Yeldom Productions

 As I am doing a Documentary on Guitar Busker called Chris Morris. I am doing Secondary Research into Guitarist and Rock Band Documentaries. These documentaries are important to me for inspiration, influence and style ideas that I can use towards my guitar busker documentary. 

Here are some documentaries I researched into and reviewed. Also I researched into reviewed articles on line covering particular documentaries I am covering. 

 I am also researching into Books on Busking and on Famous Iconic Buskers.

 

 BOB DYLAN, DONT LOOK BACK

 It was released in 1967. Directed by D.A.Pennebaker

 This documentary follows Bob Dylan, 23 on his 1965 spring England Concert Tour. Which was also his last tour as an acoustic guitarist before he switched to being an electric guitarist. It covers him interacting with other musicians on the tour which included the following Joan Baez and Donovan. He also does interviews with local presses like Time Magazine and he interacts with various fans and members of the British public.

 This type of Documentary style is known as (Direct Cinema) Cinema Verite, which involves catching interesting moments on camera as a journey style approach. This documentary would be defined as an Observational Documentary. With reference to Eric Barnouw mentions that " the verite is the interventionist/ interactive mode."

 Bill Nichols, mentions that " the Observational Documentary, paradigm is the deciption of everyday life". This mode relates to the notion of capturing Bob Dylan's everyday life events on his England concert tour in 1965.But there is no interaction with the Director, D.A.Pennebaker with Bob Dylan as the documentary style is only documenting Dylan's tour observationally.

 Bill Nichols stated that "Cinema Verite (Direct Cinema) covers two different modes which are the observational and interactive modes of representation."

Other documentary filmakers, who also use these mode styles in their documentaries include Richard Leacock and Frederick Wiseman.

 http://www.godnose.co.uk/downloads/alevel/documentary/Doc%20Modes%20nichols.pdf

http://condor.depaul.edu/dtudor/DOCUMENTARY%20MODES.htm

 http://www.imdb.com/title/tt0061589/

 

 WHY THE DOCUMENTARY IS IMPORTANT TO ME?

This documentary, Bob Dylan Dont Look Back is important to me for inspirational and influence use. This is because I am going to do a observational and an interactive style documentary on a guitar busker called Chris Morris. My documentary will have a different style because I will be documenting Chris Morris, in action busking and in concerts and he will interact with the documentary from interviews for the audience to engage with his character and his personality.

  Review

 For my personal review on Bob Dylan Dont Look Back, I felt that I got a great insight into Bob Dylan as a person. D.A.Pennebaker I thought gave a good direction to observe Bob Dylan interacting with other musicians, press units, fans and members of the British public in a variety places like in hotel rooms, on the streets, in airports and at concerts. From these different types of people Dylan met up with, It seemed to me that he enjoyed meeting a variety of people on the tour though there were postive and negative outcomes he revealed.

 During the documentary, I felt that Bob Dylan came across as slightly arrogant, immature but charming at that same time.Through out the documentary I felt  there were shifts in Bob Dylan's attuide from him being negative too being exciting and a from him being a musical genius. I then later became interested more in him playing in his concerts as a talent guitarist.Then later on I understood his personality more from him being inspirational, very influencial to musicans at that time and from him being a talent musician. Also from observing his concerts and his guitar playing through out  the documentary, I understood why his music was very imporant moment at that time in the 1960s to influence and inspire other musicians and bands after that era and beyond.

 I thought the ending was a clever statement direction, by D.A.Pennebaker because your expecting him to be going on to another concert from him being in a car with his managers. Though instead the film ends, with him being still in the car with his managers as a cliff hanger affect for the audience to decide what Dylan is going to do next on his concert tour or is it the end of it?. 

 I think D.A.Pennebaker, he established Cinema Verite documentary filmmaking from  making this documentary. This is because I felt that the documentary focused on Bob Dylan on a journey himself, with the audience also not knowing what Dylan was going experience next on his tour.

 

  Reviews and Critics Statements on Bob Dylan, Dont Look Back

 "One of the most influential rock films ever made"

    TIME MAGAZINE

   " More than just a concert film, Dont Look Back is a window into the spirt of the 60s and one of the poet-musicians whose words and songs defined it."

  DVD BACK COVER STATEMENT

  " Is easily one of the best documentaries on a any subject ever made and it is also one of the most cinematically influential."

   CRAIG MARINE, 13th FEBRUARY 1998

 http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19680321/REVIEWS/803210301/1023

 http://www.sfgate.com/cgi-bin/article.cgi?f=/e/a/1998/02/13/WEEKEND2248.dtl

 http://www.villagevoice.com/2008-01-22/film/dont-look-back/

 http://www.avclub.com/articles/dont-look-back,18730/

 

 METALLICA: SOME KIND OF MONSTER

 Image from Google Pictures

 

  This is a documentary that came out in January 2004. It was directed by two American documentary filmakers called Joe Berlinger and Brue Sinofsky. It follows the Heavy Metal band Metallica. The docuemtary is based over two years from early January 2001 until have way into the year of 2003. The documentary begins with the band planning on making a new ablum, as they hadnt made one since the ReLoad Album that was released in November 1997. Though this album is put on hold for a year because the lead singer and songwriter James Hetfield, with hesitating has to leave the band to go to rehab because of alcohol addiction.

 The documentary also documents importantly the bassist, Jason Newsted who leaves the band in early 2001 so Metallica are left to three members in the band to make a new album. Jason then forms his own band Echobrain. During the documentary we also witness, Jason being interviewed about why he left band and we see him playing live with his band. Interestingly the other two members of the band, Lars Ulrich and Kirk Hammett attend a concert to see Echobrain and ironically Lars Ulrich mentions that" Echobrain is the future."

 When James Hetfield returns after being a rehab,the band considermaking a new album 14 months on. They decide to produce an album were the songs on it would reflect their band's status. They have moments were they fall out with eachother espically between James and Lars when their working on the ablum. James finds it hard to connect with the band as he has a routine where he has to work specific hours. As he has other priorities like being with his family more and recovering from his rehab process.

 Interestingly the band hire a therapist called Phil Towle to get them to connect more as a band and  to understand eachother better.Also they find a new bassist for the band called Robert Trujillo, who they compare to a former bassist called Cliff Burton from the way he plays the bass. They then create the album called St Anger in mid 2003 and go on tour, which is a success.

 http://en.wikipedia.org/wiki/Some_Kind_of_Monster_(film)

 To define this Documentary it is an Observational, Interative and a Participary. It is also a Participatory Documentary because in some parts the filmmakers are seen engaging with the band.

 

 WHY THE DOCUMENTARY IS IMPORTANT TO ME?

 This documentary is important to me because it is inspirational and influncial. As I am doing a documentary on a guitar busker called Chris Morris. It made me consider how a band can collapse for a period of time and then get back together and produce a new album to be a success. This documentary interested me because it also made to consider the possibly of Chris Morris falling out and leaving his band Blacktie-Whitenoise and then renuiting with them again. As I havent met his band yet Blacktie-Whitenoise, I am ambious to find out his interaction and chemistry with his band and their bond with him. Chris Morris is the lead guitarist for his band so I would be interesting to find out exactly what his band think of his guitar playing.

    Review

  I thought the documentary was a outstanding documentation, to witness how a huge band like Metallica could be thrown into the deep end. From losing a band member, a band member going off to rehab for a long period of time,falling out with eachother, finding a new bassist and re- establishing their band with a new successful album called St Anger. I thought the directors, Joe Berlinger and Brue Sinofsky gave us a brillaint direction to reveal the ups and down chemistries between the band members making the album over the two years between early 2001 to mid 2003. I felt I got great insight into their lifes, outside of music with regards to their family lifes which I found fascatiting so we could get know them as people and not just rock stars.

Both directors I felt did a great job of directing the chemistry with regards to the therapsit, Phil Towle with the band to see they how they interaced with him and how he interaced with them. I also thought it was relvant that the directors also particapted in the documentary, as we saw them the odd time interacting with the band members and seeing them ask if they could film some footage with the band's permisson. As some footage in the documentary is personal with regards to band members family lifes and  their private lifes outside of music.  

 Reviews and Critics Statements on Metallica: Some Kind of Monster

 " The Rawest Rock Film Ever Made...."

    KERRANG

   " Essential Viewing"

    TOTAL FILM

   " The Unflinching Bluntness Is Captivating."

     EMPIRE

  "This is not a film about Metallica - it's a film about relationships."

 LARS ULRICH, METALLICA DRUMMER- ARTICLE FROM JAMIE RUSSELL,BBC FILMS

  " A Captivating Look At The Music Industry."

   JAMIE RUSSELL, BBC FILMS, 23rd SEPTEMBER 2004

 http://www.bbc.co.uk/films/2004/09/03/metallica_some_kind_of_monster_2004_review.shtml

 http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040730/REVIEWS/407300304/1023

 http://www.salon.com/2004/07/09/metallica_3/

 http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2004/07/09/DDGII7I1M11.DTL

http://www.villagevoice.com/2004-06-29/film/welcome-home-sanitarium/1/

http://www.popmatters.com/pm/review/metallica-some-kind-of-monster

 

        DIG!

    It was released in 2004. It is a documentary covered over seven years following two Amercian Rock Bands called, The Brian Jonestown Massacre and The Dandy Warhols determined to get signed into the music industry.  Throught the documentary observed by the audience there is continous rivalry between the bands. The rivalry is between Anton Newcombe and Courtney Taylor who are the band's founders.

 During the documentary we witness both bands on a journey producing various albums, doing gigs, going on tours, busking and getting in contact with the music industry to get their albums into the public eye. Both bands go on tour, Anton Newcombe and his band The Brian Jonestown Massacre go touring round the US but Courtney Taylor and his band The Dandy Warhols go more adventrous by touring round Europe. Out of the both bands touring, The Dandy Warhols do better promoting their band more in the public eye from going to various countries and meeting journalists and press teams, on their travels to get notice more as a rock band successfully.

However later on Anton and his band go on a tour to Japan, to promote their music better which turned out as a success.  As soon as they got back to the US, Anton was going to produce an album with his band to kick start their career but he turned to drink which posponed the ablum for a while. Later on when The Brian Jonestown were in progress of producing an album to become well known musicans in public in the US, Anton then left the band which made the other band members split up too.

As witnessed throught out the doucmentary, Anton reveals to be a self centred, aggresive and a violent character if he is offened or doesnt get his way as shown with the public so his chemistry with his band members wasnt stable. However, The Dandy Warhols became very successful producing ablums and later became signed as a reconigised band in the music industry, as they are revealed in concerts in the UK in 2003 and are now a huge band in rock music today. Though Anton Newcombe, is still a reconigised musician in the music industry but from his character he wasnt bothered about being a well known rock star he just wanted to play rock music all day long.

  To define this Documentary it is Observational and Interactive. As an audience we observe the bands lifestyles and ambtions to be famous rock bands. We can also interact with the documentary as there are interviews and there is interaction between the bands and the Director, Ondi Timoner.

 

 WHY THE DOCUMENTARY IS IMPORTANT TO ME? 

 This docuemtary is important to me with regards to being influencial and inspring to my docuemntary on Chris Morris the Guitarist. It considers how bands try to get signed from producing ablums from scratch, busking, doing gigs and going on tours to get noticed more in public as a rock band to become potentially famous, from promoting their music in the future as witnessed by The Dandy Warhols.

The documentary also considers how bands can fall out with eachother from time to time and even split up all together as shown by The Brian Jonestown Massacre. It also demonstrates, how producing an ablum as a band has difficulties as each band member has a input opinion regarding how a song should be written or played as witnessed with Anton Newcombe, arguing with his band and sometimes developing his own music.

This documentary is an influence and an inspiration, for my documentary on Chris Morris because I will witness him busking in various places in London to get a variety of public reactions to his music, playing with his band Blacktie- Whitenoise and seeing his chemistry and his interaction with his band.  I will need to be ready to witness him possibly producing an ablum with his band or his own album to get signed and noticed in the music industry and in public which would be a big turning point.

 Currently he does various gigs, with his band and solo's to promote his music. Though it would be fascanting to document him going on a tour in the UK with his band or abroad to get noticed more in public and to maybe get signed as a well known band worldwide. I may need to be also ready to document him possibly falling out with his band or perhaps he may go solo as an artist and possibly he might become famous.

  Review

  I thought the documentary was a fascanting documentation, on how nearly every band in music history has gone on a journey to potentially get signed or not and tried to get well known by the worldwide public from their music. I thought the Director, Ondi Timoner gave the audience at great direction on the bands friendship which turned into rivalry as both bands were wanting the same ambiton to be well known worldwide rockstars.

I felt I got a great insight into both band's lives to observe each band members interaction with eachother. Relating to Anton Newcombe I felt got a fascantating glimpse into his character, as he comes across as self- centred, aggresive and violent at times with the public and his chemistry at times with band was unpridictable. Though with Courtney Taylor he had a great interaction and friendship with his band The Dandy Warhols in gigs, socialising and on tours. I thought it was very benefical for the Director Ondi Timoner, that he documented both bands on tours, buksing and in gigs to see the public reactions to them in society and get their opioions on each band.

Finally I felt it was brillant that Ondi Timoner, also documented them showing which band overall successed as a signed band. By him revealing the Brian Jonestown Massacre spliting up and showing their dream coming to an end. He then documented at the end of the documentary, showing that the The Dandy Warhols ending up as major successful signed and recoginsed rock band as revealed in concerts in the UK in 2003 and beyond.    

 

  Reviews and Critics Statements on DIG !

  http://www.villagevoice.com/2004-09-21/film/almost-famous-two-indie-bands-struggle-to-survive-the-industry-and-each-other/1/

 

    THE DEVIL AND DANIEL JOHNSTON

    This Documentary was released in 2006 and it was directed by Jeff Feuerzeig. It covers in depth about the cult musician Daniel Johnston from his childhood up to his present life. It documents how he became interested in music from an early age, recording his own ablums on cassets in his own home and how he got on to MTV to promote his music to get noticed in the music industry. It also documents his main life issue suffering from manic- depressive disorder, which affects his lifestyle and his music career which is revealed is to be key theme through out the documentary.  

 As Daniel Johnston sufferes from manic-depressive disorder, this is demonstrated in reconstructions from him violently assaulting indivuals. He tries to take his own life  with his Dad in a plane crash, which is documented in the film from the director Jeff Feuerzeig interviewing his Dad about the life or death incident. This disorder also affects his music career and his motivation to write music.

 As an audience we find out that he came from a right- wing christian family from his parents. Through out the film his strong christan views are revealed. He is documented often preaching that everyone will go to hell and will end up like satan. In some of his songs their are lyrics where he shares his strong relgious views emotionally.

The documentary reveals a variety of home videos, documented footage and images of him revealing his childhood, how he it got into music, writing music, playing music and his up and mood depressive behaviours.

 In the documentary as an audience, we witness Daniel Johnston writing and playing music and then from his manic- depressive disorder "The Devil" takes over him causing him to become violent, attempts to commit sucide and to do unpredicted things like destroy his album cassests, his music work and his art work.Which he wouldnt do as the devil is not what people know as Daniel Johnston the public see him a musical genius.  

 Daniel Johnston is also known for his comic art work, which symbolise his up and down lifestyle by him suffering from manic- depressive disorder. The characters in his art work represent his life experiences,his intense musical journey and his feelings on what he thinks is the meaning of live.  

 Overall Daniel Johnston, is a musical genius and he has written a wide range of iconic influencial songs which have been covered by over 150 bands. Supporters of his music  include Tom Waits, Jeff Beck, The Butthole Suffers, The Flaming Lips, Kurt Cobin from Nirvana who was often seen wearing a Daniel Johnston T-Shirt, Matt Groening creator of The Simpsons, Sonic Youth, Minutemen/Firehose bassist Mike Watt and David Bowie.

  http://www.sonyclassics.com/devilanddaniel/aboutthefilm.html

  To define this Documentary it is Observational and Interative to the audience. The audience observe documentation about Daniel Johnston's life in detail from childhood too present day. Its also interactive as the Director, Jeff Feuerzieg interacts with a variety of subjects in the documentary and the audience can interact with it too.

 

       Review

    Personally I felt I got a great insight into Daniel Johnston as a person and a musician. I got a clear insight into  his childhood life leading up to him becoming interested in music and writing music from home videos and documented footage. I understood that his manic-depressive disorder affected his musical career and his everyday life as he still lives at home with his parents today.

I felt the Director Jeff Feuerzeig, gave the audience a great direction on how Daniel Johnston's parents are an important part of Daniel's life to motivate him and inform him that he is a very iconic musician in soceity.

 I thought Jeff Feuerzeig, developed a great interaction with Daniel Johnston to document him in gigs, performing with  bands, interviewing bands to find out their perspective on Johnston and his music and documenting his close relationship with his parents. I thought the way Jeff Feuerzieg began the documentary with Daniel Johnston, performing at a concert in the present was clever and he ended the documentary documenting him finishing his concert with his fans going wild. As these are the only moments in the documentary we see Johnston in the present revealing his status a musical iconic genius.

      Reviews and Critics Statements on: The Devil and Daniel Johnston 

   http://www.sonyclassics.com/devilanddaniel/reviews.html

 "The Devil and Daniel Johnston is a one-of-a-kind cinematic experience." 5 Stars ****
 THE SAN FRANCISCO CHRONICLE

   "When you come to Sundance, it’s with the hope of seeing a film like “The Devil and Daniel Johnston,” a near-brilliant portrait of a tortured, artistic genius."
  DANIEL WIBLE, FILM THREAT

 "Jeff Feuerzeig has woven together a marvelous tapestry of a tormented talent."
  KEVIN COURRIER, BOX OFFICE MAGAZINE        

  "Sometimes, one event can make the entire trip to a far-flung film festival worthwhile. Monday night's screening at Sundance of Jeff Feuerzeig's music documentary 'The Devil and Daniel Johnston' achieved exactly that."
  DAVE CALHOUN, TIME OUT UK

   "Jeff Feuerzeig weaves this material seamlessly into what is one of the most emotionally wrenching films I've seen in the last year and one of my favorite documentaries ever." 
 STEVE RIPPLE, IMBD

 

    BOOKS

DAVID COHEN AND BEN GREENWOOD, A HISTORY OF STREET ENTERTAINMENT: THE BUSKERS, LONDON, DAVID&CHARLES,1981

 This Book covers in depth Research study about Busking and Street Entertainment from the fall of the Roman Empire up to 1980.The writers stress that the book is about"Individualists." It examines the history of the busker's struggle in society. It also considers "the understanding of the street entertainer's place in the history of urban society."

 From reading this book, I found out that Street Entertainment has been kicking around since the fall of the Roman Empire. It developed into a category with other street cultures such as prostitution, crime and poverty.

 I found out that the first evidence of street entertainment was spotted in Rome in the First Century AD. There is a  Mosaic which shows evidence of street entertainment from the first century AD by Dioscourides of Samos which is in the Museum of Naples. The people in the Mosaic are particpating in a Pantomimic Representation of Menander's Theophorumene, Act 5. 

 A poet called Catullus who was born in Verona, Italy 87 BC and he was member of the Provincial elite. He got street singers to sing his political propaganda poems as a a way of spreading news round Rome. This was an important moment because street entertainment also became political.  

 Roman drama played a key role in developing street entertainment and importantly it  reappered again in Medieval Europe.

One of the first example's of low level street entertainment, was witnessed in London during the Napoleonic Wars which involved a Singing Sailor trying to get the public's attention for money.  

 During the 12th and 13th Century there were three different social class group entertainers. There were street enterainers called Bufos who performed juggling, tumbling and buffoonery in market squares and in. city streets. Entertainers called Jongleurs who perfomed music and sang infront of noblemen. The other entertainers were called Troubadours which is a Languedoc word meaning 'finder' or 'inventor'. A Troubadour wrote poetry and music. He would of travelled to perform music and read poetry at banquets and at festive entertaiments. 

Cohen and Greenwood state that " it is probably more accurate to class jongleurs and bufos together in english term 'minstrel', as a class of entertainers from whom the troubadours hired their musicians."  

 A 'minstrel' was a professional poet, who sings his or her poetry with like a harp in the public streets. The word minstrel came from the word Scop, an old english poet.

 Ministrels became popular in various cities across the United Kindom into Europe. Some ministrels had the privilege of performing infront of nobles. Though ministrels who didnt have this privilege heard to earn their own living by travelling around different cities to attract the public to their music to donate money to them.

 Cohen and Greenwood quote that " having examined the postion of the ministrel in society,we now consider him as a musician and an entertaner."

 During the Tudor years, musicians called the Waits began to dominate buskers and street entertainers. The word comes from Anglo- Saxon word  wacian which means  'watch' or 'guard'. The city council's gave them a duty which involved them to watch the streets at night. The waits were wind musicians, they played hautboys which were old- fashioned oboes. The first ever waits were noticed perfoming music by the public in York in 1212 and in Norwich in 1288.

 The waits often performed and entertained quests at weddings and at various festive events. Interestingly waits from Norwich had the honour of going with Edward IV to France in 1475 for company and to entertain him. During this time buskers and street entertainers, began to complain to the city and town  councils about the dominance of waits affecting their performances on the streets to make money. Though the waits stuck around until the 19th Century but they ended up just playing and singing Christmas carols on the streets.

 The most popular instrument played by minstrels on the streets was the harp. This was because it was portable and simple to play.

 Cohen and Greenwood importantly state that "minstrels were sometimes used for political or diplomatic purposes, because of their profession, they were often allowed freedom of movement during the war."

 Henry VIII in 1530 made a statement mentioning that fortune telllers, minstrels and other street enterainers had to have a lience to perform their acts. If they didnt get one they would be kicked off the streets within a few days by the council.

 Elizabeth I in 1572,  mentioned that minstrels and other street entertainers were known as 'Sturdy Beggars' because their streets acts were a form of begging for money.

 Oliver Cromwell in 1656, banned all minstrels and other street enterainers playing their music in taverns and on the streets.

 Though when Charles II was on the throne in 1660, he got rid of the ban and all the minstrels back on the streets performing their music in public.

 In Italy between the 16th and 17h Century, comedians went round cities and towns performing their acts. They were costumes and perfomanced comic acts in markets, squares and on the streets to the public.Their where to two famous comedians during this era called Harlequin and Zany Cornetto.They both started performing in the streets and then became famous comedians performing their acts in threatres.

 Through out the 18th Century, the gap between the rich and poor was huge in London. Poorer families ended up living in the streets, several buskers perfomed thier music to demonstrate thier poverty and some buskers begged the rich for money.

 In the 19th Century, there was a clear change that busking in London had become more multi- cultural. As a wide a range of immigrants from all round the world from Africa, Asia, South Amercia and Europe were seen busking in the streets.

 The 20th Century in London, witnessed most of the busking traditions wiped out from other centuries but being replaced  with newer busking developments. People could hire out instruments for busking, for their own entertainment and for special events like weddings, birthdays etc.

 A clear change had been witnessed  in the early 1900's with street enterainment in London. As the public could watch acrobats, jugglers and listen to buskers in music halls instead of seeing entertainment on the streets.

 A postive movement in this century revealed, that busking to queues is a key developement in street entertainment. As people were and still today are willing to watch a busker perform when queuing and even donate money.

 In the early 1900's, particuarly in the East End it kept its street culture traditions by having markets were buskers performed to entertain the general public on their way to work or going home.

 Cohen and Greenwood underline a fair fact about disabled buskers stating that " the disabled have always featured among street entertainers and have tended to draw down the accusation that street music, is simply a noise designed to draw attention to misfortune."

 In London, 1925 the public turned to Cinema for entertainment and nearly most of the public went every week to escape from the realities of the great Depression. This was a crisis for the music halls lost their businesses so buskers, acrobats and jugglers were then thrown back on the streets. The public going to the cinemas developed buskers to busk to queues, but they didnt get that much money because of the financial postion the country was in. A record of seven million people were out of work at that time, so people turned to busking which developed a competiton and also as there wasnt that much money about.When the Second World War came along, buskers were out on the streets to entertain people to keep their spirts up.  

 The buskers became affected by the developed of cinema and radio as people wanted to have entertainment all the time and not just on the streets. The 1960s caused a bigger impact on buskers, as the television and the record player was introduced so people who could have entertainment at home instead of  seeing it on the streets.

 Cohen and Greenwood make an important statement about technology. By stating that "technology is a dangerous toy which mankind has not yet learned to use without hurting itself, it is the great destroyer of traditions and street musicians alongside all the other small men or concerns have had to struggle against its tide."

 In 1967 a busker called Don Partridge, got into the music industry from playing frequently on the streets, in pubs and got in contact with the press to get noticed in society for his music. He got on Top of the Pops and did a broadcast with the BBC. He formed a band called the Wild Foul and he played several gigs at Blackpool. Sadly he and has band split up. Cohen and Greenwood explain why this happens "it is not in a street musician's nature to be tied down to a commitment for very long." 

 Cohen and Greenwood define the busker "the street musician is at a middle point between the world of showbiz, the underworld, and the ordinary working people who pass him by every day, and if he keeps his eyes open a lot can be learned about people and life."

  Cohen and Greenwood illustrate, that buskers busk for  enjoyment than just doing it for money. A busker called Ernie says that "busking is my life, I've always played music" .

 Cohen and Greenwood question the term Busking  in Covent Garden by stating that "some buskers disdain to audition for something that denies the essence of a street musician's life, freedom to move when and where he or she chooses. Those who do play there admit that it is not really busking, so much as performing outside.The whole atmosphere is plastic and artifical,rather like a film set".

 Cohen and Greenwood illustrate the importance of the bukser in society. By stating that "the busker is important, not merely because he brings us music on our way to work, but also he represents the unpredictability and freedom that have been lost in most people's regimented lives. The footlose musician has always been around and his different perspective on life can give a fresh point of view to that coming from masses of people all trained to think the same way. He is society's joke, and like the Fool in King Lear, is destined to be kicked around by everybody while showing more insight than most, people ought to listen more to his point of view".

 

   WORLD FAMOUS ICONIC BUSKERS

 A homeless busker called David Johnson, famously known as the World Famous Bushman from San Francisco. Spends his days on Fisherman's Wharf, San Francisco hiding behind some branches and jumping out at the public to scare them.  To scare his public strollers, he jumps out them and shakes his bush to scare them when they approach him.  He has done this busking act since 1980. Crowds who know is busking act often watch him across street where is usually sits to scare people. He is known to earn $60,000 in a successful year doing his busking act.

Apparently one time he got a boyguard to protect from public passers who didnt like his act. Interestingly the San Francisco police have had a number of reports from the public not liking his act, various people from Fisherman's Wharf have tried to get rid of him and in 2004 he was charged with four anti-social public offences though the jury let him off.

An article from Wikipedia in SFSU's (X) press Magazine says:  http://en.wikipedia.org/wiki/World_Famous_Bushman

"Many people are unaware that there are, in fact, two Bushmen. When [Gregory Jacobs] first came up with this gig, he recruited David Johnson, a man he met at Fisherman's Wharf. As they worked together they developed a close friendship. Johnson's deep voice scares those who unknowingly pass by the man-made bush. Back then, Johnson would hold the bush and Jacobs would tell the jokes, entertain those watching the action, and collect the tips. It has been about fifteen years, and now they are mortal enemies. Jacobs accuses Johnson of running off with their money. Jacobs tries to avoid any conflicts with Johnson by not working where and when he is. Jacobs is also the subject of a short film, The Bush Man. An article from 1999 makes it clear that Jacobs is actually the relative newcomer to the act: "'I look after him,' says Gregory Jacobs, who recently joined the act as a full partner. 'I watch his back.'"

 http://en.wikipedia.org/wiki/World_Famous_Bushman

 http://www.youtube.com/watch?v=aVI3Y9VT8uE

 http://www.youtube.com/watch?v=jH4ur1EzUVc 

http://www.youtube.com/watch?v=8p4icXmXA4U

 http://www.youtube.com/watch?v=TM2ES64PtGw&feature=related

 Documentaries on the Bushman

 http://www.youtube.com/watch?v=7OAwdsCCzXI&feature=related - Interview with the Bushman

 

  Image from Google Pictures

 

  CHRIS  MORRIS AND BEYOND DOCUMENTARY

   STYLE OVERVIEW:

    WHAT I WANT TO MAKE?

   To follow Chris Morris on a Journey.

   WHY I WANT TO MAKE?

   I have a passion for Rock Music, its big factor of my life and I have an interest and a passion for busking from Chris Morris's talent guitar playing.

   THEMES

  Busking, busking in the London atmosphere, public reaction to busking, music on the streets and live performance

   MODES

   It will be an Observational and Interactive Documentary to the audience.

    STYLE

   Handheld and Stationary.

    AUDIENCES

   Busker Beginners, Rock Music Enthusiastics, Contempoary Buskers and Buskers who want to get into the music industry

   UNIQUE SELLING POINT

  Journeying with Chris Morris as a busker to potentially him becoming a Rock Star !

   DELIVERY

  Documenting the Documentary on a Sony HDV Shooting Kit

    SKILLS

    I am trained to use the HDV Shooting Kits and the Canon 550D's.

    I am trained to use Priemier Pro and Final Cut.

    I am trained to use Dreamweaver.

   

     BUDGET

    Costs considering- Train Fares, Meals

    TRAIN FARES-  With a Rail Card to London, Open Return

    Around - £25

   Meet up 10 Times to make Documentary

   Looking Costs of £250

   CATERING -A Meal a day, filming

   10 Times meeting up- Meal £5

   Around - £50

  TOTAL COSTS- £300

 

 ETHICAL CONSDERATIONS

  My Documentary is CLEAR with regardss  Ethical Considerations with Winchester University.

  I signed a contract and Mark Hawker signed it too to give me permisson to make my Documentary.

 My Documentary will be documenting busking,public reaction to busking and going on a journey with a busker called Chris Morris.  

 

  RISKS AND DEPENDICES

  Public members might not want to be filmed when documenting Chris Morris, busking in various public places in London and public busking reactions. I will need to respect the public members wishes.

  I will need to get permisson to film Chris Morris in certain public places like The London Underground.

  Public members might approach the camera and damage it.

  Public members might threaten Chris Morris and I when filming.

  I will need to fill out Release Forms and Health and Safety Forms before I film anything! .