crawdaddy!

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It’s Free Comics Day! You know what’s always free? Web comics!

To that end, let me tell you about The Adventures of Crawdaddy! It’s a superhero comic, but it’s also a bit of a parody of superhero comics. Hi-jinks & bad puns abound as the Fighting Individuals for Safety and Harmony (F.I.S.H.), led by the intrepid, crayfish-themed hero known as Crawdaddy, face off against the villains who threaten the city Thecity!

Updates Tuesdays & Fridays

You can find us here on Tumblr, on Facebook, Twitter, & even Google+!

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Screen caps of George and Olivia, 17 November 1976 (view the clip, and an interview with George, here).

“We have a nice relationship. When you strive for something higher in the next world, you have a much easier time in this one.” - Olivia Harrison, Rolling Stone, 30 December 1976

“A slight, dark woman with a sculptured, almost Aztec face, she smiles often. The couple met while Olivia worked at Dark Horse. After more than two years, they are an informal familiar pair. Olivia reaches into her shopping bag, pulling out boxes of new shoes for George’s media tour. The first contains a pair of Italianesque loafers. Harrison tries them, a little shy, a little shaken by their sleekness. ‘They’ll look great with your new suit,’ Olivia says. She quickly offers another pair; brown suede with white stitching. Mimicking a clerk, she grabs George by the ankle: ‘They’re really you, sir.’ Harrison calls for a shoehorn. He tries them on and asks around for approval. Everybody oohs and ahhhs. ‘I’ll take a dozen, squire,’ he bellows.” - Crawdaddy, February 1977

Paul Williams ‘69 pioneered rock journalism, founding Crawdaddy! while a student at Swarthmore.  He died yesterday at age 64.

From Gollancz:

In the wider realm of popular culture, you should honour him as the founding father of rock journalism.  The magazine he founded as a 17-year-old college student in 1966, Crawdaddy!, was the first publication to focus on serious writing about the then-new music.  It launched the career of writers such as Jon Landau (who went on to become Bruce Springsteen’s manager), Sandy Pearlman, and Richard Meltzer.  It was the inspiration for subsequent magazines, notably Rolling Stone.  

In addition to writing about music, Williams was also the Literary Executor for Philip K. Dick, and founded and ran the Philip K. Dick Society.

The Crawdaddy! Book: Writings (And Images) from the Magazine of Rock was published in 2002.  In it, Williams explained his vision for the magazine:

Although my vision was of a magazine where young people could share with each other the powerful, life-changing experiences we were having listening to new music in the mid-60s, I was heavily influenced by the trade magazines I was reading at the college radio station, Billboard and Cash Box; and since I didn’t have a way to get my new magazine into the hands of thousands of young music lovers immediately, my short-term focus was to get the attention of the radio station and record company people to whom I planned to mail complimentary copies of the first issue (p10).

[photo by Zeloof Stuart Photography]

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George and Olivia (images found years ago at beatlephotoblog)

“A slight, dark woman with a sculptured, almost Aztec face, she smiles often. The couple met while Olivia worked at Dark Horse. After more than two years, they are an informal familiar pair.” - Mitchell Glazer on George and Olivia Harrison, Crawdaddy, February 1977 [x]

“They are quite attentive to each other’s needs and well-being and there is genuine caring going between them. It’s quite lovely to see and it has a calming effect on people around them.” - “A friend” on George and Olivia, from a 1977 publication [x]

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George Harrison, Hamburg, Germany, 5 February 1977

Photos: ullstein bild

“That’s good - I like that. I think individual love is just a little of universal love. The ultimate love, the universal love or love of God, is a basic goal. Each one of us must manifest our individual love, manifest the divinity which is in us. All individual love between one person loving another or loving this that or the other, is all small parts or small examples of that one universal love. It’s all God, I mean if you can handle the word ‘God.’ Ultimately the love can become so big that we can love the whole of creation instead of ‘I love this but I don’t like that.’ Singing to the Lord or an individual is, in way, the same. I’ve done that consciously in some songs.” - George Harrison in response to the question, “On the new album I’ve never been able to figure out whether you’re talking about Krishna or a woman.” Crawdaddy, February 1977 [x]

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Momentus meeting took place this week in 1963. The Beatles had just taped a show called Thank your lucky stars when they heard about a band playing at the Crawdaddy Club, it was The Rolling Stones…….

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George Harrison and Bob Dylan, Woodstock, 1968; screen capped from Living in the Material World

Photos: Pattie Boyd (?)

Q: “Which was your favorite [on All Things Must Pass]? ‘My Sweet Lord’?”
George Harrison: “No, not particularly. I liked different songs for different reasons. I liked the first song that was on the album, ‘I’d Have You Anytime,’ and particularly the recording of it, because Derek and the Dominoes played on most of the tracks and it was a really nice experience making that album - because I was really a bit paranoid, musically. Having this whole thing with the Beatles had left me really paranoid. I remember having those people in the studio and thinking, ‘God, these songs are so fruity! I can’t think of which song to do.’ Slowly I realized, ‘We can do this one,’ and I’d play it to them and they’d say, ‘Wow, yeah! Great song!’ And I’d say, ‘Really? Do you really like it?’ I realized that it was okay… that they were sick of playing all that other stuff. It’s great to have a tune, and I liked that song, ‘I’d Have You Anytime’ because of Bob Dylan.
I was with Bob and he’d gone through his broken neck period and was being very quiet, and he didn’t have much confidence anyhow - that’s the feeling I got with him in Woodstock. He hardly said a word for a couple of days. Anyway, we finally got the guitars out and it loosened things up a bit. It was really a nice time with all his kids around, and we were just playing. It was near Thanksgiving. He sang me that song and he was, like, very nervous and shy and he said, ‘What do you think about this song?’ And I’d felt very strongly about Bob when I’d been in India years before - the only record I took with me along with all my Indian records was ‘Blonde On Blonde.’ I felt somehow very close to him or something, you know, because he was so great, so heavy and so observant about everything. And yet, to find him later very nervous and with no confidence. But the thing that he said on ‘Blonde On Blonde’ about what price you have to pay to get out going through all these things twice - ‘Oh mama, can this really be the end.’ So I was thinking, ‘There is a way out of it all, really, in the end.’
He sang for me, ‘Love is all you need/ Makes the world go ‘round/ Love and only love can’t be denied/ No matter what you think about it/ You’re not going to be able to live without it/ Take a trip from one who’s tried.’ And I thought, Isn’t it great, because I know people are going to think, ‘Shit, what’s Dylan doing?’ But as far as I was concerned, it was great for him to realize his own peace, and it meant something. You know, he’d always been so hard… and I thought, ‘A lot of people are not going to like this,’ but I think it’s fantastic because Bob has obviously had the experience. I was saying to him, ‘You write incredible lyrics,’ and he was saying, ‘How do you write those tunes?’ So I was just showing him chords like crazy. Chords, because he tended just to play a lot of basic chords and move a capo up and down. And I was saying, ‘Come on, write me some words,’ and he was scribbling words dow. And it just killed me because he’d been doing all these sensational lyrics. And he wrote, ‘All I have is yours/ All you see is mine/ And I’m glad to hold you in my arms/ I’d have you anytime.’ The idea of Dylan writing something, like, so very simple.” - Crawdaddy, February 1977

Ah I was passed this note last night written on the back of a receipt for £6.94 at The Theatre of Wine- and so the next record I put on the deck was Ain’t No Sun Since You Been gone- I think it has to be my Favourite Dusty track. I got a lovely hug too. #dusty #djing #crawdaddy

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Good News chocolate box flavors, and a studio shot of George Harrison and Eric Clapton in 1969

Photo 2: Barrie Wentzell

“‘Savoy Truffle’ on The White Album was written for Eric. He’s got this real sweet tooth and he’d just had his mouth worked on. His dentist said he was through with candy. So as a tribute I wrote, 'You’ll have to have them all pulled out after the Savoy Truffle.’ The truffle was some kind of sweet, just like all the rest - cream tangerine, ginger sling - just sandy, to tease Eric.” - George Harrison, Crawdaddy, February 1977

Savoy Truffle is a funny one written whilst hanging out with Eric Clapton in the sixties. At that time he had a lot of cavities in his teeth and needed dental work. He always had toothache but he ate a lot of chocolates - he couldn’t resist them and once he saw a box he had to eat them all.
He was over at my house and I had a box of 'Good News’ chocolates on the table and wrote the song from the names inside the lid:
Creme Tangerine, Montelimar
A Ginger Sling with a Pineapple Heart
A Coffee Dessert
Yes you know it’s Good News
But you’ll have to have them all pulled out
After the Savoy Truffle
I got stuck with the two bridges for a while and Derek Taylor wrote some of the words in the middle… you know that what you eat you are…” - George Harrison, I Me Mine

“The session men were playing really well - there’s nothing like a good brass section letting rip - and it sounded fantastic. But having got this really nice sound George turned to Ken Scott and said ‘Right, I want to distort it’. So I had to plug-up two high-gain amplifiers which overloaded and deliberately introduced a lot of distortion, completely tearing the sound to pieces and making it dirty. The musicians came up to the control room to listen to a playback and George said to them ‘Before you listen I’ve got to apologize for what I’ve done to your beautiful sound. Please forgive me - but it’s the way I want it!’ I don’t think they particularly enjoyed hearing their magnificent sound screwed up quite so much but they realized that this was what George wanted, and that it was their job to provide it.” - Brian Gibson on the 11 October 1968 recording session for George Harrison’s song “Savoy Truffle”, The Complete Beatles Recording Session [x]