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71Tele
I had never seen this film before. Supposedly, Anotonioni wanted The Who, hence the guitar smashing by Beck. Great 60s movie with plenty of Swinging London locales. The main character was modeled on photographer David Bailey.
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tattersQuote
71Tele
I had never seen this film before. Supposedly, Anotonioni wanted The Who, hence the guitar smashing by Beck. Great 60s movie with plenty of Swinging London locales. The main character was modeled on photographer David Bailey.
Much about this scene looks fairly ridiculous. Notice how the crowd (except for the one couple dancing) just stands there, stone-faced and motionless, even while Beck is smashing the guitar, but the moment he throws it into the crowd, they riot. Supposedly, Beck was reluctant to do the smashing, but the director, a huge Who fan, insisted that somebody was going to smash a guitar in his movie. I've met Dreja and McCarty a few times, but never thought to ask them about Blow Up. I did ask them once why "Beck's Bolero", recorded in 1966, isn't technically considered to be property of the Yardbirds, and Chris responded, "Because they didn't tell us about it!"
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71TeleQuote
tattersQuote
71Tele
I had never seen this film before. Supposedly, Anotonioni wanted The Who, hence the guitar smashing by Beck. Great 60s movie with plenty of Swinging London locales. The main character was modeled on photographer David Bailey.
Much about this scene looks fairly ridiculous. Notice how the crowd (except for the one couple dancing) just stands there, stone-faced and motionless, even while Beck is smashing the guitar, but the moment he throws it into the crowd, they riot. Supposedly, Beck was reluctant to do the smashing, but the director, a huge Who fan, insisted that somebody was going to smash a guitar in his movie. I've met Dreja and McCarty a few times, but never thought to ask them about Blow Up. I did ask them once why "Beck's Bolero", recorded in 1966, isn't technically considered to be property of the Yardbirds, and Chris responded, "Because they didn't tell us about it!"
Yes, at first glance I thought the scene looked ridiculous too, especially the audience. However, I really think this film is meant to be a dream...the way the scenes flow and move from one to the next is very dreamlike. So I look at the strange behavior and dialogue in the film in that context.
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tattersQuote
71Tele
I had never seen this film before. Supposedly, Anotonioni wanted The Who, hence the guitar smashing by Beck. Great 60s movie with plenty of Swinging London locales. The main character was modeled on photographer David Bailey.
Much about this scene looks fairly ridiculous. Notice how the crowd (except for the one couple dancing) just stands there, stone-faced and motionless, even while Beck is smashing the guitar, but the moment he throws it into the crowd, they riot. Supposedly, Beck was reluctant to do the smashing, but the director, a huge Who fan, insisted that somebody was going to smash a guitar in his movie. I've met Dreja and McCarty a few times, but never thought to ask them about Blow Up. I did ask them once why "Beck's Bolero", recorded in 1966, isn't technically considered to be property of the Yardbirds, and Chris responded, "Because they didn't tell us about it!"
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stonesnowQuote
tattersQuote
71Tele
I had never seen this film before. Supposedly, Anotonioni wanted The Who, hence the guitar smashing by Beck. Great 60s movie with plenty of Swinging London locales. The main character was modeled on photographer David Bailey.
Much about this scene looks fairly ridiculous. Notice how the crowd (except for the one couple dancing) just stands there, stone-faced and motionless, even while Beck is smashing the guitar, but the moment he throws it into the crowd, they riot. Supposedly, Beck was reluctant to do the smashing, but the director, a huge Who fan, insisted that somebody was going to smash a guitar in his movie. I've met Dreja and McCarty a few times, but never thought to ask them about Blow Up. I did ask them once why "Beck's Bolero", recorded in 1966, isn't technically considered to be property of the Yardbirds, and Chris responded, "Because they didn't tell us about it!"
On Beck's Bolero, that's Keith Moon on the drums and John Paul Jones on bass, isn't it? So the Yardbirds really didn't play on it.
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tattersQuote
stonesnowQuote
tattersQuote
71Tele
I had never seen this film before. Supposedly, Anotonioni wanted The Who, hence the guitar smashing by Beck. Great 60s movie with plenty of Swinging London locales. The main character was modeled on photographer David Bailey.
Much about this scene looks fairly ridiculous. Notice how the crowd (except for the one couple dancing) just stands there, stone-faced and motionless, even while Beck is smashing the guitar, but the moment he throws it into the crowd, they riot. Supposedly, Beck was reluctant to do the smashing, but the director, a huge Who fan, insisted that somebody was going to smash a guitar in his movie. I've met Dreja and McCarty a few times, but never thought to ask them about Blow Up. I did ask them once why "Beck's Bolero", recorded in 1966, isn't technically considered to be property of the Yardbirds, and Chris responded, "Because they didn't tell us about it!"
On Beck's Bolero, that's Keith Moon on the drums and John Paul Jones on bass, isn't it? So the Yardbirds really didn't play on it.
Well, two of them play on it, and they were both members of the Yardbirds at the time. Record company contracts being what they were in those days, it's not unrealistic to think it could have been legally claimed as a Yardbirds track. Here's the rare alternate version with the backwards ending.
Quote
stonesnowQuote
tattersQuote
stonesnowQuote
tattersQuote
71Tele
I had never seen this film before. Supposedly, Anotonioni wanted The Who, hence the guitar smashing by Beck. Great 60s movie with plenty of Swinging London locales. The main character was modeled on photographer David Bailey.
Much about this scene looks fairly ridiculous. Notice how the crowd (except for the one couple dancing) just stands there, stone-faced and motionless, even while Beck is smashing the guitar, but the moment he throws it into the crowd, they riot. Supposedly, Beck was reluctant to do the smashing, but the director, a huge Who fan, insisted that somebody was going to smash a guitar in his movie. I've met Dreja and McCarty a few times, but never thought to ask them about Blow Up. I did ask them once why "Beck's Bolero", recorded in 1966, isn't technically considered to be property of the Yardbirds, and Chris responded, "Because they didn't tell us about it!"
On Beck's Bolero, that's Keith Moon on the drums and John Paul Jones on bass, isn't it? So the Yardbirds really didn't play on it.
Well, two of them play on it, and they were both members of the Yardbirds at the time. Record company contracts being what they were in those days, it's not unrealistic to think it could have been legally claimed as a Yardbirds track. Here's the rare alternate version with the backwards ending.
Actually, as Beck's Bolero was recorded in May and Jimmy Page didn't join until subsequent to Paul Samwell-Smith's departure in June, originally with the intention of becoming the new bassist, Page wasn't actually a member at the time and so this qualifies as a Beck side project, which management was encouraging band members at the time to do.
en.wikipedia.org/wiki/Beck's_Bolero