By Robert Greenfield
For ten days in March 1971, the Rolling Stones traveled via teach and bus to play indicates an evening in lots of of the small theaters and city halls the place their careers begun. No behind the scenes passes. No safety. No sound exams or rehearsals. And just one journalist allowed. That journalist now supplies a full-length account of this landmark occasion, which marked the top of the 1st bankruptcy of the Stones' striking career.
Ain't It Time We acknowledged so long is usually the tale of 2 artists at the precipice of mega stardom, strength, and destruction. For Mick and Keith, and all those that traveled with them, the farewell journey of britain was once the top of the innocence.
Based on Robert Greenfield's first-hand account and new interviews with a few of the key gamers, it is a bright, exciting examine how it as soon as used to be for the Rolling Stones and their fans—and how it could by no means be back.
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Extra info for Ain't It Time We Said Goodbye: The Rolling Stones on the Road to Exile
1997), p. 282. Art of Shakespeare’s Sonnets, pp. 31, 35. Worden, ‘Shakespeare and Politics’, 4–5. On the latter see Antony Taylor, ‘Shakespeare and Radicalism: the Uses and Abuses of Shakespeare in Nineteenth-Century Popular Politics’, Historical Journal 45 (2000), 357–80. , Shakespeare’s Sonnets (London: Thomson Learning, 1997; repr. 2001), p. 80. g. King Richard II, ed. Andrew Gurr (Cambridge: Cambridge University Press, 1984), p. 9; Gurr, Playgoing in Shakespeare’s London (Cambridge: Cambridge University Press, 1987), p.
K. Chambers in 1930. He cannot be said to have analysed it, though. 26 From that oracular ruling a hardening tradition has developed. A number of recent commentators, Stephen Greenblatt among them,27 state that the play was ‘almost certainly’ Shakespeare’s. Others are more conﬁdent still. Shakespeare’s recent biographers Katherine DuncanJones (pp. 25, 128) and Park Honan (p. 217) take it for granted that the play was his. 28 Leeds Barroll, who points shrewdly to a number of misconceptions about the episode and offers a series of valuable insights into it, adheres to tradition in saying that the play was ‘presumably Shakespeare’s’ (p.
They hold ﬁrm beliefs about the capacity and duty of poetry to instruct and improve the world, and they know what truths poetry is obliged to impart. There is nothing to indicate that Shakespeare shared that outlook. His plays have a moral universe, as all writing must, but they report it descriptively, not prescriptively. 10 At all events, if the plays favour – indeed, if any one of them favours – one set of rules for living in preference to others, no one has persuasively identiﬁed it. Of course the plays have characters with strong points of view, which the playwright inhabits in conveying them, but their viewpoints conﬂict with each other.