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Number 504 - Monkees

The Definitive 1000 Songs of all Time 1955 to 2005 — Tue, 18 Nov 2008 09:50:32 +0000

Number 504

The Monkees

“I’m a Believer”

(1967)

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Genre:Pop

art by KDH

So, you’re all going nuts over the Grand Theft Auto 4 and the upcoming film “Ironman”. I wonder if the film Ironman would be getting this much pre buzz attention if Robert Downey Junior was not playing the lead character. You wouldn’t think he would be the type of person to be embracing playing a superhero for his daily bread, but from what I have seen, he really seems to be enjoying it … and good on him. Now, as for Grand Theft Auto IV? You guys really want that turned into a movie?? Yes, I know the game is now more interactive and God forbid …. a storyline (gasp) that will make users want to help their fellow man. Um, hello? Look at the titles name!

So now we have some thieving yobbo going to steal a car, while he opens the car door, he says to the poor hijacked owner *have a nice day* while the owner closes the door for him and waves politely as the car drives away. How quaint. I cannot wait to see Robert Downey Jr star in that film next year. I’ll buy that for a dollar.

art by MonkeesArt

The Monkees second album More of the Monkees lived up to its title. It was more successful commercially, spending an amazing 70 weeks on the Billboard charts and ultimately becoming the 12th biggest selling album of all time. It had more producers and writers involved since big-shots like Carole King and Gerry Goffin, Jeff Barry and Neil Sedaka, as well as up-and-comers like Neil Diamond all grabbed for a piece of the pie after Tommy Boyce and Bobby Hart, the men who made the debut album such a smash, were elbowed out by music supervisor Don Kirshner. The album also has more fantastic songs than the debut. Tracks like “I’m a Believer,” “She,” “Mary, Mary,” ” (I’m Not Your) Stepping Stone,” “Look Out (Here Comes Tomorrow),” “Your Auntie Grizelda,” and “Sometime in the Morning” are on just about every Monkees hits collection and, apart from the novelty “Grizelda,” they are among the best pop/rock heard in the ’60s or any decade since.

art by MonkeesArt

The band themselves still had relatively little involvement in the recording process, apart from providing the vocals along with Mike Nesmith’s writing and producing of two tracks (the hair-raising rocker “Mary, Mary” and the folk-rock gem “The Kind of Girl I Could Love”). In fact, they were on tour when the album was released and had to go to the record shop and buy copies for themselves. As with the first album though, it really doesn’t matter who was involved when the finished product is this great. Listen to Micky Dolenz and the studio musicians rip through “Stepping Stone” or smolder through “She,” listen to the powerful grooves of “Mary, Mary” or the heartfelt playing and singing on “Sometime in the Morning” and dare to say the Monkees weren’t a real band. They were! The tracks on More of the Monkees (with the exception of the aforementioned “Your Auntie Grizelda ” and the sickly sweet “The Day We Fell in Love,” which regrettably introduces the smarmy side of Davy Jones) stand up to the work of any other pop band operating in 1967. Real or fabricated, the Monkees rate with any pop band of their era and More of the Monkees solidifies that position. ~ [Tim Sendra, All Music Guide]

I must say, the artwork by MonkeesArt is exceptional & professional, click here to see the rest so Sara’s gallery (maybe ,she might even sell them to the market)

For more Monkees see Number 608

For Neil Diamond see Number 698, 792 & 846

For Carole King see Number 808

For Michael Nesmith see Number 549

The Monkees rebel!

art by (who else) MonkeesArt

Within weeks of the release of More of The Monkees, Nesmith lobbied successfully with the group’s creators, Bob Rafelson and Bert Schneider, for The Monkees to be allowed to play their instruments on all forthcoming records, effectively giving the quartet clear and complete artistic control. To make his point clear to Kirshner, who was balking at the idea, Nesmith proceeded to punch a hole in the wall of the Beverly Hills Hotel during a group meeting with Kirshner and Colgems lawyer Herb Moelis; this outburst came after Moelis snapped to Nesmith “You’d better read your contract,” when Nesmith threatened to quit. Kirshner was later unceremoniously dumped from the project altogether. The source of the Monkees‘ ire over the album was less the musical content than the way it was created and released (without their input or knowledge), as Micky Dolenz would acknowledge in liner-note interviews for the album’s later re-releases. The cover photo, montaged together from pictures of the band wearing JC Penney clothes, also did not sit well with them. ~ [Wikipedia]

What does (not again) Rolling Stone think about Monkees?

With any number of punkish bar bands semi-ironically recycling “Steppin’ Stone” in the late ’70s, and a partially reunited Monkees touring and recording in the ’80s, there’s been a revisionist twist upward in appraisals of this band’s slight canon. Cynically manufactured by Don Kirshner and a crew of TV producers looking to dilute A Hard Day’s Night for the boob tube, Davy Jones, Michael Nesmith, Mickey Dolenz, and Peter Tork were the fill-in fab four who lip synched their way through a few seasons of sitcoms and most of their albums (on later product, they did play on some songs). Tommy Boyce and Bobby Hart, Neil Diamond, and Nesmith wrote the Monkees’ 1966‚hits: “Last Train to Clarksville,” “Daydream Believer,” “I’m a Believer,” and “Pleasant Valley Sunday.” ~ [RS The New Rolling Stone Album Guide]

Lip synched? Even if they did, surley no-one has ever done that in the modern times. t.i.c

Other songs with reference to The Monkees #541, #549, #599, #698, #709, #728, #884

Rolling Stone Top 500 Songs ranked this song at Number (as we said in #608) and the Album ranked at Number (NO!)

This song has a crowbarred rating of 75.1 out of 108

Lyrics to the song

Previous Song 503 ….. Next Song 505

Tags:The Monkees, 1967, Pop, Grand Theft Auto IV, Ironman, Carole King, Neil Diamond, The Beatles, YouTube, Music Video, Rolling Stone Magazine, Crowbarred, New Zealand, Crowbarred Unleashed, The Definitive 1000 Songs Of All Time, Mellow Mix Volume 1, Mellow Mix Volume 2, Mellow Mix Volume 3, Mellow Mix Volume 4, Mellow Mix Volume 5, Mellow Mix Volume 6, Mellow Mix Volume 7, Mellow Mix Volume 9, Mellow Mix Volume 10, Mellow Mix Volume 11, Mellow Mix Volume 12

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O óbvio ululante: Era bonito ser histérica

Hugo Rosso — Tue, 18 Nov 2008 00:39:46 +0000

“Beijarei o punhal que matar Pinheiro Machado” — soluçou o orador. E, realmente, enfiou a mão no colete, ou cinto, e de lá arrancou, com ágil ferocidade, o punhal homicida. Logo, à vista de todos, beijou, chorando, o punhal. As lágrimas deslizavam pela face cava. E o orador, prolongando o efeito cênico, ainda ficou, por algum tempo, com o punhal erguido e profético. Um uivo unânime subiu das entranhas do silêncio. O comício veio abaixo. Sujeitos atiravam para o ar os chapéus de palha.

Mas resta de pé a pergunta: — Por que exatamente o punhal? Por que o ódio havia de ter a forma esguia e diáfana do punhal? 1915. Era o Brasil do fraque e do espartilho. Nas salas de visitas, havia sempre uma escarradeira de louça, com flores desenhadas em relevo. Eu tinha meus três anos e estava em Pernambuco. Três anos. Aos três anos, o sujeito começa a inventar o mundo. Minha família morava na praia. E eu começava a inventar o mundo. Primeiro, foi o mar. Não, não. Primeiro, inventei o caju selvagem e a pitanga brava.

Para os meus três anos, o mar, antes de ser paisagem, foi cheiro. Não era concha, nem espuma. Cheiro. Meu pai, antes de ser figura, gesto, bengala ou pura palavra, também foi cheiro. Ninguém tinha nome na minha primeira infância. A estrela-do-mar não se chamava estrela, nem o mar era mar. Só quando cheguei ao Rio, em 1916, é que tudo deixou de ser maravilhosamente anônimo.

Eis o que eu queria dizer — o primeiro nome que ouvi foi o de Pinheiro Machado. Alguém se chamava Pinheiro Machado. A princípio, ele não foi um destino, um perfil, um fraque, mas tão-somente um nome. Um nome solto no ar, quase um brinquedo auditivo. Eu não inventara ainda a morte, não inventara ainda o punhal, nem a palavra “defunto”.

Escrevi, não sei onde, que foi um suicida que me revelara a morte e me ensinara a morrer. Engano, engano. Foi Pinheiro Machado. Sim, Pinheiro Machado. E, súbito, eu aprendia que o homem morre e que o homem mata. Ainda hoje, e até nas minhas crônicas esportivas, falo muito, com uma constância obsessiva, no assassinato de Pinheiro Machado. Uns acham graça e ninguém entende a insistência cruel. Ah, eu teria de explicar que há, em qualquer infância, uma antologia de mortos; e, para o menino que fui, Pinheiro Machado é um desses mortos fundamentais.

Mas repito a pergunta: — Por que havia de ser o punhal? Pinheiro Machado podia ser assassinado a tiro, a bala. Pouco antes, um jornalista fora assassinado em Pernambuco. Chamava-se Trajano Chacon. Três ou quatro se juntaram e o mataram, a cano de chumbo. Não faca, punhal ou revólver. No caso de Pinheiro Machado, quero crer que o punhal convinha mais à retórica. Na época do soneto, era mais parnasiano. O orador podia tirar o punhal, beijá-lo, quase lambê-lo.

Muitos e muitos anos depois, me vejo subindo a escadaria da Biblioteca Nacional. Estou crispado como o criminoso que vai reler a notícia do próprio crime. Lá dentro, peço a coleção do Correio da Manhã de 1915. Dou o mês do assassinato. Não me lembro se é permitido fumar na sala de leitura; em caso afirmativo, tiro um cigarro e o acendo (guardo o palito na própria caixa). Enquanto não vem a coleção, começo a tecer uma pequena fantasia homicida. Não é mais o Manso de Paiva, mas eu que me escondo atrás de uma coluna. Entra Pinheiro Machado, de fraque. Os rapapés o envolvem: — “Senador! Senador!”. É agora. Corro e mato Pinheiro Machado. Sou assassino. Em seguida, imagino a experiência inversa, de vítima. A dor fulminante da punhalada. Não tenho tempo nem para o espanto, nem para o grito.

O funcionário trouxe a coleção. Começo a ficar tenso. Encontro a edição do crime. Primeiro, passo os olhos no dia, mês e ano (sou um fascinado pelas datas dos velhos jornais e dos velhos túmulos). A manchete rasga as suas oito colunas: — ASSASSINADO o GENERAL PINHEIRO MACHADO! Ao bater estas notas, sinto o abismo entre as duas manchetes: — a de Pinheiro Machado era um berro gráfico, um uivo impresso; a de Kennedy, estupidamente impessoal, crassamente informativa. Ah, as manchetes de hoje não se espantam, nem se desgrenham, nem reconhecem a catástrofe.

O Correio da Manhã conta tudo. Estou vendo Pinheiro Machado, de fraque, chegando ao Hotel dos Estrangeiros. Lá está o seu lindo perfil de moeda. Vinha falar com dois políticos de São Paulo. Era um voluptuoso, um lúbrico do Poder. Sua conquista política era um jogo amoroso. O olho ficava mais doce, lascivo, translúcido. Amorosamente, Pinheiro Machado abriu os braços, enlaçando os dois políticos. E assim, entre um e outro, caminha o general, muito olhado. Claro que todos se voltavam para ver o homem que, segundo os comícios e os jornais, era o autor de todos os presidentes.

Pouco antes, chegava da Europa Irineu Machado, um dos grandes tribunos da época. Era homem de falar dez horas sem parar (antigamente, tínhamos mais oradores do que hoje camelôs de caneta-tinteiro). E Irineu Machado disse, em comício: — “Matar Pinheiro Machado não é ser assassino. É ser caçador”. Ele não estava improvisando nada. A frase fora criada, recriada, até chegar à sua forma exata, inapelável e assassina.

Era apenas uma frase. Mas aí é que está: — nada se fazia então sem frase. Para tudo era preciso uma frase. Repito: — uma frase tanto fazia uma adúltera como um ministro. E aquilo que Irineu Machado berrara foi de uma prodigiosa eficácia homicida. Caçar Pinheiro Machado, simplesmente caçar. Manso de Paiva estava ouvindo. E se não fosse Manso de Paiva seria outro Manso de Paiva. Até as senhoras eram Mansos de Paiva. A punhalada amadurecia no coração do povo. Mas volto ao Hotel dos Estrangeiros. Passa o caudilho com os outros dois. Ouvia-se o seu riso cálido, vital. Uma dama olha Pinheiro por detrás do leque como uma Butterfly.

Tudo teve a progressão fulminante da catástrofe. Manso de Paiva sai da coluna; corre, tira o punhal e o enterra até o fim nas costas do caudilho, pouco abaixo da nuca. Pinheiro soluça: — “Mataste-me, canalha!”. Mas Osvaldo Paixão, contemporâneo do episódio, orador de vários comícios ferocíssimos, retifica. Segundo ele, as últimas palavras de Pinheiro foram estas: — “Apunhalaste-me, canalha!”. Quero crer que ele tenha dito apenas: “Canalha”. Mas cabe perguntar: — que canalha? Ou, por outra: o caudilho estava com dois paulistas. Morreu certo de que um deles era o “canalha”.

(Preciso falar de Guimarães Rosa.) Ah, em 1915, as mulheres tinham um repertório de gritos que as novas gerações não usam, nem conhecem, Era bonito “ser histérica”. Muitas simulavam seus ataques, como o dostoievskiano Smerdiakov. Mas, quando Pinheiro caiu, as damas presentes não fingiam nada. Elas se esganiçavam, e rolavam pelas cadeiras, ou sapateavam como espanholas. Naquela época, uma notícia levava meia hora para ir de uma esquina à outra esquina. Mas toda a cidade ou, mais do que isso, o Brasil soube do assassinato, com uma instantaneidade brutalíssima.

E ninguém percebeu que, com Pinheiro Machado, morria também o fraque.

Autor: Nelson Rodrigues
Jornal O Globo, 4/12/1967

Zero Gravidade

Felipe Peres — Mon, 17 Nov 2008 21:28:41 +0000

Todos já devem ter assistido o filme 2001 – Uma odisséia no espaço e para ser apenas um pouco redundante, todos já devem saber que ele é um dos melhores filmes de ficção científica que já fizeram, dirigido pelo maestro Stanley Kubrick e lançado em 1967 o filme traz a cena clássica da evolução através da mudança de imagem de um osso para uma nave. Mas naquela época em que assisti, ainda jovem, essa imagem não fez muito sentido para mim. O que realmente me deixou abismado era fato de poder flutuar. A sensação de ser o máximo! - pensava eu.

Bom essa foi a introdução, mas a parte interessante vem agora. Eu estava pesquisando no mundo espacial e infinito da internet e encontrei esta notícia. “Após ganhar o prêmio de honra em “Inovação de Design e Engenharia” da CSE (Consumer Electronics Show), acaba de chegar ao Brasil a poltrona HT 7450”. Uau! Mas o que ela tem de diferencial? Pode perguntar!

Esta poltrona, aparentemente comum possuí sensores espalhados pelo estofamento que conseguem detectar pontos de acupuntura no corpo através do “scanner accu-point”, mapeando as principais zonas de pressão nas costas e massageando essas zonas com intensidades diferentes. Além de ser a única que ao reclinar, faz com que a altura do joelho fique superior ao coração, posição que garante uma melhor circulação sanguínea.

Como diria a falecida personagem de Joana Prado, a Feiticeira: “isto não feitiçaria é pura tecnologia!”

Já o apelido que a poltrona HT 7450 recebeu resume tudo isso! “Zero Gravidade”

Onde achar? A loja Mevolution traz de fora a unidade por R$ 16.900. Se o Stanley Kubrick tivesse uma dessas em 1967…

Mevolution
Rua Oscar Freire, 583, loja 7 - São Paulo
Tel.: 11 3062 7332
www.mevolution.com.br

Athens Polytechnic Uprising

kevrekidis — Sun, 16 Nov 2008 05:03:21 +0000

Monument to the victims of the Athens Polytechnic Uprising, 17 November, 1973.

National Metsoveion Polytechnic School of Athens – Greece.
Monument to the victims of the Athens Polytechnic Uprising, 17 November, 1973.

In April 21, 1967, Greece had been under a military dictatorship (Junta), a regime which abolished civil rights, dissolved political parties and exiled, imprisoned and tortured politicians and citizens based on their political beliefs.
The Polytechnion Uprising is an outstanding event in recent Greek history. On November, 1973 students at the Athens Polytechnic School (Polytechneion) went on strike, barricaded themselves in the school campus and started protesting against the military regime. Events began on November 14th and ended on November 17th, 1973 with the unprovoked intervention of army tanks and the attack by the army and police against those besieged inside the Polytechnic Campus and the demonstrating supporters outside in Patission Street. These few days saw the growth of an impressive popular uprising centered at the Polytechnic School. The people of Greece and the country’s youth all rallied in support of the students, united around the ideals: Freedom, Democracy, Independence, Education and Social Progress. The toll of the Polytechnion uprising was tragic. Several demonstrators were killed; many more were arrested by the military police and were tortured for months in military prisons. The Junta fell a few months later and Polytechnion is being commemorated every year on November the 17th. The student uprising was a courageous and heroic act of resistance against the military dictatorship, and therefore a symbol of resistance to tyranny.

Εθνικό Μετσόβιο Πολυτεχνείο.

Το μνημείο του αγώνα των φοιτητών στο προαύλιο του Πολυτεχνείου.

Kevrekidis Photography at deviantART

Favorite Title Theater: Casino Royale (1967)

christian — Sat, 15 Nov 2008 20:35:00 +0000

With the release of the 40TH Anniversary Edition of the infamous 007 spoof, CASINO ROYALE, I have another excuse to sing the praises of this premier example of 1960’s cinematic excess. Produced by Charles Feldman after his huge success with WHAT’S NEW PUSSYCAT? (1965), he owned the rights to Ian Fleming’s first — and best — James Bond novel. Unable to compete with Connery and Company, Feldman wisely decided to satire the series. Of course, by 1967, the Bond films were on their way to becoming parodies and Feldman’s approach was scattershot to say the least. Set to star Peter Sellers as a milquetoast card expert who is enlisted to be James Bond for one night, Sellers walked off the production after a few weeks due to his manic nature and refusal to actually shoot any scenes opposite Orson Welles, playing villain Le Chiffre. Sellers was killed off in the new script and no less than five directors, John Huston, Ken Hughes, Val Guest, Joseph McGrath, Robert Parrish with a dozen uncredited writers including Billy Wilder, Terry Southern, Ben Hecht, Joseph Heller, and Woody Allen, were charged with the prospect of making IT’S A MAD, MAD, MAD, MAD WORLD for James Bond.

The film’s budget ballooned from six million dollars to twelve million, as Feldman spared no expense to bring his outrageous film plans to fruition. A multi-million dollar budget for a camp parody shows you how serious the Bond phenomenon was in the mid-60’s. And reveals how desperate Feldman was to recapture the mod energy of WHAT’S NEW PUSSYCAT? When CASINO ROYALE was finally released in April, 1967, critics savaged the international pop gloss over a limp story and kitchen-sink humor, but audiences made it the third biggest grossing film of the year. Again, a testament to the power of Bond. Plus, the film is so massive, so decadent, filled with star wattage, and populated with a “Bondwagon” of the most beautiful women ever gathered for a major motion picture. Orson Welles claimed the sexy marketing (with the awesome Robert McGinnis poster) made the film a hit. Yet it also benefitted from two hit singles, the instrumental title track above by Herb Alpert and The Tijuana Brass; and the Oscar nominated, “The Look Of Love” sung by Dusty Springfield and written by Burt Bacharach. This Bond clone also pulled off one of the greatest soundtracks ever. Instead of a Barry-esque approach, the hip lounge combo of Albert and Bacharach reflected the comedy cocktail vibe of the era.

So in some ways, Feldman’s spaghetti on the wall approach paid off, and what stuck is what we love about CASINO ROYALE, which makes it dear to Bond cultist’s hearts, along with any fan of bloated psychedelic 60’s cinema. The film is a narrative mess, but the idea of making every character Bond to confuse the enemy is a sound one and allows for the flow of disparate stars and sequences. Peter Sellers would have been fun to watch through the whole movie, but he was apparently under the illusion that he was playing a serious romantic hero, and his Evelyn Tremble character is therefore diluted. Sellers has good moments, particularly when he plays a more awkward Bond, and the scene where he is outfiited with gadgets in a “Q” style bunker is damn funny and plays like Monty Python, Mel Brooks and MAD Magazine. There are witty lines and moments throughout CASINO ROYALE (no wonder given the smart-ass scribe pedigree) and it’s one of the small pleasures of the film. Of course, Woody Allen saves the day by nailing every second of his role as nervous Jimmy Bond, cousin to David Niven’s more foppish take on the character (Fleming had envisioned Niven as Bond). It’s still one of my favorite Allen performances.

What buffers CASINO ROYALE from a total celluloid crash is the dazzling Ken Hughes segment featuring Mata Bond (Joanna Pettet) and her journey into Cold War Berlin for plot reasons unknown. This entire sequence is the best in the movie, a wonderful distillation of satirical hijinks and expressionist set design. Joanna Pettet simply rocks as Mata Bond, and it’s a shame Feldman didn’t take advantage of what could have been a whole film. Pettet is smart, gorgeous and funny, snapping out every line like the crack of a velvet whip. She’s utterly believable as an action heroine, and her enthusiasm as a super spy is infectious. The supporting cast is also terrific, especially Anna Quayle as Frau Hoffner, definitely an inspiration for Mike Myer’s “Dieter” character on SNL. I think Hughes’ direction is comedically adroit and visually stunning (the camera work here is pure Nicholas Roeg, one of the film’s three cinematographers) and the music/editing all come together for a steady comic rhythm. I’m always sad when this pop-art 007 fantasia section ends.

By the climax, with cowboys and indians shooting and frugging out in the casino, there’s nowhere to go but up and the film ends abruptly with a deus ex-plosion machina and all our Bonds in Heaven. I grew up on the movie and its soundtrack, so I’ll always have a soft spot in my head and heart for this epic mess. For me, CASINO ROYALE represents the best and worst of the swinging 60’s cultural landscape. I’m such a fan I’m dying to see the many minutes of shorn footage featuring more guest stars and manic chaos. Sadly, the new DVD does not include any of the excised footage. Get Mata Bond on the case!

A cure for the winter blues - The Zombies - This Old Heart Of Mine (live in France, 1967)

Ciarán — Sat, 15 Nov 2008 13:11:14 +0000

Dance around to a ramshackle song. I recommend:

A youtube commenter says “5 live Zombies” album - by Razor Records, recommended”

==========

Jefferson Airplane- An original Jefferson Airplane member writes one for Papa John and Jack Casady does his thing with an intense cover of a Fred Neil classic!! All for you in weekend free-flight.

craigtheairplaneman — Fri, 14 Nov 2008 22:33:53 +0000

Please spread the word the new Jefferson Starship book:

“HAVE YOU SEEN THE STARS TONITE” has landed.

http://www.takemetoacircustent.net

http://www.amazon.com (The books are proudly featured here)

JEFFERSON AIRPLANE- JEFFERSON STARSHIP- Great Society- Take Me To A Circus Tent

Have You Seen The Stars Tonite

Have You Seen The Circus Tent Tonite

Quality Rock & Roll

Airplane style.

Welcome to the Jefferson Weekend of Rock:

How did the last few days go? I hope all is well. Being the weekend I wanted this flight to be special. It will be full of great sounds of yesteryear.

We fly back to Redding, California during May 5th of 1995

5/5/95

Jefferson Starship on stage with Marty Balin, Paul Kantner, and Jack Casady:

Papa John (Marty wrote this tune dedicated to the late Papa John Creach)

The Other Side Of This Life (A Fred Neil classic done here with a Jack Casady bass-solo!)

Enjoy. Got to go rock and roll.

Please spread the

word:

The new Jefferson Starship book “Have You Seen The Stars Tonite” has arrived!

Thanks as always!

Relax and have fun!

JEFFERSON AIRPLANE-

JEFFERSON STARSHIP- Great Society-

Take Me To A Circus Tent

I look forward to hearing you later!

The book is Take Me To A Circus Tent (The Jefferson Airplane Flight Manual) W/93 photos, 32 interviews, 543 pages, and a myriad of 5 star reviews!

Please remember at any moment on an Aircast it can be a rare memory from the Jefferson Airplane, Jefferson Starship, KBC, Wooden Ships, Marty Balin, Paul Kantner to name several. Maybe another picture previously unseen from the Rock Tent Vault sees daylight from Herb Greene or Don Aters.

Please board the Weekend Rock Tent Jet here for great Jefferson sounds:

http://www.takemetoacircustent.net/media/JeffersonAirplaneTakeMeToACircusTentAircast64papajohnandasideofjack.mp3

Wishing you a great day,

craig

Jimi Hendrix Experience - 1967-Offenbach, Germany

kelucio — Fri, 14 Nov 2008 10:56:06 +0000

Stone Free - Purple Haze - Hey Joe

Jefferson Airplane- The Jefferson Family gives you an Airplane classic and one of the most played tunes in musical history thanks to Mr. Marty Balin. Climb aboard the Rock Jet and let's ride!

craigtheairplaneman — Fri, 14 Nov 2008 00:07:00 +0000

Please spread the word the new Jefferson Starship book:

“HAVE YOU SEEN THE STARS TONITE” has landed.

http://www.takemetoacircustent.net

http://www.amazon.com (The books are proudly featured here)

JEFFERSON AIRPLANE- JEFFERSON STARSHIP- Great Society- Take Me To A Circus Tent

Have You Seen The Stars Tonite

Have You Seen The Circus Tent Tonite

Quality Rock & Roll

Airplane style.

Welcome Jefferson Land Rockers:

Almost time for yourself as we fly toward the weekend.

Hope all is great! You’ll enjoy the 2 for the price of zero on the Rock Tent Jet today.

Jefferson Starship 1995:

Crown Of Creation W/Barry Flast on the keyboards

Marty Balin/Slick Aguilar 2008 from Boston:

Miracles

Great rock sounds to heat up the month of November! Enjoy. got to go rock and roll.

Please spread the

word:

The new Jefferson Starship book “Have You Seen The Stars Tonite” has arrived!

Thanks as always!

Relax and have fun!

JEFFERSON AIRPLANE-

JEFFERSON STARSHIP- Great Society-

Take Me To A Circus Tent

I look forward to hearing you later!

The book is Take Me To A Circus Tent (The Jefferson Airplane Flight Manual) W/93 photos, 32 interviews, 543 pages, and a myriad of 5 star reviews!

Please board the Jefferson Jet here for great rock tunes:

http://www.takemetoacircustent.net/media/JeffersonAirplaneTakeMeToACircusTentAircast64thecrownisamiraclemb.mp3

Wishing you a great day,

craig

«Cinema Japonês. Contos da Lua Vaga», 25-XI-1967, p. 5-6.

paulomfcunha — Thu, 13 Nov 2008 18:01:41 +0000

Jürgen Pippig: Abend in Orjol/Potjomkin

ostberlin36 — Thu, 13 Nov 2008 16:48:50 +0000

Jürgen Pippig (später bekannt geworden unter Jürgen Walter) mit seiner wahrscheinlich ersten Single aus dem Jahr 1967.

Jürgen Pippig ist einer der Gründungsmitglieder des Hootenannyclub (später Oktoberklub). Die Aufnahmen wurden zusammen mit dem Orchester Thomas Natschinski (ehemaliges Mitglied von Team 4) gemacht. Das bürgt für eine gewisse Qualität des Arrangement.

Der Titel Potjomkin handelt von einer Meuterei (14. bis 25. Juni 1905) während der russischen Revolution.

Leider wurden die russischen Matrosen im späteren Kronstä dter Matrosenaufstand (März 1920) von der gerade gegründeten Roten Armee besiegt und durch nächtliche Massenerschießungen der Tscheka ausgerottet.

Alle Macht den Sowjets, nicht den Parteien!

Motto des Aufstandes

Der Titel Abend in Orjol handelt von Frauenproblemen eines jungen Mannes in Russland der ein besserer Deutscher sein will. Sehr poetisch und wahrscheinlich seine erste “Feuertaufe” als “anerkannter junger Künstler” in der DDR.

Das ist Musik aus einem Potemkinsches Dorf in perfekter Reinheit.

Titel:

Jürgen Pippig: Abend in Orjol (Anspieltipp)
Jürgen Pippig: Potjomkin

Jefferson Airplane- As we fly closer to the weekend why not some Jefferson sounds that are classic and intense. It's in free-flight as always so climb aboard the Rock & Roll Plane!

craigtheairplaneman — Wed, 12 Nov 2008 23:55:40 +0000

Please spread the word the new Jefferson Starship book:

“HAVE YOU SEEN THE STARS TONITE” has landed.

http://www.takemetoacircustent.net

http://www.amazon.com (The books are proudly featured here)

JEFFERSON AIRPLANE- JEFFERSON STARSHIP- Great Society- Take Me To A Circus Tent

Have You Seen The Stars Tonite

Have You Seen The Circus Tent Tonite

Quality Rock & Roll

Airplane style.

Welcome Rock and Rollers:

Thanks for being part of our journey as we scan the globe for the Jefferson sounds of the past and present. How are you?

In April of 2008 the Jefferson Starship landed in Connecticut, USA for some rock and roll fun.

We capture a couple of the moments for you:

Jefferson Starship-

Volunteers (A Jefferson Airplane classic sounding fresh when performed today)

Hyperdrive (Intense rock and roll from the Jefferson Starship)

Take a few moments and catch up with all the cool Jefferson updates of late. We explored the Jefferson Airplane from 67 not too long ago and rocked out with the Jefferson Starship and KBC. It’s all in free-flight. Enjoy! Got to go rock and roll.

Please spread the

word:

The new Jefferson Starship book “Have You Seen The Stars Tonite” has arrived!

Thanks as always!

Relax and have fun!

JEFFERSON AIRPLANE-

JEFFERSON STARSHIP- Great Society-

Take Me To A Circus Tent

I look forward to hearing you later!

The book is Take Me To A Circus Tent (The Jefferson Airplane Flight Manual) W/93 photos, 32 interviews, 543 pages, and a myriad of 5 star reviews!

Please board the Rock Jet this way for Jefferson sounds:

http://www.takemetoacircustent.net/media/JeffersonAirplaneTakeMeToACircusTentAircast64avoulunteerisnthyper.mp3

Wishing you a great day,

craig

El Graduado

José Trujillo Brenes — Wed, 12 Nov 2008 11:00:43 +0000

Si, ya sé que eso no es el tráiler, pero es que no podía ponerlo sin avisar antes.

Un troll que se hace llamar takataka pasó por aquí hace unas semanas y además de darme mi record de visitas, alabó el tráiler de Australia por ahorrarnos la necesidad de ir a ver la película. Éste le va a encantar (A ver si así vuelve a hacerlo XD).

El supuesto tráiler de El Graduado es en realidad un perfecto resumen que nos cuenta la historia de principio a fin, con su presentación, su desarrollo, su conclusión y sus créditos al final. Sólo se les olvidó poner la escena en la que Ben le cuenta su plan a sus padres, que es espectacular.

Ésta es sin duda, una de mis películas preferidas y puede que algún día me pillen diciendo que no hay nada mejor.

No diré que después del salto hay spoilers porque lo que ahí se puede ver, es la película. Todos aquellos que tengan intención de verla algún día en su versión extendida, que no pasen y vean.

No puedo resistirme a contarles que en el libro, Ben si llega a tiempo, pero Mike Nichols decidió cambiar el final. Una locura que hoy sigue sorprendiendo y que deja como ridículas el resto de películas que cuentan algo parecido.

Oda a Billy Joe... Royal

CatsLock — Wed, 12 Nov 2008 08:34:21 +0000

Ya anteriormente les había hablado de Billy Joe Royal, el cantante estadounidense -originario de la ciudad de Savannah, Georgia- catapultado a la fama en 1965 con el tema Down in the Boondocks. Tras este éxito, Royal tuvo una carrera notable durante el resto de la década de 1960, logrando colocar en las listas de popularidad (y en el gusto de la crítica) canciones como I Knew You When , Hush (la misma canción que sería célebre un poco más tarde con Deep Purple -de hecho existen dos versiones distintas a cargo de este mismo grupo, la primera fue grabada en 1968 y otra veinte años después, en el 88) y Cherry Hill Park (que fue su tercer éxito más grande como cantante Pop). Tanto I Knew You When como Hush fueron compuestas por el cantautor Joe South, su amigo personal y más cercano colaborador durante los primeros años de su carrera. Escuchemos I Knew You When.

Royal, al igual que ha ocurrido con otros cantantes de la época, le dio espacio a la música Country en su repertorio (aunque, de hecho, Down in the Boondocks ya tenía cierto dejo…). De 1970 hasta mediados de la década de 1990 logró resaltar en este género. No abandonó el Pop, a pesar de ello, siguiendo produciendo temas con su estilo tradicional (su versión de Under the Boardwalk es estupenda, la mejor que he escuchado, junto con la de Bette Midler). De 1969, recordemos a Cherry Hill Park.

…Y rematemos con su versión de Hush (la primera que se conoció de este famoso tema).

Fuentes/Referencias: http://billyjoeroyal.com/ ; http://www.tsimon.com ; http://www.musicianguide.com ; http://en.wikipedia.org