théâtre du Rond-Point, Théâtre de Caen, CNDC d’Angers, Châteauvallon, scène nationale with the backing of la MC2 : Grenoble FROM SEPTEMBER 27TH TO creation 29TH 2017 ———————— [MC°B - Bourges] touring schedule >> JANUARY 10TH 2019 ———————— [ Théâtre de l’Arsenal - Val-de-Reuil ] >> JANUARY 12TH 2019 [ Espace Marcel Carné - Saint-Michel-sur-Orge ] >> FROM JANUARY 17TH TO 19 TH 2019 [ Scène nationale de Châteauvallon
    [Show full text]
  • The Anita Pallenberg Story
    Laura Cottingham & The Anita Pallenberg Story May 7 – June 18 At the center of this exhibition is the rarely seen movie The Anita Pallenberg Story (2000) by Laura Cottingham & Leslie Singer. Conceived as a satire on the contemporary art scene of the 1990s, which was defined, in Cottingham’s view, by the rampant progression of a pro- market, highly individualized, and patriarchal art system, the film formulated a critical address of its moment through the lens of life backstage with the Rolling Stones, circa 1968. In open acknowledgement of its layers of costume and citation, the feature-length film blends original footage of the Stones with nonchalant acting performances and cinéma vérité scenes of its own production. Set to a background of post-punk covers, with camera movements taken from Warhol, Fassbinder, and Godard, it presents a portrait of friends in the midst of collaboration, and an uncut study of the modes of appropriation and subjectivity that are contested in cultural production. In a blur of fiction and fact, historical narratives are challenged, and their protagonists transformed, attesting to Cottingham’s claim that, in New York, “we are, in a sense, already living in a movie, breathing in a myth, sustaining ourselves on fantasies, manipulating the plot, and believing against all realities in happy endings.” In 1998, Laura Cottingham completed her video essay Not For Sale: Feminism and Art in the USA during the 1970s, an account of the groundbreaking works of art produced by feminist artists in the United States in the 1970s. At the time, this history remained marginalized and fractured, and Cottingham’s scholarship and inventive research contributed greatly to the reappraisal and recognition of many women artists from the period.
    [Show full text]
  • Het Verhaal Van De 340 Songs Inhoud
    Philippe Margotin en Jean-Michel Guesdon Rollingthe Stones compleet HET VERHAAL VAN DE 340 SONGS INHOUD 6 _ Voorwoord 8 _ De geboorte van een band 13 _ Ian Stewart, de zesde Stone 14 _ Come On / I Want To Be Loved 18 _ Andrew Loog Oldham, uitvinder van The Rolling Stones 20 _ I Wanna Be Your Man / Stoned EP DATUM UITGEBRACHT ALBUM Verenigd Koninkrijk : Down The Road Apiece ALBUM DATUM UITGEBRACHT 10 januari 1964 EP Everybody Needs Somebody To Love Under The Boardwalk DATUM UITGEBRACHT Verenigd Koninkrijk : (er zijn ook andere data, zoals DATUM UITGEBRACHT Verenigd Koninkrijk : 17 april 1964 16, 17 of 18 januari genoemd Verenigd Koninkrijk : Down Home Girl I Can’t Be Satisfi ed 15 januari 1965 Label Decca als datum van uitbrengen) 14 augustus 1964 You Can’t Catch Me Pain In My Heart Label Decca REF : LK 4605 Label Decca Label Decca Time Is On My Side Off The Hook REF : LK 4661 12 weken op nummer 1 REF : DFE 8560 REF : DFE 8590 10 weken op nummer 1 What A Shame Susie Q Grown Up Wrong TH TH TH ROING (Get Your Kicks On) Route 66 FIVE I Just Want To Make Love To You Honest I Do ROING ROING I Need You Baby (Mona) Now I’ve Got A Witness (Like Uncle Phil And Uncle Gene) Little By Little H ROLLIN TONS NOW VRNIGD TATEN EBRUARI 965) I’m A King Bee Everybody Needs Somebody To Love / Down Home Girl / You Can’t Catch Me / Heart Of Stone / What A Shame / I Need You Baby (Mona) / Down The Road Carol Apiece / Off The Hook / Pain In My Heart / Oh Baby (We Got A Good Thing SONS Tell Me (You’re Coming Back) If You Need Me Goin’) / Little Red Rooster / Surprise, Surprise.
    [Show full text]
  • MARIANNE FAITHFULL a Legendary Rock Chanteuse Talks Sad Songs and Horror Stories
    JUNE 2011 ISSUE MMUSICMAG.COM Q&A Patrick Swirc Patrick MARIANNE FAITHFULL A legendary rock chanteuse talks sad songs and horror stories YES, SINGER, SONGWRITER AND partly because I’m so good at the dark side. How were the guests recruited? actress Marianne Faithfull’s 1964 I fi nd writing my own to be much harder Hal brought in Lou Reed, although Lou is a breakthrough hit “As Tears Go By” was work. If you ask Nick to give you a rundown great friend of mine. Dr. John is also a great written by the Rolling Stones’ Mick Jagger of my faults, he’d say, “She’s incredibly friend. Wayne Kramer has become my new and Keith Richards. Yes, she and Jagger talented, but she’s very lazy and needs best friend. He’s been on tour with us in dated throughout the late ’60s. No, she a kick up the ass.” Europe. Plus we’re going to write together. doesn’t want to talk about it. “I don’t even mention their names,” she says. “Those Did Hal help choose songs? Do you have a backlog of songs? people are written out of my picture.” Today He did. There were a lot of arguments as I have a backlog, but I also have a deadline. the picture includes her 19th and latest solo to what should be the fi nished product, At the moment I’ve got plenty of time, but album, Horses and High Heels, recorded huge rows—the usual making of a record. I’m starting to put things together.
    [Show full text]
  • Metallica-Leseprobe
    1/2017 l D: o 9,80 l A: e11,20 l L: e11,70 l BeNeLux: e11,70 l CH: SFR 18,00 Die besten Riffs als Noten/TABs + Soundfiles zum Download DIE GRÖSSTE METALBAND DES 01 UNIVERSUMS 190986 509805 GENIESTREICHE, SUFF & DRAMEN 4 SONG FÜR SONG 2 KOMPLETTE SONGS DIE GITARRENSCHMIEDE Hardwired... „Welcome Home (Sanitarium)“ Die wichtigsten ESP-Gitarren to Self-Destruct „Wherever I May Roam“ für Kirk & James LEGENDS-SPECIAL Die größte Metalband des Universums Universal, Getty Images, Archiv C 6 -artists Metallica LEGENDS-SPECIAL Getty Images „Wir rissen ständig Girls auf C und gingen mit ihnen nach Hause, damit wir duschen konnten“ James Hetfield 7 METALLIGRAFIE Die essentiellen Metallica-Scheiben und Grammy-ausgezeichnete „One“ werden zu Hits, der Rest ist für den Live-Einsatz zu kompliziert. Metallica [Black Album] 1991 Die Metalligrafie Die Perfektion: Weil mehr Riff- wahn nicht geht, wählen Metallica die Gegenrichtung – und konzen- In über dreieinhalb Jahrzehnten haben Metallica eine Menge trieren jeden Song auf seine pure bahnbrechender, legendärer, mitunter verstörender und auch Essenz. Die Songs werden kürzer, enttäuschender Musik herausgebracht. Langweilig und vorhersehbar langsamer und eingängiger, klingen gleichzeitig wurde es mit der Band aus Kalifornien jedenfalls nie. Hier geben wir dank einer auch 25 Jahre später noch wenig ange- fochtenen Produktion von Bob Rock massiv und so euch den Überblick über die Grundpfeiler des Metallica-Werkes. groß wie Gebirgsketten. Hetfield entdeckt „rich- tigen“ Gesang und schreibt Hits: „Enter Sandman“ darf man als das „Smoke on the Water“ der Neun- Kill ’Em All 1983 voller Adrenalin und jugendlichem Feuer. Bei Er- ziger bezeichnen, „Nothing Else Matters“ als das scheinen der Platte sind die Musiker gerade mal „Stairway to Heaven“ desselben Jahrzehnts.
    [Show full text]
  • More Than a Touch of Madness Below Performance (1970)
    Articles More Than a Touch of Madness Below Performance (1970) On its release in the United States in 1970, Life magazine critic Richard Schickel described Don- More Than ald Cammell and Nicolas Roeg’s debut filmPerfor - mance as ‘the most completely worthless film I have seen since I began reviewing’ (Schickel 1970). Pretty a Touch of harsh words from Schickel who, along with Andrew Sarris and Pauline Kael, had embraced much of the new American and European cinema and had railed Madness against the New York Times critic Bosley Crowther for denouncing as trash Arthur Penn’s breakthrough The flawed brilliance of Nicolas Roeg film, Bonnie and Clyde (1967). One can only guess that watching a couple of bodies being riddled with and Donald Cammell’s debut film bullet holes must have been easier to digest than Performance watching three hippies taking a bath in a tub of dirty water. But whatever his cinematic politics, Schickel was not alone. John Simon, then writing in the New By Dean Goldberg York Times, wrote: You do not have to be a drug addict, ped- Keywords Nicolas Roeg, Donald Cammell, erast, sado-masochist, or nitwit to enjoy Performance, 1960s, Mick Jagger, Anita Performance, but being one or more of these Pallenberg things would help […] [It’s] a prime example of the Loathsome Film, a genre that sub- sists purely on shock value, cheap thrills, decadent artiness, glorification of amoral- ity, and sheer mystification […] And there is the supreme horror of the film, Mick Jagger, whose lack of talent is equaled only by a repulsiveness of epic proportions […] It is all mindless intellectual pretension and patho- logically reveled-in gratuitous nastiness, and it means nothing.
    [Show full text]
  • Mick Taylor © Felix Aeppli 07-2020 / 08-2021
    Blues Breaker Mick Taylor © Felix Aeppli 07-2020 / 08-2021 5001 January 17, 1949 (not 1948) Born in Welwyn Garden City, Hertfordshire: Michael Kevin (not James) Taylor. 5001A 1963 Hatfield, Hertfordshire, or London: THE STRANGERS, MEET THE STRANGERS (One-sided 10" acetate, 1963): 1. A Picture Of You (Beveridge, Oakman), 2. The Cruel Sea (Maxfield), 3. It’ll Be Me (Clement), 4. Saturday Night At The Duck Pond (Owen, based on a section from Tchaikovsky's Swan Lake) MT, Alan Shacklock: guitar; Malcolm Collins: vocals (1, 3); John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5001B 1964 Hatfield, Hertfordshire, or London: THE JUNIORS, Single (Columbia DB 7339 [UK], Aug. 1964); MADE IN ENGLAND VOL. 2 – BRITISH BEAT SPECIAL 1964 - 69 (LCD 25-2, CD [France], Spring, 2000): 1. There’s A Pretty Girl (Webb), 2. Pocket Size (White) MT, Alan Shacklock: guitar; Malcolm Collins: vocals; John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5002 May, 1967 Probably London THE GODS (THOR, HERMES, OLMPUS, MARS), Single (Polydor 56168 [UK], June, 1967): 1. Come On Down To My Boat Baby (Farrell, Goldstein), 2. Garage Man (Hensley) NOTES: Cuts 1, 2: MT’s participation in this session is very much open to speculation and his own interviews on the subject are full of contradictions; most likely MT had taken part in some live shows, but he never was in THE GODS’ actual line-up (Lee Kerslake: guitar; Ken Hensley: organ, vocals; John Glascock: bass, back-up vocals; Brian Glascock, perhaps alternating with Lee Kerslake: drums); – Nor is MT identical with MICK TAYLOR playing guitar and singing on a Single (CBS 201770 [UK], June, 1965), London Town, Hoboin’ (both Taylor - produced by Jimmy Duncan and Peter Eden); or involved in Cockleshells (Taylor), a track recorded by MARIANNE FAITHFULL (NORTH COUNTRY MAID, Decca LK 4778 [UK], Feb.
    [Show full text]
  • Jeremyt Follow in Keefs Footsteps in London Through the Vintage Rolling
    Author: JeremyT Follow in Keefs footsteps in London through the vintage Rolling Stones years. 1. Famous Rock Lips Born Here, 147 Brent Lane Mike Jagger - the Rolling Stones legend entered the world here. Notes: 2. Keith Richards 1st Steel String, 56 Rathbone Place (off Oxford Street) Keith's first Hofner guitar was bought in this very shop Notes: 3. Keith Richards lived here, 3 Cheyne Walk, Chelsea The house that Keith Richards and Anita Pallenberg lived in. Notes: 4. Keith Richards lived Here, 33 Chastilian Road, Dartford Once them home of rock god and now cult film hero Keith Richards Notes: 5. Keith Richards lived Here, 6 Spielman Road, Temple Hill Keith Richards spent his teen years on this estate Notes: 6. Keith's 1st Studio Experience, 35 Portland Place This was the first studio that Keith Richards set foot in Notes: 7. Mick & Keith Schooled Here, Wentworth Drive, Dartford, Kent Once the primary school of two 'Rolling Stones' Notes: 8. Mick and Keith's Secret Flat, 10a Holly Hill, Hampstead Mick Jagger and Keith Richards Hampstead Party Flat. Notes: www.shadyoldlady.com Page 1/3 9. Mick Jagger Lived Here, 39 Denver Road, Dartford Mick Jagger school days were spent living at this house Notes: 10. Once a great Music Venue, 246 Hackney Road Once called the Manor House and a favourite of Keith Richards Notes: 11. Regent Sound, 4 Denmark St, London This is Regent Sound was, where the Rolling Stones 1st recorded. Notes: 12. Rolling Stones Row, 103 Cheyne Walk Ronnie Wood selling up on 'Rolling Stones Row' Notes: 13.
    [Show full text]
  • Metallica Celebrate 30
    METALLICA CELEBRATE 30-YEAR ANNIVERSARY AT THE FILLMORE IN SAN FRANCISCO WITH SPECIAL GUESTS OZZY OSBOURNE, DAVE MUSTAINE, JASON NEWSTED, LOU REED, MARIANNE FAITHFULL, KID ROCK, AND MORE BAND TO RELEASE BEYOND MAGNETIC EP FEATURING FOUR PREVIOUSLY UNRELEASED SONGS EXCLUSIVELY ON ITUNES FOR ONE WEEK LOS ANGELES, CA – December 12, 2011 – Metallica celebrated its 30th anniversary as a band last week, performing four shows at the Fillmore Theatre in San Francisco, CA, exclusively for members of their fan club, the Metallica Club. In August, Metallica Club members around the world were able to enter a lottery for a chance to purchase tickets to all the Fillmore shows at a cost of $19.81 for a four-pack of tickets to all of the shows. Single show tickets were $6. All four of the shows immediately sold out. Last week, Metallica welcomed these fans from around the globe to join them in the celebration where there were no repeats in the set lists for the four night stand, aside from the established show closer of “Seek & Destroy,” playing close to 80 different songs. Each night at the Fillmore was hosted by comedian Jim Breuer and opened by the Rebel Souls Brass Band performing Metallica songs. This was followed by fan club winners invited on stage to play “Crash Course Trivia” and “Name That Riff” games where they were able to win exclusive 30th anniversary prizes and memorabilia. Metallica also invited many special guests relevant to their 30 years to the stage to perform with them. The list of guests included Apocalyptica, Armored Saint, Geezer Butler, John Bush, Bif Byford, Jerry Cantrell, Nick “Animal” Culmer, Glenn Danzig, Death Angel, King Diamond, Diamond Head, Marianne Faithfull, Lloyd Grant, Rob Halford, Ray Haller, Pepper Keenan, Kid Rock, Laaz Rockit, John Marshall, Jim Martin, Mercyful Fate, Ron McGovney, Dave Mustaine, Jason Newsted, Ozzy Osbourne, Soul Rebels Brass Band, Lou Reed, Bob Rock, Gary Rossington, and Hugh Tanner.
    [Show full text]