B.B. was fond of saying that education is something no one can take away from you, and there is a vast population of under-served children in our area who need the message of hope. We take that to heart and have many programs in place, but we need ongoing support to keep those viable and continue to add engaging and inspirational messages ... https://www.bbking.com/
A great pisstake on the "Batman" theme by ultimate pranksters The Liverpool Scene with lyrics about Vietnam and (in this live version) their fave football club, Liverpool. 'Nuff said.
View on YouTube
Via Anorak Thing May's Picks
The Liverpool Scene was the title of a poetry book in 1967, published in London and bringing to the public the works of Roger McGough, Brian Patten and Adrian Henry (nowadays better known as an artist).
These three poets had gathered a growing following in the early 60's by often reading their poems in places like Steates Coffee Bar, O'Connors' Tavern and the Everyman Theatre. When the nation got aware of the existence of Liverpool (by way of the Beatles) these poets started to sell their books in growing piles, especially since the aformentioned book was released with an LP. Allen Ginsberg had said, the Scene was the conscious center of the human universe.
The record became the link to pop. Much of this new poetry was influenced by popsongs and therefore it was a logical step, when the poets joined the musicians.
The first to do this was Roger McGough along with Scaffold. Next step was a penguin book (The Mersey Sound) featuring Henri, McGough and Patten. Roger McGough saw it this way:The kids didn't see this poetry with a capital p, they understood it as modern entertainment, as part of the pop-movement.
During the summer of love 1967 the nucleus of Liverpool Scene was Mike Evans (sax - formerly with the Clayton Squares), Mike Hart (g), who were without regular bands, Adrian Henry (voc.), who gave lessons at an art school, Brian Patten ( voc) and Andy Roberts (g), another member of the Clayton Squares. They lived just above O'Connor's Tavern, where they held their regular Tuesday-sessions. After an increasing importance of they were joined by Percy Jones (bs) and Brian Dodson (dr).
Liverpool dj John Peel (then with pirate radio station Radio London), became aware of the Liverpool Scene and started to support them. He produced the first LP in 1968, which didn't sell very well despite the promotion through John Peel...
+ A vintage video of OYSTERBAND's New York Girls shot in new York 1989 featuring The New York Ukranian Community Polka Club, Ira Bernstein step dancing, the crew of an ocean racer (later arrested), a stray dog and more...
It's tempting to mythologize Buffy Sainte-Marie — to call her a folk-music mother of dragons, or at least a shaman calling up lost spirits in her music. It's easy, after all, to exoticize individualistic women, especially women of color; doing so can even feel like offering a compliment. But on Power In The Blood, her first studio album since 2008, the 74-year-old firebrand defies categorization, as she has throughout a half-century of recording.... (npr First Listen: Buffy Sainte-Marie, 'Power In The Blood'). Ihre beeindruckende Diskographie hier bei allmusic.
Wenn Sie Buffy Sainte-Marie, die vor langer Zeit "Universal Soldier" schrieb, nicht kennen, können Sie sie hier kennen lernen:
He's five feet two and he's six feet four
He fights with missiles and with spears
He's all of 31 and he's only 17
He's been a soldier for a thousand years
He's a Catholic, a Hindu, an atheist, a Jain,
a Buddhist and a Baptist and a Jew
and he knows he shouldn't kill
and he knows he always will
kill you for me my friend and me for you
And he's fighting for Canada,
he's fighting for France,
he's fighting for the USA,
and he's fighting for the Russians
and he's fighting for Japan,
and he thinks we'll put an end to war this way
And he's fighting for Democracy
and fighting for the Reds
He says it's for the peace of all
He's the one who must decide
who's to live and who's to die
and he never sees the writing on the walls
But without him how would Hitler have
condemned him at Dachau
Without him Caesar would have stood alone
He's the one who gives his body
as a weapon to a war
and without him all this killing can't go on
He's the universal soldier and he
really is to blame
His orders come from far away no more
They come from him, and you, and me
and brothers can't you see
this is not the way we put an end to war.
Das Love-and-Peace-Festival war ein Musikfestival mit insgesamt etwa 25.000 Besuchern, das vom 4. bis 6. September 1970 auf der Ostseeinsel Fehmarn beim Leuchtturm Flügge stattfand. Auf dem chaotisch verlaufenden Festival hatte Jimi Hendrix seinen letzten Auftritt.
Eine liebevoll gemachte Website, sorgfältig dokumentiert, zum Festival finden Sie hier.
Dieses Photo könnte das Zelt von Herrn K., Herrn R. und mir zeigen (in dem wir die meiste Zeit lagen, um es am Abheben zu hindern). Herr G. behauptet bis heute, ich habe einen weißen Mantel getragen ...
... is a boogie-woogie song written by Don Raye. In 1940, it was recorded by members of the Will Bradley/Ray McKinley Orchestra as the "Will Bradley Trio" (a misnomer as Bradley does not perform on the song, while a fourth, the song's writer Don Raye, does). Three musicians are mentioned in the lyrics:
The drummer man's a guy they call 'Eight Beat Mack'
And you remember Doc and ol' 'Beat Me Daddy' Slack
"Eight Beat Mack" refers to drummer Ray McKinley, "Doc" refers to bass player Doc Goldberg, and "Beat Me Daddy Slack" refers to pianist Freddie Slack (a reference to "Beat Me Daddy, Eight to the Bar", a hit recorded earlier in 1940 by Slack with the Bradley/McKinley Orchestra). Vocals for "Down the Road a Piece" were provided by McKinley and Raye. ... subsequent recordings of "Down the Road a Piece" usually changed the lyrics that referred to the musicians. Amos Milburn, who recorded the song in 1946, started the tradition by including the reference to "Eight Beat Mack", but changing the next line to "You remember me doggin' old Beat me Daddy Slack." (Wikipedia)
Witzig: Seit 1965, als die Rolling Stones den Titel auf The Rolling Stones No. 2 veröffentlichten, dachte ich immer, der Vers hieße
The drummer man's a guy they call Charlie my boy --> Charlie Watts, aber jetzt habe ich mal genau hingehört und nachgesehen und festgestellt, dass das ein schönes Beispiel für misheard lyrics ist:
The drummer's man's a cat, they call Charlie McCoy
You know, remember that rubber legged boy? ... und Charlie McCoy is an American session musician noted for his work on a wide variety of instruments. In his career, McCoy has backed several notable musicians including Bob Dylan, Johnny Cash, Tom Astor, Elvis Presley, Chet Atkins and Ween. He has also recorded thirty-seven studio albums ...
Interessanter noch finde ich mal wieder das Phänomen der Zeitwahrnehmung, - genauer: der seltsam fokussierten Wahrnehmung vergangener Zeit. Das hat vermutlich etwas zu tun mit eigener Zeitgenossenschaft und mit medialer Vermittlung. Ich war Zeitgenosse von 3, so dass mir das näher ist als 2, obwohl sich die technische Qualität medialer Dokumentation von 2 und 3 nicht wesentlich unterscheidet, so dass hier für Nicht-Zeitgenossen Zeiten ineinander fallen mögen. Das ist schon wieder anders, wenn es um Tondokumente geht. Da klingt ein akuteller Remix der Aufnahme von 1965 nicht weniger frisch als zB Sonic Gypsy "BORN A ROLLING STONE!"
Zwischen 1 und 3 liegen 25 Jahre, zwischen 3 und heute 50 Jahre! (Ain't that strange, Mrs. Mop?)
Jeff Beck ruled the evening from his very first note. Dressed in black and white, he was joined by the fantastic Tal Wilkenfeld on bass, violinist Lizzie Ball, and drummer Jonathan Joseph. First tune was “Mna Na Heireann,” a beautiful Irish melody with fantastic interplay between Beck and Ball. Next up was a killer version of the Mahavishnu classic “You Know, You Know” that solidified that at age 68 Beck is at the top of his game. This was also Tal’s time to shine as she launched into a smoking solo with great playing by Joseph to back her up. The blues kicked in when Beth Hart came out to rock out the classics “I Ain’t Superstitious” and “Going Down.” The general consensus in the room was this was the pinnacle of the show. (20 Best Moments of Crossroads 2013)
"Es gibt so viele Arschloch-Typen wie es menschliche Funktionen, Tätigkeiten und Interessengebiete gibt. Und auf jedem Gebiet kann das Verhältnis von AQ zu IQ ein anderes sein. Kein noch so kopfdenkerisches Verhalten bei einem Thema bietet Gewähr dafür, dass nicht schon beim nächsten der Arschdenk mit voller Wucht einsetzt."
Charles Lewinsky, Der A-Quotient
Wise Man Says II
"The illusion of freedom will continue as long as it's profitable to continue the illusion. At the point where the illusion becomes too expensive to maintain, they will just take down the scenery, they will pull back the curtains, they will move the tables and chairs out of the way and you will see the brick wall at the back of the theater."
Frank Zappa
Haftungsausschluss
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