In Fact, It's a Gas: For Fans, 'Rolling Stones Exhibitionism' Provides Plenty of Nostalgic Satisfaction -- Exhibit Review

Special Exhibit Review

The Rolling Stones
Exhibitionism
Navy Pier, Chicago
Thru July 30
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If you haven't become an ardent fan of the Rolling Stones over the past 55 years, Exhibitionism--a museum-like showcase of the band's history, now parked at Chicago's Navy Pier after running in London and New York--is unlikely to turn you into one.

And if, like me, you've loved the Stones for decades, the show probably won't greatly educate you, as there are relatively few insights provided about the music itself or the (occasionally lurid) biographies of the band members.

You'll find hardly a word about Brian Jones' dismissal and death, Keith Richards' addictions or what makes Charlie Watts tick. And tick. And tick.

But if you enter without expecting to be converted or particularly illuminated, Exhibitionism should abundantly delight any Stones fan as a viscerally rich reminder of the iconography surrounding the self-proclaimed "World's Greatest Rock 'n Roll Band." (A hard appellation to argue, even if per the famed "Beatles or Stones?" query I forever lean to the former.)

Along with a "best guess" re-creation of the dingy London apartment Brian Jones shared with Mick Jagger and Keith Richards circa 1962 as the band got started, and plenty of instruments on display, Exhibitionism showcases an array of fashions, album covers, stage designs and more.

Simply as a collection of Stones Stuff, the exhibit is quite impressive, and does reveal that Mick especially was interested and involved in working with top photographers--including Robert Frank, whose work adorned Exile on Main Street and who filmed a 1972 band documentary, Cocksucker Blues--graphic designers, fashion designers, stage designers, artists like Andy Warhol, filmmakers and more.

It's no accident that this exhibit was developed in the wake of David Bowie Is--a similar showcase I saw in both London and Chicago prior to the singer's death--and while the Stones didn't quite curate every aspect of their career with Bowie's multi-idiom, artistically expansive breadth, there is an appreciable distinction in how the Rolling Stones presented themselves over the years.

There are paintings by Andy Warhol, a huge gallery full of clothes from various tours, a Martin Scorsese-narrated video about the Stones on film, models of mammoth concert stages, several tour posters and even a "backstage area"--the only place Exhibitionism forbids photography, though only mobile phone cameras are allowed--leading to a 3D concert performance of "Satisfaction." 

The amount of authentic apparel and instruments on hand--including a full studio set-up--should mollify those wondering if Exhibitionism's not inconsiderable admission fee offers value beyond your average Hard Rock Cafe excusrion.

Though I had to fill mentally in the blanks, having a dulcimer played by Brian Jones on hand served to remind how pioneering he was in bringing global instrumentation to rock 'n roll, and seeing a displayed guitar Keith had painted on out of boredom then also appear in a "Sympathy for the Devil" video clip only added to the sense of musical history in one's midst.

I've long felt the Stones' "lips and tongue" logo is the most iconic in rock history--and among the most emblematic of any logo for anything--so I valued a brief gallery on its creation by an artist named John Pasche.

And while I wish there was more within Exhibitionism about the Rolling Stones' music--perhaps the whys and hows of writing certain songs; a few additional handwritten lyrics--I did appreciate an interactive display that let you hear certain songs while controlling the levels of various instruments.

I recommend listening to "Angie" with just the vocals and piano turned up.

Though I saw something suggesting that most Exhibitionism visitors get through in 90 minutes, my friend Dave and I were there for nearly twice that.

Particularly with a $35 Groupon weekend discount ticket saving roughly 20% and, perhaps more importantly, allowing for instant entry on a day when all timed-entry blocks were shown as "sold out," this sweeping glimpse into the Rolling Stones was actually even better than I anticipated.

Satisfaction indeed.
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By Focusing Spotlight on Brian Jones, Stones Musical 'Aftermath' Provides Tremendous Satisfaction: Theater Review

Theater Review

Aftermath
a new musical play by Ronan Marra
featuring songs by the Rolling Stones
Signal Theatre Ensemble, Chicago
Thru December 12, 2010 (unless extended)
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If Keith Richards is to be believed--and it seems his recent comments are already being contradicted--The Rolling Stones will record and tour in 2011. If it happens, it will mean--somewhat astonishingly--that Keith, Mick Jagger and Charlie Watts will still be working together 49 years after the band's formation in 1962.

With current second guitarist Ron Wood having joined in 1975 and original bassist Bill Wyman having put in 30 years before retiring in 1992, it's easy to consider guitarist Brian Jones--an original member who was dismissed and soon after died in 1969--a footnote to musical history. But the still ongoing story of the Stones could never have been written without him, and not just because he was the one who chose their name.

As Ronan Marra writes in the program notes of Aftermath--a new work he wrote and directs for Chicago's Signal Ensemble Theatre, of which he is co-founder and co-artistic director--coming across a magazine article on Jones decades after his death was eye-opening.
 
"To me and anyone else I knew the leaders of The Rolling Stones had always been Mick Jagger and Keith Richards. To find out the band wasn’t even founded by these two legends was definitely news to someone who considered themselves a pretty serious rock fan. ... This article initiated my fascination with Jones. I came to learn that he was not only the band’s lead guitarist, but was also the one responsible for bringing many non-traditional instruments to their rock/R&B landscape."

Years later, Marra was inspired to write Aftermath, which Signal initially produced and staged in May; after a sold-out monthlong run--likely spurred by this glowing review from the Chicago Tribune's Chris Jones and much other praise--the show has now been remounted. And is again entirely sold out. 

Fortunately, acting quickly after Chris Jones mentioned the show's revival, I was able to buy one of the last remaining tickets and went on Thursday night. Living up to the hype, Aftermath is one of the best pieces of theater I've seen this year. (Though it may seem pointless to write or read a rave review about a show for which no tickets remain, there is a waiting list for each show that you can get on an hour before curtain--I was told they try to be accommodating as possible--and the possibility also exists that Aftermath will get extended past its slated December 12 closing date; it would seem kind of silly if it isn't.)

And while it may be a bit tricky for any producer to take Aftermath to New York, given that the Stones have yet to officially endorse the show which features live renditions of about 5-6 of their songs (and even one by the Beatles), this is clearly a work that deserves an even wider audience.

Given the recent glut of "songbook" musicals using old rock songs, relatively few of which have been good or successful, the thought of a Rolling Stones musical might sound a bit garish. But although Aftermath features the talented cast performing late '60s Rolling Stones songs live on stage, it feels less like a musical akin to Mamma Mia--in which ABBA songs narrate the story--than simply a biographical drama with Stones songs as accoutrement. The program--actually a mock "backstage pass" that Signal cleverly substitutes for both ticket and program--calls Aftermath "a new play by Ronan Marra," rather than a musical.

Not to get too bogged down on this point, but it seems that a play with live music is technically "a musical." But even compared to stellar songbook stage affairs like Jersey Boys and Million Dollar Quartet, where the songs simply accompany biography rather than move the story along, Aftermath seems to avoid gathering musical moss, or gloss, by doing away with any dancing (other than Mick's gyrations) or over-the-top production numbers.

I realize that I'm probably not doing a very good job in describing why Aftermath is so good, and in a way, it's a show that is a lot better than the sum of its parts. The biography was interesting, but not all that revelatory beyond what one can learn on Wikipedia (although I'm glad it inspired me to do so). The Stones songs are great, but only a handful are played in the 90-minute show, and not only are just of few of those--Paint It Black, Sympathy for the Devil, Satisfaction--particularly well-known, singer/actor Nick Vidal looks a lot like Mick but doesn't really sound like him vocally. And the rest of the actors/musicians--even Aaron Snook who is excellent as Jones--aren't exactly spitting images of the other Stones.

All "Stones" imagery in the theater substitutes the actors' pix.

Yet, it all works. Wonderfully. Perhaps because the show is--much like the Stones--a bit scruffy and unkempt.

In staying focused on Jones during period from 1966-69--only slightly touching on his death, which many still believe was a murder--Aftermath strikes an incredibly engaging, entertaining and enlightening balance between biographic theatrical drama and a showcase for some of the greatest rock music ever made. 

And for just $20 if you're lucky enough to get one, it's not only the hottest ticket in town, but one of the best.

My 100 All-Time Favorite Artists of Popular Music - 2010 Edition

In honor of Lollapalooza weekend in Chicago--although I'm not attending this year's fest, due to being too old & fat to enjoy standing in a field all day, let alone three, and a scarcity of acts that interest me--I thought it would be a good time to update my list of 100 favorite popular music (mostly rock) artists, which I first compiled and published five years ago.

Although without too many wholesale changes, there are a number of acts that either newly made or fell off the top 100, and others that bounced around within it. Beyond asking myself at each berth, "Do I like "x" better than the artist below," there was no scientific methodology, but I did try to consider each artist's recorded output, their merits as a live act (where applicable), how often I tend to listen to them and the depth & duration of my affinity.

As such, the rankings are based on my personal fondness more than my critical regard for one's originality, impact, influence or other barometers of artistic merit. In other words, although I know Bob Dylan (#30) is "greater" than Rush (#19), I don't "like" him better. On stature alone, Elvis Presley, Chuck Berry, Stevie Wonder and Bob Marley clearly belong, and I enjoy all four and others of their ilk, but none have been mainstays in the "soundtrack of my life" to the extent of the 100 who made the cut.

Keep in mind that I've seen more than 200 different artists as concert headliners and have nearly 1,400 artists in my iTunes library, so I like far more than the 100 listed here. And as this is meant as an "all-time" list, although  I've been listening heavily of late to stellar new releases from The Len Price 3, The Arcade Fire and LCD Soundsystem, among others, I couldn't allow myself to be too myopic in my selections.

Finally, one thing that I had some trouble being consistent about was in how to consider solo acts who were previously in bands. I like the individual post-Beatles output of John, Paul & George enough to give them their own slots, as well as that of Paul Weller outside The Jam, but though I've enjoyed Ray Davies' solo recordings & concert appearances, I didn't cite him beyond The Kinks. I included Bob Mould/Husker Du/Sugar as a single entry, and likewise Eric Clapton/Cream/Derek & the Dominoes, but listed Ozzy Osbourne, not Black Sabbath (despite liking his output in both forms). Neither Steve Winwood nor Traffic (or Blind Faith) made the cut, but perhaps should have if considered in sum, yet I combined Velvet Underground & Lou Reed. And my penchant for Neil Young includes his work in CSNY, Buffalo Springfield and more so with Crazy Horse than without, but he's only included individually.

Oh, well, life is full of inconsistencies and so is my list. But here it is, as of August 6, 2010:

1. Bruce Springsteen
2. The Beatles
3. R.E.M.
4. Nirvana
5. Led Zeppelin
6. The Rolling Stones
7. U2
8. The Kinks
9. The Who
10. The Jam
11. Pearl Jam
12. The Clash
13. The Smashing Pumpkins
14. AC/DC
15. The Ramones
16. David Bowie
17. Radiohead
18. Cheap Trick
19. Rush
20. Tom Petty & the Heartbreakers
21. Midnight Oil
22. Stereophonics
23. Foo Fighters
24. Dinosaur Jr.
25. Green Day
26. Jimi Hendrix
27. The Replacements
28. Van Halen
29. Bob Seger
30. Bob Dylan
31. Pink Floyd
32. Elvis Costello
33. Queen
34. Talking Heads
35. The Police
36. Aerosmith
37. Neil Young
38. John Lennon
39. Creedence Clearwater Revival
40. Johnny Cash
41. Guns 'n' Roses
42. Alejandro Escovedo
43. Husker Du/Bob Mould/Sugar
44. The Wildhearts
45. The Killers
46. Paul McCartney
47. Steely Dan
48. Simon & Garfunkel
49. Elton John
50. Eric Clapton/Cream/Derek & the Dominoes
51. The Cure
52. Billy Joel
53. The Zombies
54. Metallica
55. The Flaming Lips
56. Peter Gabriel
57. Warren Zevon
58. Blur
59. Sex Pistols
60. Garbage
61. Soundgarden
62. Paul Weller
63. Van Morrison
64. The Waterboys
65. The Doors
66. Maximo Park
67. The Pretenders
68. Velvet Underground/Lou Reed
69. The Cars
70. BoDeans
71. Wilco
72. Nine Inch Nails
73. Depeche Mode
74. Liz Phair
75. John Mellencamp
76. Stevie Ray Vaughan
77. Prince
78. Dire Straits
79. Fleetwood Mac
80. The Byrds
81. The Beach Boys
82. George Harrison
83. The Move
84. Ash
85. The Pixies
86. Buddy Guy
87. The Smoking Popes
88. Def Leppard
89. Ozzy Osbourne
90. Blondie
91. The White Stripes
92. Buddy Holly
93. Coldplay
94. The Smiths
95. Beck
96. Eagles
97. Jackson Browne
98. Social Distortion
99. Boston
100. Material Issue

Top 3 Almosts: Supertramp, Love & Graham Parker

Dropouts from the 2005 list: Elvis Presley, Jason & the Scorchers, ZZ Top, Red Hot Chili Peppers, Santana, Bad Religion, The Wallflowers, The Darkness, Counting Crows, Jane's Addiction, Love and Graham Parker