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jeff barry and ellie greenwich
brill building series the hits
Jerry Leiber and Mike Stoller have written some of the most spirited and enduring rock and roll songs: "Hound Dog" (originally cut by Big Mama Thornton in 1953 and covered by Elvis Presley three years later), "Love Potion No. 9" (the Clovers), "Kansas City" (Wilbert Harrison), "On Broadway" (the Drifters), "Ruby Baby" (Dion) and "Stand By Me" (Ben E. King). Their vast catalog includes virtually every major hit by the Coasters (e.g., "Searchin'," "Young Blood," "Charlie Brown," "Yakety Yak" and "Poison Ivy"). They also worked their magic on Elvis Presley, writing "Jailhouse Rock," "Treat Me Nice" and "You're So Square (Baby I Don't Care)" specifically for him. All totaled, Presley recorded more than 20 Leiber and Stoller songs.
and:
Smokey Joe's Cafe", the Robins, 1955) to rock ("Black Denim Trousers" the Cheers, 1955) without realizing that this change of venues (the funky greasy spoon of the former for the motorcycle of the latter) was about to produce a new culture and an undreamed of source of income. In fact, one of the songwriters' most successful rock vehicles was a spin-off from the Robins, the much better-remembered Coasters, who recorded their "Searchin'" b/w "Young Blood" for Atco, a subsidiary of Atlantic, in 1957, a year after Elvis's pelvis-shaking "Hound Dog". The same group scored in 1958 with the pair's "Yakety Yak", tickled by King Curtis's sax work, and in 1959 with "Love Potion No. 9 (Searchers, 1960)", "Charlie Brown", "Along Came Jones", "Poison Ivy", and "I'm a Hog For You". But a major source of Leiber and Stoller's success and power was their ability to bridge both racial barriers and musical genres. Their funny and funky contributions to the Coasters stand in contrast to their ethereal "Dance With Me" (the Drifters, 1959) and the gospely "Stand By Me" (Ben E. King, 1961). The breadth is even evident in their association with their most famous single partner, Elvis Presley, who managed to ride some of Big Mama's rollick in "Hound Dog", to choreograph Leiber and Stoller's high-spirited title tune for his "Jailhose Rock" film, to tame himself down to a genteel jump in "Treat Me Nice", and to croon passionately on "Don't".
mort shuman and doc pomus - brill building series
barry mann cynthia weil - brill building series
a m geller's grandson jake gorst's email to curbed regarding pearlroth house:
We've managed to raise enough money to move the house, but the Town of Southampton now requires that we put $25,000 in a passbook savings account so they can access it in the unlikely event that we abandon the restoration project before February 2007. Essentially they want us to pay to have it torn down if we "give up" - which is not in our vocabulary.
too clever by half
From 28 June 1965 to 31 March 1967 many American teenagers rushed home from school to watch Where the Action Is, a weekday ABC-TV program produced by Dick Clark Productions. The show aired at 3:30 p.m. central time and began with Freddy Cannon's song "Action": "Oh, baby, come on, let me take you where the action is/ . . . It's so neat to meet your baby where the action is."I was 11 when it started and 13 when it ended. i saw sonny and cher often. paul revere + raiders were regulars. it was a great summer and run home after school show though for sure. it laid the ground work in garage band appreciation. psych was still just around the time corner but that would only come from the radio. that was the end of reality youth culture on tv for a while (not counting the monkeys.) next would come don kirshner's rock concert. but that was what seamed to be much later. i was loosing interest in american band stand as soul train took on more relevance late 60's early 70's.
psychotic reaction the count five
New York Review of Books reviewed
Santiago Calatrava: Clay and Paint, Ceramics and Watercolors
an exhibition at the Queen Sofía Spanish Institute, New York,October 19–November 26, 2005
Santiago Calatrava: The Complete Works
by Alexander Tzonis
Rizzoli, 432 pp., $75.00
Santiago Calatrava: The Bridges
by Alexander Tzonis and Rebeca Caso Donadei
Universe, 272 pp., $29.95
Santiago Calatrava: Milwaukee Art Museum, Quadracci Pavilion
by Cheryl Kent
Rizzoli, 128 pp., $35.00
Santiago Calatrava: The Athens Olympics
by Alexander Tzonis and Rebeca Caso Donadei
Rizzoli, 176 pp., $50.00
"Draw a picture of a house," the big sister instructed the younger one, and the little girl's sketch was remarkably accurate. Her drawing was not the predictable A-frame with requisite chimney and smoke, but a squat, domed structure with striped siding. It was Alaska in the 1960s, and the girl was drawing her idea of the typical family home: a Quonset hut. This story, along with oral histories, essays, artifacts, and photographs, has been collected in Quonset: Metal Living for a Modern Age. In addition to the book, the NEH-supported project includes a Web site and an exhibition now on display at the Anchorage Museum of History and Art.
During the housing crunch of the late 1940s, thousands of people across the nation converted these surplus military huts into unconventional homes, churches, and restaurants. Today, the Quonset has largely vanished from most of the American landscape--and most people's memory.
photo murals
i really dont care for this container guy kalkin
wwl the big 870
"between 3 and 7 in the afternoon (PST) and click on Listen Live. (They'll make you fill out a form, but it's nothing and worth it.) It's a call in-show hosted by a pair of chicory-steeped who-dats named Deke Bellavia and "Pal" Al Nassar. For four hours a day, they buck up a devastated city, giving practical advice -- "Sha, you best make sure all your circuit breakers is thrown when they come round to turn on your power" -- listen to people going bugshit about bureaucracy -- "I told that FEMA lady, 'Hon, I got a contractor fixin' to take OFF my new roof if you don't get the check over here soon'" -- and give the latest news about the city and state governments tripping all over each other."via v zars
They're passionate and local in a really fucked-up locale.
---for example: a call from a honeysuckle-toned woman the hosts called Miss Margaret. She'd obviously lost everything, but was full of sweet southern optimism. Seems her earlier calls to the show had caught the attention of Life (or, as she called it, Life's) Magazine and they've done a story on her that's coming out soon. She was thrilled and convinced that "help is on the way" for the people who live on her street. "I know it's true because you keep getting calls from people who say, 'I'm coming to New Orleans next month and I'm going to go to Constance Street to see Miss Margaret. And now it's going to get bigger." (I guess word's gotten out on the internet stream.)
Deke: Miss Margaret, I'm going to be in the city all day tomorrow and I want to find you and have a rich coffee with you.
Margaret: Love to, Brother Deke, but you know I don't have my kitchen
back. I'm going to have to make it for you instantly.
Deke: I'll take it however you got it, dawlin'.
CVI painting stretchers
Philip Johnson is gone, but not forgotten. A slick sales campaign by real estate marketing firm The Sunshine Group tells us that the Urban Glass House, a vestige of the final projects designed by the late, renowned architect, is rising as we speak in a fast-changing urban industrial outpost at the western edge of SoHo and just north of Tribeca.
The neat marketing package belies a convoluted backstory: First, this isn’t the building Johnson intended as his last legacy (in fact, it is more of a tribute design than one of his own.) Second, the man who dreamed up the project and hired Johnson’s firm-restaurateur-turned-developer Nino Vendome, who after 9/11 turned his nearby restaurant into a home-away-from-home for thousands of rescue and recovery workers at Ground Zero-has all but vanished from the project as well.
endless boogie
Get down and greeezy with NYC's kings of choogle, together since 1997 but just getting around to releasing studio stuff this year. Their live shows have been sporadic for the fact that they only play gigs when specifically asked to, though recently they've frequently whipped local audiences into a frenzy with their heavy jams supporting assorted Dungen shows. Live, the guitarists trade off invocations of Tony McPhee, Peter Green, Zoot Horn Rollo, Lobby Lloyd, and Ron Asheton, and if you don't know who some of those guys are, don't worry too much about it. Endless Boogie are here to deliver rock salvation. Lineup: Grease Control (Drums), Memories From Reno (Bass), Top Dollar (Vocal, Guitar), the Governor (Guitar). Upcoming live gigs: December 17th at Kyber Pass in Philly (with Boogie Witch), December 18th in Baltimore at Talking Head Club (with Mighty Flashlight and Arboretum). Current LPs Volume 1 and Volume 2 on the Mound Duel label, try www.fusetronsound.com. Today's live selections: Executive Focus/Aztec Boogie/Way Uptown/Boogie #23/Rattleshake/New Green Bo/Rollin' and Tumblin'. Thanks to the band and OCDJ, watch out for future stuff on No Quarter label. 1:03:14 - 2:45:28 (Real | MP3)described by brian as one part can and one part canned heat - thats a 1:42:14 long (rockin good) show!
warh-blog
eyebeam re-blog by emma
bottle-cap inn
via zoller
Building Category 5 protection, however, is proving to be an astronomically expensive and technically complex proposition. It would involve far more than just higher levees: there would have to be extensive changes to the city's system of drainage canals and pumps, environmental restoration on a vast scale to replenish buffering wetlands and barrier islands, and even sea gates far out of town near the Gulf of Mexico.
The cost estimates are still fuzzy, but the work would easily cost more than $32 billion, state officials say, and could take decades to complete.
waveland mississippi digital phgotographs from jim louis in new orleans
ahrem!
The Internet Archive has worked with tapers, tape traders, funders, admins, and over 1000 bands to build a great non-commercial music library that is freely accessible. Technically and policy-wise, it has been invigorating as you can probably appreciate. We have made changes in the past and we will make changes again.
Following the policies of the Grateful Dead and the Dead communities we have provided non-commercial access to thousands of great concerts. Based on discussions with many involved, the Internet Archive has been asked to change how the Grateful Dead concert recordings are being distributed on the Archive site for the time being. The full collection will remain safe in the Archive for preservation purposes.
Here is the plan:
Audience recordings are available in streaming format (m3u).
Soundboard recordings are not available.
Additionally, the Grateful Dead recordings will be separated from the Live Music Archive into its own collection. The metadata and reviews for all shows and recordings will remain available.
We appreciate that this change will be a surprise and upset many of you, but please channel reactions in ways that you genuinely think will be productive. If we keep the bigger picture in mind that there are many experiments going on right now, and experiments working well, we can build on the momentum that tape trading started decades ago.
Working together we can keep non-commercial sharing part of our world.
Thank you for helping find balances that work for all involved.
-brewster
Digital Librarian and Founder
-Matt Vernon
Volunteer GD Archivist
happy palace
Here's an MP3 of the sounds made by Iceberg B-09A in Antarctica. It was recorded by scientists from Germany's Alfred Wegener institute for polar and marine research, as they recorded seismic signals to measure earthquakes and tectonic movements on the Ekstroem ice shelf on Antarctica's South Atlantic coast.
From the Wegener Institute press release:
Tracking the signal, the scientists found a 50 by 20 kilometer iceberg that had collided with an underwater peninsula and was slowly scraping around it.
"Once the iceberg stuck fast on the seabed it was like a rock in a river," said scientist Vera Schlindwein. "The water pushes through its crevasses and tunnels at high pressure and the iceberg starts singing.
The iceberg sounds were originally recorded at 0.5 hertz, far below the range of human hearing. The MP3 here is speeded up many times to bring the sounds into the audible range.