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2008-04-17 15:09:52 Description: The Nitty Gritty Dirt Band is an American country-folk-rock band that has existed in various forms since its founding in Long Beach, California in 1966. The group's membership has had at least a (More) The Nitty Gritty Dirt Band is an American country-folk-rock band that has existed in various forms since its founding in Long Beach, California in 1966. The group's membership has had at least a dozen iterations over the years, including a period between from 1976 to 1981 when the band performed and recorded as The Dirt Band. Constant members since the early days are Singer-guitarist Jimmie Fadden and drummer Jeff Hanna. Multi-instrumentalist John McEuen was with the band from 1966 to 1986 and returned in 2001. Keyboardist Bob Carpenter joined the band in 1977. The band's hits include a cover version of Jerry Jeff Walker's "Mr. Bojangles". Albums include 1972's Will the Circle Be Unbroken, featuring such traditional country artists Mother Maybelle Carter, Earl Scruggs, Roy Acuff, Merle Travis and Jimmy Martin. A follow-up album based on the same concept, Will the Circle Be Unbroken: Volume Two was released in 1989, was certified gold and won two Grammy Awards and was named Album of the Year at the Country Music Association Awards. 1966-1969 The Nitty Gritty Dirt Band was founded around 1966 in California by singer-guitarist Jeff Hanna and washtub bass player Bruce Kunkel who performed as the New Coast Two. Trying to, in the words of the band's website, "figure out how not to have to work for a living," Hanna and Kunkel joined informal jam sessions at McCabe's Guitar Shop in Long Beach, California. There they met several multi-instrumentalists: guitarist-washboard bassist Ralph Barr, guitarist-clarinetist Les Thompson, harmonicist and jug player Jimmie Fadden and guitarist-vocalist Jackson Browne. As the Nitty Gritty Dirt Band, the six men started as a jug band and joined the burgeoning southern California folk rock, playing in local clubs, wearing pinstripe suits and cowboy boots. Browne was only in the band for a few months before he left to concentrate on a solo career as a singer-songwriter. He was replaced by John McEuen on banjo, fiddle, mandolin and steel guitar. McEuen's older brother, William, was the group's manager, and he helped the band get signed with Liberty Records, which released the group's debut album, The Nitty Gritty Dirt Band in 1967. The band's first single, "Buy for Me the Rain," was a Top 40 hit, and the band gained exposure on "The Tonight Show" with Johnny Carson, as well as concerts with such disparate artists as Jack Benny and The Doors. A second album, Ricochet was released later in the year and fared less successfully than their first. Kunkel wanted the band to "go electric", and exited the group in the dispute. He was replaced by guitarist-fiddler Chris Darrow (guitar, fiddle). By 1968, the band went electric anyway, and added drums. The first electric album, Rare Junk, was a commercial flop, as was their next, Alive!. The band continued to gain exposure, mainly as a novelty act, making a cameo appearance in the 1969 musical western film, Paint Your Wagon, performing, "Hand Me Down That Can o' Beans". The band also played Carnegie Hall as an opening act for Bill Cosby and played in a jam session with Dizzy Gillespie. 1969-1976 The group took a break in 1969, reforming in Aspen, Colorado with Jimmy Ibbotson replacing Chris Darrow. With William McEuen as producer and a renegotiated contract that gave the band more artistic freedom, the band recorded and rleased Uncle Charlie & His Dog Teddy, issued in 1970. Embracing a straight, traditional country and bluegrass sound, the album included the group's best-known single, a cover version of Jerry Jeff Walker's "Mr. Bojangles". The next album, All The Good Times, released in early 1972, was similar in feel. The Nitty Gritty Dirt Band next sought to solidify its reputation as a country band, heading for Nashville, Tennessee and recording the triple album, Will the Circle Be Unbroken with Nashville stalwarts Roy Acuff, Earl Scruggs and Jimmy Martin, country pioneer Mother Maybelle Carter, folk-blues guitarist Doc Watson and others. The title is taken from the song, "Can the Circle Be Unbroken (Bye and Bye)", as adapted by A. P. Carter, and reflects the album's theme of trying to tie together two generations of musicians: long-haired boys from California and older veterans of the middle American establishment. The track, "I Saw the Light" with Acuff singing, was a hit, and the album received two nominations for Grammy Award. Veteran fiddler Vassar Clements was introduced to a wider audience by the album. The band also toured Japan. Les Thompson left the group, making the band a foursome. The next album, Stars & Stripes Forever, was a live album that mixed old hits such as "Buy for Me the Rain" and "Mr. Bojangles" with Circle collaborations (fiddler Vassar Clements was a guest performer) and long storytelling spoken-word monologues. A studio album, Dream, was also released. In July 1974, the band was among the headline acts at the Ozark Music Festival at the Missouri State Fairgrounds in Sedalia, Missouri. Some estimates have put the crowd count at 350,000 people, which would make this one of the largest music events in history. At anothter concert, the band opened for the rock band Aerosmith. 1976-1981: The Dirt Band Jimmy Ibbotson left the band at the end of 1975, leaving Fadden, Hanna and McEuen. John Cable and Jackie Clark were brought in on guitar and bass. The band shortened its name around this time to The Dirt Band, and released its first greatest hits compilation, Dirt, Silver & Gold, in 1976. The Dirt Band was the first American group allowed by the Soviet Union to tour Russia, playing concerts and a televised appearance that is estimated to hve been watched by 145 million people. Pianist Bob Carpenter joined in 1977, and the group's sound became more pop and rock oriented. Saxophonist Al Garth, drummer Merel Bregante and bassist Richard Hathaway were also added. Jeff Hanna became the group's producer. Albums during this period included The Dirt Band and An American Dream. The single "American Dream" with Linda Ronstadt reached No. 13 on the pop charts. The band also appeared on "Saturday Night Live", and, billed The Toot Uncommons, provided backing for Steve Martin on his million-selling novelty tune, "King Tut." The albums Make a Little Magic and Jealousy were released in 1980 and 1981, with the single "Make a Little Magic" featuring Nicolette Larson reaching the Top 20 on the pop chart. 1982-1989: Nitty Gritty again The band returned to its original name and it country roots, with Jimmy Ibbotson rejoining for recording session in Nashville, Tennessee for the album Let's Go, which yielded the hit "Dance Little Jean" which was a Top 10 country hit. The next album, 1984's Plain Dirt Fashion had the band's first No. 1 hit, "Long Hard Road". There were two more No. 1's: "Modern Day Romance" (1985) and "Fishin' in the Dark" (1987). Other successful songs were "Dance Little Jean" (1983); "I Love Only You" (1984); "High Horse" (1985); "Home Again in My Heart," "Partners, Brothers and Friends" and "Stand a Little Rain" (1986); "Fire in the Sky," "Baby's Got a Hold on Me" and "Oh What a Love" (1987); "Working Man (Nowhere to Go)" and "I've Been Lookin'" (1988); and "Down That Road Tonight" and "When it's Gone" (1989). Performances included the 1984 Los Angeles Olympic Games and the inaugural Farm Aid concert in Champaign, Illinois. A 20-year anniversary concert at McNichols Sports Arena in Denver, Colorado featured such guests as Ricky Skaggs, Emmylou Harris, Doc Watson and John Prine. John McEuen left the band at the end of 1986, replaced by Bernie Leadon, formerly of the Eagles. He was with the Nitty Gritty Dirt Band in 1987 and 1988. The band's 19th album, Hold Onfeatured the No. 1 singles "Fishin' in the Dark" and "Baby's Got a Hold on Me." The band appeared on the "Today Show" and the "Tonight Show" in the same week, and toured Europe. In 1989, the Nitty Gritty Dirt Band again returned to Nashville, to record Will the Circle Be Unbroken: Volume Two. Returnees from the first Circle included Earl Scruggs, Vassar Clements and Roy Acuff. Johnny Cash and the Carter Family, Emmylou Harris and Ricky Skaggs joined the sessions, as did John Prine, Levon Helm, John Denver, John Hiatt, Bruce Hornsby and former Byrds Roger McGuinn and Chris Hillman. This two Grammy Awards and was named Album of the Year at the Country Music Association Awards. for Best Country Vocal Performance (duo or group) and the Country Music Association's Album of the Year Award in 1989. 1990-2000 As a foursome of Hanna, Fadden, Ibbotson and Carpenter, the band again the Soviet Union, as well as Canada, Europ, and Japan. A 25th anniversary concert was recorded on Live Two Five in Red Deer, Alberta, produced by T-Bone Burnett. In 1992 the band collaborated with Irish folk music's The Chieftains for the Grammy Award-winner Another Country. Other efforts included the album Acoustic, spotlights their "wooden" sound, a duet with Karla Bonoff, "You Believed in Me" for the MCA Olympic compilation, One Voice, and a cover version of Buddy Holly's "Maybe Baby" for the Decca tribute album, Not Fade Away. The Christmas Album was released in 1997, followed by Bang! Bang! Bang! in 1999. The band briefly entered the pop culture again in April of 1992, when they were the unwitting subject of one of George H. W. Bush's malapropisms, referring to the group as the "Nitty Ditty Nitty Gritty Great Bird" at a country music awards ceremony in Nashville: "I said to them there's another one that the Nitty Ditty Nitty Gritty Great Bird and it says if you want to see a rainbow you've got to stand a little rain."[1] This unusual phrasing was repeatedly used as an example of Bush's garbled syntax (notably, in Dave Barry's book Dave Barry Hits Below the Beltway), which in turn led to increased visibility for the band. Recent works John McEuen rejoined the band in 2001. In 2002, the Nitty Gritty Dirt Band celebrated the 30th anniversary of their landmark Will the Circle Be Unbroken with a remastered CD reissue of the 1972 album and a new compilation, Will the Circle Be Unbroken: Volume III. An album of all-new material, Welcome to Woody Creek, was released in 2004. Jimmy Ibbotson again left the band in 2004. In 2005 the band donated use of the song "Soldier's Joy" for the benefit album, Too Many Years to benefit Clear Path International's work with landmine survivors. Also in 2005, the band was recognized by the International Entertainment Buyers Association for 40 years of contributions to the music industry. (Less)
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92, 04:30, 2008-04-17 15:10:20 Description: Roderick David (Rod) Stewart (Londen, 10 januari 1945) is een Britse rockzanger van Schotse herkomst, bekend om zijn rauwe bluesy stem. Hij wordt de witte met de zwarte stem genoemd of ook wel eens de (More) Roderick David (Rod) Stewart (Londen, 10 januari 1945) is een Britse rockzanger van Schotse herkomst, bekend om zijn rauwe bluesy stem. Hij wordt de witte met de zwarte stem genoemd of ook wel eens de laatste "song and dance man" vanwege zijn podiumpersoonlijkheid, zijn onstuitbaar enthousiasme tijdens live-optredens en zijn, haast, persoonlijk contact met elk mens in zijn publiek. Song and dance man is een begrip uit de tijd dat entertainment nog echt en aanraakbaar was. Rod Stewart is CBE (Commander of the order of The British Empire), een onderscheiding die hij met kerst 2006 kreeg uitgereikt door Elizabeth II voor bewezen diensten, (cultureel, artistiek en de verkoop van meer dan 300 miljoen platen) aan het Britse Koninkrijk. Hij is ook opgenomen in de Rock & Roll Hall of Fame.------------------Biografie Op jonge leeftijd wilde Stewart voetballer worden en kwam terecht bij Brentford F.C.. Al snel richtte hij zich echter op de muziek en werd straatzanger. Na enige omzwervingen door Europa (hij werd Spanje zelfs uitgezet wegens landloperij), werd hij op het station van Twickenham ontdekt door Long John Baldry. Vanaf 1964 trad hij veel op met Shotgun Express, Steampacket, Long John Baldry, Julie Driscoll en Alexis Corner. Zijn eerste opvallende plaatopname was zijn virtuoze mondharmonicaspel op het nummer My Boy Lollipop van Millie Small, een skazangeresje in 1964. Hij bleef relatief onbekend totdat hij zich in 1967 aansloot bij de Jeff Beck Group (voorloper van Led Zeppelin en vele anderen) met virtuoos gitaarspeler Jeff Beck, bassist Ron Wood en drummers Aynsley Dunbar en Micky Waller.-----------------------------The Faces The Faces (Stewart 2e van rechts In 1969 verliet hij de Jeff Beck Group om samen met Ron Wood over te stappen naar The Faces. Hij bracht in datzelfde jaar nog een soloalbum uit,"An Old Raincoat Want Ever Let You Down" en met The Faces het album "First Step". In 1970 verscheen zijn tweede soloalbum "Gasoline Alley" en met The Faces "Long Player". "Every Picture Tells a Story" uit 1971 betekende de echt grote doorbraak voor Rod Stewart en vanaf dat moment genoot hij internationale bekendheid. Toen het B-kantje Maggie May vaak op de radio werd gedraaid kreeg hij met het album en de single gelijktijdig een nummer 1 in de Verenigde Staten en in Groot-Brittanni, iets dat in de geschiedenis van de populaire muziek nooit eerder was voorgekomen en sindsdien nog door niemand is gevenaard. Het album "Every Picture Tells A Story" is opgenomen in de befaamde "Rock & Roll Hall of Fame" en bekleedt daar de zeventiende plaats in de top 500 van albums die de meeste invloed en verandering hebben teweeggebracht in de twintigste eeuw. "A Nod's As Good As A Wink To A Blind Horse", ook al uit 1971, bracht The Faces in deze tijd hun enige top 10-hit in de VS met het nummer Stay with me. In 1972 verscheen "Never A Dull Moment", Stewarts vierde soloalbum. Samen met The Faces bracht hij ook nog eens het onvolprezen "Ooh La La" uit waarop enkele pareltjes van de hand van Ronnie Lane. "Sing It Again", de verzamelaar uit 1973 had onvoldoende ruimte om de meesterwerken van de vier eerste soloalbums te herbergen. The Faces brachten dat jaar ook een verzamelaar uit, "Snakes And Ladders", waarop hun laatste nummer-1-hit in het Verenigd Koninkrijk, "Pool Hall Richard" echter waren ze toch de populairste liveband in het Verenigd Koninkrijk tot ze in 1974 uit elkaar gingen. Cindy Incidentally en Pool Hall Richard stonden er weken op de eerste plaats. In 1974 brachten The Faces ook nog "Coast To Coast-Averture and Beginners" uit, een livealbum dat hun reputatie waarmaakte.----------------------------Succesrijke soloperiode 1974 betekende voor Stewart ook zijn laatste soloalbum voor Mercury Records, het uit "Smiler" gesponnen lied "Farewell" was niet toevallig vermits Rod de grote stap over de Atlantische Oceaan reeds plande en zijn kreatiefste periode uit zijn leven afsloot om te beginnen aan zijn "lucratiefste". Het grote geld ging nu pas komen. In 1975 werd de verzamelaar van The Faces, "Snakes and Ladders" heruitgebracht in het zog van het succes van "Atlantic Crossings", het eerste soloalbum bij Warner Bros/Atlantic. De albums "An Old Raincoat", "Gasoline Alley", "Never A Dull Moment", "Smiler", "A Nod's As Good As A Wink To A Blind Horse" en "Ooh La La" kunnen gezien worden als behorende tot de belangrijkste rockalbums ooit. "Every Picture Tells A Story" hoort hier ook in thuis, en Rod Stewart nam hiermee ook zijn intrede in de gerenommeerde Rock and Roll Hall Off Fame. In tegenstelling tot wat je zou mogen aannemen was de hierna volgende periode, waarin Rod Stewart op zijn populairst was, niet zijn creatiefste. Hij had intussen onderdak gevonden bij "Warner Bros, Atlantic". Zijn contract hield in dat alle rechten op zijn songs totaal in eigen handen bleef, Warner streek enkel procenten op voor de verkoop van platen en niet voor auteursrechten, waardoor Warner zich natuurlijk dubbel zo hard inspande voor de promotie van Rods platen. Sailing uit "Atlantic Crossings" (1975), en Tonight's The Night uit "A Night On The Town", dat zestien weken op nummer 1 stond in de Amerikaanse Billboard in 1976, bevestigden toch nog het talent van Rod Stewart. Uit "Footloose And Fancy Free" (1977) stamt de rocker "Hot Legs. Aan het eind van 1978 uit het album "Blonds Have More Fun" had hij nog een hit met het nummer Do Ya Think I'm Sexy?, waarschijnlijk het meest verguisde nummer uit zijn carrire, dat wel meteen doorstootte naar de nummer-1-posities over de ganse wereld. Het bracht Rod echter geen dollar in de beurs want alle rechten werden geschonken aan het kinderfonds van "Unicef".-----------------------Jaren 80 1980 bracht nog het album "Foolish Behaviour", 1981 "Tonight I'm Your's" en in 1982 het dubbele livealbum "Absolutely Live" waar hij Tina Turner opnieuw aan het grote publiek voorstelde. Het optreden in de L.A.Forum bezorgde Tina Turner de start van haar comeback en bevestigde Rod Stewart als een van de grootste rockperformers aller tijden. Uit de tachtiger jaren herinneren we nog de albums "Body Wishes", 1983, "Camouflage", 1985, en dan weer hoopgevend "Every Beat Of My Heart", 1986, "Out Of Order", 1988, waarin hij weer helemaal terug was met de massieve hit "Infatuation". 1989 bracht de vierdelige verzamelaar "Storyteller".--------------------------Jaren 90 Daarna nam zijn productiviteit wat af en stond hij meer bekend als rockster, dan om zijn muzikale talent. Uit die periode de kwamen twee rocksongs Hot Legs en Foolish Behaviour, niet te vergeten "I Was Only Joking" een zelfreflectie met de nodige humor en emotie. In 1993 nam hij samen met Sting en Bryan Adams de hit All for Love op voor de film The Three Musketeers. Dit werd door sommige fans als een groter dieptepunt dan "Do Ya Think I'm Sexy" in zijn carrire gezien. Rod Stewart gaf in 1994 een gratis concert op het strand van Copacabana, dat meer dan 3,5 miljoen bezoekers trok. Dit werd vermeld in het Guinness Book of Records. "Unplugged And Seated" bewees in 1995 nogmaals het livetalent van Rod Stewart die een eerlijke traan niet schuwde als hij de cover van Van Morrison, "Have I Told You Lately" aan zijn toenmalige echtgenote Rachel Hunter opdroeg.-------------------------------Jaren 00 In 2002 keerde Rod terug in de top van de albumlijsten met It Had To Be You, een verzameling van oude klassiekers van Cole Porter tot Nat King Cole uit de jaren '20 en '30 . De verkoop staat op 4.200.000 exemplaren wat een unicum is in de jaren van downloaden. Geen enkele andere artiest van zijn generatie heeft hem dit nagedaan. Eind 2003 keert hij weer terug met het album As Time Goes By waarmee hij de tweede plaats bezet in de Amerikaanse en de Canadese en de eerste in de Australische albumhitlijst in november 2003. 2004 luidt voor Rod Stewart, financieel, het meest succesvolle jaar in zijn lange carrire tot nu toe in. Hij gaat op tournee in de Verenigde Staten en Canada met een volledig uitverkochte stadiontournee die loopt van januari tot augustus, getiteld "From Maggy May to the Great American Songbook". De show bestaat uit twee delen: een eerste deel van goed anderhalf uur rock, en afsluitend een half uur Amerikaanse klassiekers. Rod krijgt voor iedere avond, gemiddeld 22 avonden per maand en dit voor acht maanden, een miljoen Amerikaanse dollars binnen. Na de tour zal Rod samen met Ronnie Wood in de studio duiken voor de afwerking van hun album "You'll Strut, I'll Sing". 19 oktober 2004 verscheen de derde en laatste in de serie Great American Songbooks, genaamd "Stardust", dat meteen doorstoot naar de nummer-1-positie in de Amerikaanse albumcharts. Gasten zijn onder andere Eric Clapton, Stevie Wonder en Dolly Parton.------------------------Invloed op anderen Rod Stewart solo en vooral ook Rod Stewart samen met de Faces wordt door vele artiesten als hun grote voorbeeld genoemd, zoals o.a. Alanis Morissette, The Black Crowes, Stereophonics, Pearl Jam (die zelfs enkele riffs van de Faces geleend hebben) en zelfs Rage Against The Machine. Paul Cook en Steve Jones van de Sex Pistols hebben jaren na hun punkglorie toegegeven dat het nummer Pool Hall Richard (1973) van de hand van Rod Stewart en Ron Wood voor hun de eerste echte Britse punk-song was, de tekst Bang go the Queen, she's so obscene, her hands are dirty but her image clean, Pool Hall Richard, kid you're wicked, whe now! zegt genoeg.----------------------Privleven Rod Stewart is tweemaal getrouwd geweest en gaat na de scheiding van zijn tweede vrouw voor de derde keer in het huwelijksbootje stappen. Hij heeft zeven kinderen. Zijn eerste kind is zijn dochter Sarah Thubron (41 jaar), ze was het resultaat van een tienerromance. De moeder is Susannah Boffey. Toen Sarah geboren werd was Rod 18 jaar. Hij trouwde voor het eerst op 6 april 1976 met Alana Collins, met haar kreeg hij 2 kinderen: dochter Kimberly (geb. 21 augustus 1979) en zoon Sean (geb. 1 september 1980). Hij scheidde van haar in 1984. Op 17 juni 1987 werd Rod vader van derde dochter Ruby, haar moeder was Kelly Emberg, een toenmalige vriendin van Rod. Rod trouwde voor de 2de keer met Rachel Hunter op 15 december 1990. Met haar kreeg hij 2 kinderen: dochter Renee (geb. 1 juni 1992) en zoon Liam McAlister (geb. 4 september 1994). Op 4 juni 2005 heeft hij officieel de scheiding aangevraagd met zijn tweede vrouw. Al vanaf 1999 leven zij niet meer samen. Als hij van Rachel Hunter gescheiden is, wil hij voor de derde keer gaan trouwen, en wel met Penny Lancaster. Op 26 mei 2005 werd bekend dat Penny in verwachting is. Op 27 november 2005 werd zijn derde zoon geboren, Alastair. Op 16 juni 2007 is Rod getrouwd met Penny Lancaster in La Cervara nabij Portofino, Itali. Op de bruiloft waren ongeveer 100 familieleden en vrienden getuige van hun huwelijk. De receptie vond plaats in Santa Margherita alwaar men uitzicht had over de kust. Diner, feest en vuurwerk duurden tot in de kleine uurtjes toen het bruidspaar, dat erin slaagde hun speciale dag priv te houden, vertrokken voor een Mediterriaanse vakantie. (Less)
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36, 03:09, 2007-12-01 07:47:13 Description: From Wikipedia:
GOLD DIGGERS OF BROADWAY 1929 is a lost Warner Bros. comedy/musical film which is historically important as the second talkie, photographed entirely in Technicolor. It became a box (More) From Wikipedia:
GOLD DIGGERS OF BROADWAY 1929 is a lost Warner Bros. comedy/musical film which is historically important as the second talkie, photographed entirely in Technicolor. It became a box office sensation, making Winnie Lightner a worldwide star and boosting guitarist crooner Nick Lucas to further fame as he sang two songs that became 20th century standards; 'Tiptoe Through the Tulips' and 'Painting the Clouds with Sunshine' (Al Dubin / Joe Burke).
It earned a domestic gross of $3.5 Million, extending to over $5 Million worldwide (adjusted for inflation in 2007 this would be a gross of around $60 Million). The original production cost was approximately $500,000. This film was so popular that it quickly became the top grossing film of all time in 1929 and held this record until 1939. It was chosen as one of the ten best films of 1929 by Film Daily. As with many early Technicolor films, no complete print survives, although the last twenty minutes do, but are missing a bridging sequence and the last minute of the film. Contemporary reviews, the soundtrack and the surviving footage suggest that the film was a fast-moving comedy which was enhanced by Technicolor and a set of lively and popular songs. It encapsulates the spirit of the flapper era, giving us a glimpse of a world about to be changed by the Great Depression.
Because the film is lost, the partial remake, Gold Diggers of 1933, is the most frequently seen version of the story. The film has become so completely forgotten that it is seldom featured in any 'most wanted' lost film lists and is missing from many modern reviews of the early talkie.
The song "Painnting The Clouds With Sunshine" was extremely popular also in Poland. The Polish lyrics "Czy ty naprawdę masz tak przecudowną twarz..." did not quite exactly match the English text's idea (the English translation of it would be more less, like : Do you really have/ such beautiful face/ or it only seemed so to me?). It was recorded by Chór Dana for Polish "Odeon" and their interpretation was one of the few cases when the original Polish recording was bought for the commercial German label pressing.
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JOHN JEAN GOLDKETTE (1893--1962) was a jazz pianist and bandleader born in Patras, Greece. Goldkette spent his childhood in Greece and Russia, and emigrated to the United States in 1911. He led many jazz and dance bands, of which the best known was his Victor Recording Orchestra of 1924 -- 1929, which included, at various times, Bix Beiderbecke, Hoagy Carmichael,Chauncey Morehouse, Jimmy Dorsey, Tommy Dorsey, Bill Rank, Eddie Lang, Frankie Trumbauer, Pee Wee Russell, Steve Brown, Doc Ryker and Joe Venuti, among others. Vocalists included the Keller Sisters and Lynch. In his Jazz Masters of the Thirties, Rex Stewart, a member of Fletcher Henderson's band at the time, writes that the Goldkette band's innovative arrangements and strong rhythm made it the best dance band of its day and "the first original white swing band in jazz history." Jean was also the Music Director for the Detroit Athletic Club for over 20 years, and was also co-owner of the legendary Graystone Ballroom with Charles Horvath, who also performed with the Goldkette Victor Band in its early years. Jean owned his own entertainment company called "Jean Goldkette's Orchestras and Attractions," and worked out of the still-standing Book-Cadillac Hotel in Detroit.
In 1927, Paul Whiteman, the controversially self-proclaimed "King of Jazz," hired away most of Goldkette's better players due to Goldkette not being able to meet the payroll for his top-notch musicians. Goldkette later helped organize McKinney's Cotton Pickers and Glen Gray's Orange Blossoms, which became famous as the Casa Loma Orchestra. In the 1930s he left jazz to work as a booking agent and classical pianist. In 1939, he organized the American Symphony Orchestra which debuted at Carnegie Hall, and also married for the first time, to a lady named Lee McQuillen from New York City. He moved to California in 1961, and the following year died in Santa Barbara, California, of a heart attack.
Recording: Jean Goldkette & His Orch., v. Frank Munn - Painting The Clouds With Sunshine (Al Dubin/ Joe Burke), Victor 1929 (Less)
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18, 03:09, 2008-04-21 16:36:24 Description: From Wikipedia: GOLD DIGGERS OF BROADWAY 1929 is a lost Warner Bros. comedy/musical film which is historically important as the second talkie, photographed entirely in Technicolor. It became a box (More) From Wikipedia: GOLD DIGGERS OF BROADWAY 1929 is a lost Warner Bros. comedy/musical film which is historically important as the second talkie, photographed entirely in Technicolor. It became a box office sensation, making Winnie Lightner a worldwide star and boosting guitarist crooner Nick Lucas to further fame as he sang two songs that became 20th century standards; 'Tiptoe Through the Tulips' and 'Painting the Clouds with Sunshine' (Al Dubin / Joe Burke). It earned a domestic gross of $3.5 Million, extending to over $5 Million worldwide (adjusted for inflation in 2007 this would be a gross of around $60 Million). The original production cost was approximately $500,000. This film was so popular that it quickly became the top grossing film of all time in 1929 and held this record until 1939. It was chosen as one of the ten best films of 1929 by Film Daily. As with many early Technicolor films, no complete print survives, although the last twenty minutes do, but are missing a bridging sequence and the last minute of the film. Contemporary reviews, the soundtrack and the surviving footage suggest that the film was a fast-moving comedy which was enhanced by Technicolor and a set of lively and popular songs. It encapsulates the spirit of the flapper era, giving us a glimpse of a world about to be changed by the Great Depression. Because the film is lost, the partial remake, Gold Diggers of 1933, is the most frequently seen version of the story. The film has become so completely forgotten that it is seldom featured in any 'most wanted' lost film lists and is missing from many modern reviews of the early talkie. The song "Painnting The Clouds With Sunshine" was extremely popular also in Poland. The Polish lyrics "Czy ty naprawdę masz tak przecudowną twarz..." did not quite exactly match the English text's idea (the English translation of it would be more less, like : Do you really have/ such beautiful face/ or it only seemed so to me?). It was recorded by Chór Dana for Polish "Odeon" and their interpretation was one of the few cases when the original Polish recording was bought for the commercial German label pressing. ------------------------------------------------------------------- JOHN JEAN GOLDKETTE (1893--1962) was a jazz pianist and bandleader born in Patras, Greece. Goldkette spent his childhood in Greece and Russia, and emigrated to the United States in 1911. He led many jazz and dance bands, of which the best known was his Victor Recording Orchestra of 1924 -- 1929, which included, at various times, Bix Beiderbecke, Hoagy Carmichael,Chauncey Morehouse, Jimmy Dorsey, Tommy Dorsey, Bill Rank, Eddie Lang, Frankie Trumbauer, Pee Wee Russell, Steve Brown, Doc Ryker and Joe Venuti, among others. Vocalists included the Keller Sisters and Lynch. In his Jazz Masters of the Thirties, Rex Stewart, a member of Fletcher Henderson's band at the time, writes that the Goldkette band's innovative arrangements and strong rhythm made it the best dance band of its day and "the first original white swing band in jazz history." Jean was also the Music Director for the Detroit Athletic Club for over 20 years, and was also co-owner of the legendary Graystone Ballroom with Charles Horvath, who also performed with the Goldkette Victor Band in its early years. Jean owned his own entertainment company called "Jean Goldkette's Orchestras and Attractions," and worked out of the still-standing Book-Cadillac Hotel in Detroit. In 1927, Paul Whiteman, the controversially self-proclaimed "King of Jazz," hired away most of Goldkette's better players due to Goldkette not being able to meet the payroll for his top-notch musicians. Goldkette later helped organize McKinney's Cotton Pickers and Glen Gray's Orange Blossoms, which became famous as the Casa Loma Orchestra. In the 1930s he left jazz to work as a booking agent and classical pianist. In 1939, he organized the American Symphony Orchestra which debuted at Carnegie Hall, and also married for the first time, to a lady named Lee McQuillen from New York City. He moved to California in 1961, and the following year died in Santa Barbara, California, of a heart attack. Recording: Jean Goldkette & His Orch., v. Frank Munn - Painting The Clouds With Sunshine (Al Dubin/ Joe Burke), Victor 1929 (Less)
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9, 02:52, 2008-04-21 16:36:37 Description: (This is Sue Scheible's "A Good Age" column for Aug. 28, 2007.) In his new book, ''The House That George Built,'' writer Wilfred Sheed describes how Howard (More) (This is Sue Scheible's "A Good Age" column for Aug. 28, 2007.) In his new book, ''The House That George Built,'' writer Wilfred Sheed describes how Howard Dietz, a Hollywood publicist and lyricist, greeted a life crisis with the repeated comment: ''What is life but dancing in the dark?'' Dietz' partner, Howard Schwartz, promptly dashed off a well-preserved tune of the same name. Press on, improvise, keep the beat. It's one of hundreds of entertaining and thoughtful gems Sheed has mined for this intimate look at the golden age of American popular song - from the 1920s to the 1950s. Writing the book was, he says, ''a labor of love, not a work of scholarship - which means I've been researching it for most of my life, without knowing it.'' Sheed makes it sound (and read) easy. But this detailed and buoyant project is full of carefully interwoven information, insight and wit. The full title is ''The House That George Built: With a Little Help from Irving, Cole and a Crew of About Fifty.'' He begins with the Tin Pan Alley piano era in New York and composers George Gershwin and Irving Berlin. The great jazz song writers are next: Harold Arlen, Hoagy Carmichael, Duke Ellington. Then it's on to the Broadway stage with Jerome Kern, Cole Porter and Richard Rodgers. The Hollywood era features Harry Warren, ''the king of the unknowns'' to whom the book is dedicated, Jimmy Van Heusen and Johnny Mercer, ''the all-American voice.'' The finale returns to Broadway with the great New York musicals, and Frank Loesser, Burton Lane and Cy Coleman. The 309-page hardback is published by Random House for $29.95. (Less)
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37, 06:19, 2008-04-22 09:17:42 Description: http://www.GoldmineVideo.com Learn the New School way of generating leads! Right now I am getting 10-30 opt-ins a day for free not to mention get calls daily from people wanting to learn more about (More) http://www.GoldmineVideo.com Learn the New School way of generating leads! Right now I am getting 10-30 opt-ins a day for free not to mention get calls daily from people wanting to learn more about my business. Visit http://www.goldminevideo.com to learn more. Steve Schuitt 508-714-0667 the secret dirty little secret the all american rejects harry potter and the chamber of secrets in the secret secret of the nimh secrets of the world the best kept secret the great secret the greatest secret the secret book the secret code the secret doctrine the secret garden the secret history the secret house the secret language the secret language of birthdays the secret life of the secret life of bees the secret movie the secret of shadow ranch the secret place the secret sharer the secret society the secret to success the secret war what is the secret conrad the secret agent dna the secret of life earl nightingale the strangest secret i want to know you in the secret secrets of the bible sherlock holmes secret of the silver earring the big secret the dark secret the dark secret of harvest home the flower of my secret the great and secret show the lost art of keeping a secret the movie the secret the secret annexe the secret chalet bob proctor bob procter proctor r robert proctor jack canfield farmers national bank canfield jack canfield biography jack canfield success by jack canfield canfield local schools john assaraf David Schirmer MARIE DIAMOND DR. JOHN F. DEMARTINI D.C. BSC MIKE DOOLEY FRED ALAN WOLF PH.D. BILL HARRIS JAMES ARTHUR RAY MARCI SHIMOFF MBA LISA NICHOLS MORRIS GOODMAN NEALE DONALD WALSCH JOHN GRAY PH.D. DR. DENIS WAITLEY PH.D LORAL LANGEMEIER BOB DOYLE JACK CANFIELD DR. JOE VITALE MSC.D. MICHAEL BERNARD BECKWITH HALE DWOSKIN DR. BEN JOHNSON M.D. N.M.D. D.O. JOHN HAGELIN, PH.D. LEE BROWER the secret chef the secret com the secret diary of adrian mole the secret dvd the secret trailer the secret tv the secret window the worlds greatest treasury of health secrets what is the secret tv what's the secret whats the secret ren the secret name review of the secret review the secret secret by the veronicas laws of attraction laws of attraction rules of attraction the rules of attraction laws of attraction movie rules of attraction book rules of attraction movie rules of attraction music rules of attraction soundtrack rules of attraction trailer rules of attraction video the law of attraction the laws of attraction the rules of attraction movie the rules of attraction soundtrack universal law of attraction jessica biel rules of attraction laws of attraction cast laws of attraction quotes laws of attraction soundtrack learn law of attraction quotes from rules of attraction rules of attraction bret easton ellis rules of attraction cast rules of attraction clips rules of attraction novel rules of attraction poster rules of attraction quote rules of attraction quotes rules of attraction screenplay rules of attraction script rules of attraction sex rules of attraction song rules of attraction sound track rules of attraction soundtrack lyrics rules of attraction victor rules of attractions secret law of attraction shannyn sossamon rules of attraction the rules of attraction book the rules of attraction quotes the rules of attraction script the secret law of attraction Michael Losier, Jerry and Esther Hicks, Penny Jordan, Sheryl Woods, Robert Anthony, Kristi Gold, Liz Gerstein, David Hooper, Sandra Anne Taylor, Ernest Holmes, William Walker Atkinson, Norman Vincent Peale, Robert Collier, Israel Regardie, Anastasia Kile, Mark Allen, Bob Proctor, Joe Vitale, Dr. Wilfredo Chevere, and Lynn Grabhorn. (Less)
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28, 06:19, 2007-03-26 01:36:45 Description: http://www.GoldmineVideo.com
Learn the New School way of generating leads! Right now I am getting 10-30 opt-ins a day for free not to mention get calls daily from people wanting to learn more about (More) http://www.GoldmineVideo.com
Learn the New School way of generating leads! Right now I am getting 10-30 opt-ins a day for free not to mention get calls daily from people wanting to learn more about my business. Visit http://www.goldminevideo.com to learn more.
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1218, 03:13, 2008-04-01 22:50:01 Description: When Saddam Hussein talked of 'the devil Bush' he may not have been so far from the truth. U.S. president George W. Bush, his father and grandfather are proven initiates of this (More) When Saddam Hussein talked of 'the devil Bush' he may not have been so far from the truth. U.S. president George W. Bush, his father and grandfather are proven initiates of this multi-generational occult lodge. George W. was tapped (initiated) in 1968 at the group's Yale University HQ, a mausoleum known as 'the tomb'. When undergraduates broke in they found that the 'holy of holies' inner sanctum has red velvet walls and carpet, with a large pentagram emblazoned on the wall.Adolf Hitler was obsessed with the occult, in his case the Thule Society, closely inter-connected with German Theosophists. The jolly roger, skull and cross bones, "der Totenkopf" was an emblem worn by Hitler's SS soldiers and was emblazoned on SS armoured cars and tanks (see images on this page). The SS was a religious cult of sworn Hitler/German ancestor worship. If the Nazis' occult lodges had been exposed then shut down, not treated as a taboo, millions of lives could have been saved. A small price to pay for insane racism and the blood of millions of people. The second world war need never have happened. Unless you want the occult fuelling a totalitarian West's Third World War 'on terror' and their 'New World Order' - please - do your bit to expose George W. Bush, the bonesmen and other interconnected lodges round the world. Heinrich Himmler, whose arrest as a traitor Hitler had ordered on 28 April 1945 for negotiating with the Allies, was captured by a British patrol on 23 May. A few hours later he killed himself with cyanide, and, dying as Reichsführer-S.S., set his final seal upon the destruction of the world's most sinister order, which the Third Reich's military defeat had already inflicted. Hitler had sown seeds of the deepest hatred between Nazis and Communists in his teaching and in the cruelty and mass murder he had launched in Russia. Now it was the turn of the Soviets. Nazism reached its end in a Berlin turned into a battleground of unparalleled violence, fire and brutality as the Soviet forces dealt blows of destruc-tion and revenge. It was as if the Satanic essence of Nazism shone through the flames and the ruins.George W Bush was/is a member of the "skull and bones" society. There's even a movie about it. And no, this isn't just another harmless Greek fraternity. It's a secretive, satanic cult for the jaded and self-appointed elites at Yale University. The upper crust of the upper crust -- with only 15 new initiates selected from each graduating class. Bush wrote in his autobiography it was, "so secret, I can't say anything more." But I can: We know that initiates undergo torture, kiss a scull, press a human femur bone to the initiates backside, act out a throat slashing ritual murder, and they pledge allegiance to a figure dressed up as Satan. They are also compelled to relate their entire sexual history while masturbating in a coffin. Bush had the name "Magog" , because he had the most extensive illicit sexual background of all the new initiates. And of course, Gog and "Magog" are names directly connected with Satan and the Antichrist in Revelation (20:8). The following is a short clip from a video taken by investigative journalist Ron Rosenbaum on April 14, 2001: Scull&Bones Clip The words and imagery of the cult are heavily centered on death, as they repeat the same mantra over and over, till it is burned into their conciseness: THE HANGMAN EQUALS DEATH! THE DEVIL EQUALS DEATH! DEATH EQUALS DEATH!' Initiates are instructed to "die to the barbarian world" so that they can be reborn in the "The Order," a brotherhood of Satan. In a new and more recent twist, in addition to being cross examined by Satan, initiates are also being cross-examined by a member dressed up as George W Bush, aka "Magog", who hurls vulgar profanities and says thing like "I'm gonna kill you like I killed Al Gore." Some may want to dismiss all this as somewhere on the extremely poor-taste edge of college hijinks, but it's much more serious than that. Such a darkly obscene and prolonged ritual cannot help but have a lasting impact on the souls of young initiates. Oaths to the devil taken in jest are nevertheless taken in fact. It's also important to point out that scull and bones cult members do not resign after graduation - like born again Christians they consider themselves to be born again into "the order" forever- only they're reborn in Satan, and not the Holy Spirit. They even have their own hideout called Deer Island, where former Bones members bring their families for summer reunions. A secluded hideaway is located in the St. Lawrence River, and owned by the Deer Island Club Corporation, a shell company operated by Skull and Bones members. The Scull and Bones Satanist Elites maintain their cultic relationships their entire lives - mostly by helping each other gain positions of influence and world power, in order to make more money. A satanic mafia for the super-well-connected. Though Bush kept going bust in the oil business, his comrades from scull and bones helped bail him out, and it was they who would later give him his start in politics. Bush was also involved in torture at Delta Kappa Epsilon, at a time when he was President of the fraternity. One pledge recalled how this "compassionate conservative" took great pleasure in branding him with a red hot iron, leaving him with scars which he carries to this day. When the hazing scandal broke in the campus newspaper in the late '60s, Bush tried to defend the illegal torture as a "harmless prank", but the fraternity was fined and the branding practice halted. It's little wonder that he still considers illegal torture a 'harmless prank': When he was a boy he also used to sadistically insert firecrackers into frogs and blow them up for kicks. Little wonder that under his leadership, for the first time Americans are engaging in the shameful and counter-productive practice of torturing prisoners in places like Abu Ghraib Prision.Then there's the Bush family alliance with the greatest evil in history - Adolph Hitler. Bush's grandfather Prescott Bush, also a 'scull and bones' man, got rich first by helping the Nazis come to power, then helping Hitler build the war machine that would decimate the world, and then even benefiting from Nazi slave labor and the extermination of millions of Jews. Auschwitz was built near coal deposits so that slave labor could be used in one of Prescott Bush's holdings, the Silesian American Corporation. Even after the US declared war on Germany, Prescott Bush continued violating the Trading With the Enemy Act, until the government finally shut him down late in 1942 - but not before making him rich, and establishing the Bush family as a power in American politics.Sometime in the early 1830s, a Yale student named William H. Russell—the future valedictorian of the class of 1833- traveled to Germany to study for a year. Russell came from an inordinately wealthy family that ran one of America's most despicable business organizations of the nineteenth century: Russell and Company, an opium empire. Russell would later become a member of the Connecticut state legislature, a general in the Connecticut National Guard, and the founder of the Collegiate and Commercial Institute in New Haven. While in Germany, Russell befriended the leader of an insidious German secret society that hailed the death's head as its logo. Russell soon became caught up in this group, itself a sinister outgrowth of the notorious eighteenth-century society the Illuminati. When Russell returned to the United States, he found an atmosphere so Anti-Masonic that even his beloved Phi Beta Kappa, the honor society, had been unceremoniously stripped of its secrecy. Incensed, Russell rounded up a group of the most promising students in his class-including Alphonso Taft, the future secretary of war, attorney general, minister to Austria, ambassador to Russia, and father of future president William Howard Taft-and out of vengeance constructed the most powerful secret society the United States has ever known.The men called their organization the Brotherhood of Death, or, more informally, the Order of Skull and Bones. They adopted the numerological symbol 322 because their group was the second chapter of the German organization and founded in 1832. They worshiped the goddess Eulogia, celebrated pirates, and plotted an underground conspiracy to dominate the world. Fast-forward 170 years. Skull and Bones has curled its tentacles into every corner of American society. This tiny club has set up networks that have thrust three members into the most powerful political position in the world. And the group's influence is only increasing-the 2004 presidential election might showcase the first time each ticket has been led by a Bonesman. The secret society is now, as one historian admonishes, " 'an international mafia'. . . unregulated and all but unknown." In its quest to create a New World Order that restricts individual freedoms and places ultimate power solely in the hands of a small cult of wealthy, prominent families, Skull and Bones has already succeeded in infiltrating nearly every major research, policy, financial, media, and government institution in the country. Skull and Bones, in fact, has been running the United States for years.Skull and Bones cultivates its talent by selecting members from the junior class at Yale University, a school known for its strange, Gothic elitism and its rigid devotion to the past. The society screens its candidates carefully, favoring Protestants and, now, white Catholics, with special affection for the children of wealthy East Coast Skull and Bones members. Skull and Bones has been dominated by about two dozen of the country's most prominent families—Bush, Bundy, Harriman, Lord, Phelps, Rockefeller, Taft, and Whitney among them—who are encouraged by the society to intermarry so that its power is consolidated. In fact, Skull and Bones forces members to confess their entire sexual histories so that the club, as a eugenics overlord, can determine whether a new Bonesman will be fit to mingle with the bloodlines of the powerful Skull and Bones dynasties. A rebel will not make Skull and Bones; nor will anyone whose background in any way indicates that he will not sacrifice for the greater good of the larger organization.As soon as initiates are allowed into the "tomb," a dark, windowless crypt in New Haven with a roof that serves as a landing pad for the society's private helicopter, they are sworn to silence and told they must forever deny that they are members of this organization. During initiation, which involves ritualistic psychological conditioning, the juniors wrestle in mud and are physically beaten—this stage of the ceremony represents their "death" to the world as they have known it. They then lie naked in coffins, masturbate, and reveal to the society their innermost sexual secrets. After this cleansing, the Bonesmen give the initiates robes to represent their new identities as individuals with a higher purpose. The society anoints the initiate with a new name, symbolizing his rebirth and rechristening as Knight X, a member of the Order. It is during this initiation that the new members are introduced to the artifacts in the tomb, among them Nazi memorabilia—including a set of Hitler's silverware-dozens of skulls, and an assortment of decorative tchotchkes: coffins, skeletons, and innards. They are also introduced to "the Bones whore," the tomb's only full-time resident, who helps to ensure that the Bonesmen leave the tomb more mature than when they entered. Members of Skull and Bones must make some sacrifices to the society—and they are threatened with blackmail so that they remain loyal—but they are remunerated with honors and rewards, including a graduation gift of $15,000 and a wedding gift of a tall grandfather clock. Though they must tithe their estates to the society, each member is guaranteed financial security for life; in this way, Bones can ensure that no member will feel the need to sell the secrets of the society in order to make a living. And it works: No one has publicly breathed a word about his Skull and Bones membership, ever. Bonesmen are automatically offered jobs at the many investment banks and law firms dominated by their secret society brothers. They are also given exclusive access to the Skull and Bones island, a lush retreat built for millionaires, with a lavish mansion and a bevy of women at the members' disposal. The influence of the cabal begins at Yale, where Skull and Bones has appropriated university funds for its own use, leaving the school virtually impoverished. Skull and Bones' corporate shell, the Russell Trust Association, owns nearly all of the university's real estate, as well as most of the land in Connecticut. Skull and Bones has controlled Yale's faculty and campus publications so that students cannot speak openly about it. "Year by year," the campus's only anti-society publication stated during its brief tenure in 1873, "the deadly evil is growing."The year in the tomb at Yale instills within members an unwavering loyalty to Skull and Bones. Members have been known to stab their Skull and Bones pins into their skin to keep them in place during swimming or bathing. The knights (as the student members are called) learn quickly that their allegiance to the society must supersede all else: family, friendships, country, God. They are taught that once they get out into the world, they are expected to reach positions of prominence so that they can further elevate the society's status and help promote the standing of their fellow Bonesmen. This purpose has driven Bonesmen to ascend to the top levels of so many fields that, as one historian observes, "at any one time The Order can call on members in any area of American society to do what has to be done." Several Bonesmen have been senators, congressmen, Supreme Court justices, and Cabinet officials. There is a Bones cell in the CIA, which uses the society as a recruiting ground because the members are so obviously adept at keeping secrets. Society members dominate financial institutions such as J. P. Morgan, Morgan Stanley Dean Witter, and Brown Brothers Harriman, where at one time more than a third of the partners were Bonesmen. Through these companies, Skull and Bones provided financial backing to Adolf Hitler because the society then followed a Nazi-and now follows a neo-Nazi—doctrine. At least a dozen Bonesmen have been linked to the Federal Reserve, including the first chairman of the New York Federal Reserve. Skull and Bones members control the wealth of the Rockefeller, Carnegie, and Ford families.Skull and Bones has also taken steps to control the American media.Two of its members founded the law firm that represents the New York Times. Plans for both Time and Newsweek magazines were hatched in the Skull and Bones tomb. The society has controlled publishing houses such as Farrar, Straus & Giroux. In the 1880s, Skull and Bones created the American Historical Association, the American Psychological Association, and the American Economic Association so that the society could ensure that history would be written under its terms and promote its objectives. The society then installed its own members as the presidents of these associations. Under the society's direction, Bonesmen developed and dropped the nuclear bomb and choreographed the Bay of Pigs invasion. Skull and Bones members had ties to Watergate and the Kennedy assassination. They control the Council on Foreign Relations and the Trilateral Commission so that they can push their own political agenda. Skull and Bones government officials have used the number 322 as codes for highly classified diplomatic assignments. The society discriminates against minorities and fought for slavery; indeed eight out of twelve of Yale's residential colleges are named for slave owners while none are named for abolitionists. The society encourages misogyny: it did not admit women until the 1990s because members did not believe women were capable of handling the Skull and Bones experience and because they said they feared incidents of date rape. This society also encourages grave robbing: deep within the bowels of the tomb are the stolen skulls of the Apache chief Geronimo, Pancho Villa, and former president Martin Van Buren.Finally, the society has taken measures to ensure that the secrets of Skull and Bones slip ungraspable like sand through open fingers. Journalist Ron Rosenbaum, who wrote a long but not probing article about the society in the 1970s, claimed that a source warned him not to get too close."What bank do you have your checking account at?" this party asked me in the middle of a discussion of the Mithraic aspects of the Bones ritual.I named the bank. "Aha," said the party. "There are three Bonesmen on the board. You'll never have a line of credit again. They'll tap your phone. They'll. . . ". . .The source continued: "The alumni still care. Don't laugh. They don't like people tampering and prying. The power of Bones is incredible. They've got their hands on every lever of power in the country. You'll see—it's like trying to look into the Mafia."In the 1980s, a man known only as Steve had contracts to write two books on the society, using documents and photographs he had acquired from the Bones crypt. But Skull and Bones found out about Steve. Society members broke into his apartment, stole the documents, harassed the would-be author, and scared him into hiding, where he has remained ever since. The books were never completed. In Universal Pictures' thriller The Skulls (2000), an aspiring journalist is writing a profile of the society for the New York Times. When he sneaks into the tomb, the Skulls murder him. The real Skull and Bones tomb displays a bloody knife in a glass case. It is said that when a Bonesman stole documents and threatened to publish society secrets if the members did not pay him a determined amount of money, they used that knife to kill him. This, then, is the legend of Skull and Bones.It is astonishing that so many people continue to believe, even in twenty-first-century America, that a tiny college club wields such an enormous amount of influence on the world's only superpower. The breadth of clout ascribed to this organization is practically as wide-ranging as the leverage of the satirical secret society the Stonecutters introduced in an episode of The Simpsons. The Stonecutters theme song included the lyrics:Who controls the British crown? Who keeps the metric system down? We do! We do. . .Who holds back the electric car? Who makes Steve Guttenberg a star? We do! We do.Certainly, Skull and Bones does cross boundaries in order to attempt to stay out of the public spotlight. When I wrote an article about the society for the Atlantic Monthly in May 2000, an older Bonesman said to me, "If it's not portrayed positively, I'm sending a couple of my friends after you." After the article was published, I received a telephone call at my office from a fellow journalist, who is a member of Skull and Bones.He scolded me for writing the article—"writing that article was not an ethical or honorable way to make a decent living in journalism," he condescended —and then asked me how much I had been paid for the story. When I refused to answer, he hung up. Fifteen minutes later, he called back."I have just gotten off the phone with our people." "Your people?" I snickered."Yes. Our people." He told me that the society demanded to know where I got my information."I've never been in the tomb and I did nothing illegal in the process of reporting this article," I replied."Then you must have gotten something from one of us. Tell me whom you spoke to. We just want to talk to them," he wheedled. "I don't reveal my sources."Then he got angry. He screamed at me for a while about how dishonorable I was for writing the article. "A lot of people are very despondent over this!" he yelled. "Fifteen Yale juniors are very, very upset!" I thanked him for telling me his concerns."There are a lot of us at newspapers and at political journalism institutions," he coldly hissed. "Good luck with your career"—and he slammed down the phone.Skull and Bones, particularly in recent years, has managed to pervade both popular and political culture. In the 1992 race for the Republican presidential nomination, Pat Buchanan accused President George Bush of running "a Skull and Bones presidency." In 1993, during Jeb Bush's Florida gubernatorial campaign, one of his constituents asked him, "You're familiar with the Skull and Crossbones Society?" When Bush responded, "Yeah, I've heard about it," the constituent persisted, "Well, can you tell the people here what your family membership in that is? Isn't your aim to take control of the United States?" In January 2001, New York Times columnist Maureen Dowd used Skull and Bones in a simile: "When W. met the press with his choice for attorney general, John Ashcroft, before Christmas, he vividly showed how important it is to him that his White House be as leak-proof as the Skull & Bones 'tomb.'"That was less than a year after the Universal Pictures film introduced the secret society to a new demographic perhaps uninitiated into the doctrines of modern-day conspiracy theory. Not long before the movie was previewed in theaters—and perhaps in anticipation of the election of George W. Bush—a letter was distributed to members from Skull and Bones headquarters. "In view of the political happenings in the barbarian world," the memo read, "I feel compelled to remind all of the tradition of privacy and confidentiality essential to the well-being of our Order and strongly urge stout resistance to the seductions and blandishments of the Fourth Estate." This vow of silence remains the society's most important rule. Bonesmen have been exceedingly careful not to break this code of secrecy, and have kept specific details about the organization out of the press. Indeed, given the unusual, strict written reminder to stay silent, members of Skull and Bones may well refuse to speak to any member of the media ever again.But they have already spoken to me. When? Over the past three years. Why? Perhaps because I am a member of one of Skull and Bones' kindred Yale secret societies. Perhaps because some of them are tired of the Skull and Bones legend, of the claims of conspiracy theorists and some of their fellow Bonesmen. What follows, then, is the truth about Skull and Bones. And if this truth does not contain all of the conspiratorial elements that the Skull and Bones legend projects, it is perhaps all the more interesting for that fact. The story of Skull and Bones is not just the story of a remarkable secret society, but a remarkable society of secrets, some with basis in truth, some nothing but fog. Much of the way we understand the world of power involves myriad assumptions of connection and control, of cause and effect, and of coincidence that surely cannot be coincidence.Most of the speculative lore about the Skull and Bones ritual has centered on its death fixation. Beyond the obvious skull-and-crossbones insignia, of course, the most persistent story is that initiates spend their senior year in the basement crypt of the Bones Tomb taking turns lying in a coffin and, in two long, intense, psycho-drama autobiographical sessions in said coffins, recount their personal and sexual history to the other 14 chosen ones. The better to bond for life with those they know best and prepare for their destiny as stewards of the ruling class. The death-centered imagery, the injunction to initiates that they must "die to the barbarian world" and be reborn in the Elysian company of the elect of "The Order," as they call it, is what makes Skull and Bones as radically different from a college fraternity as the Gambino family is from the "hunting and fishing club" that was their nominal headquarters. The hangman equals death. The devil equals death. Death equals death .... What the hell is going on there? Is it a puzzle in logic, like "All men are mortal. Socrates is mortal ..."? Does it solve out to "The hangman equals the devil?" Could one detect a capital-punishment theme here--the hangman as executioner presaging George W.'s prolific execution rate as Texas governor? "George W. equals death," you might say. And what about the devil? (Well, the figure dressed like the devil.) Is that the secret they've been covering up ever since the society was founded in 1832, the offshoot of a German secret society: devil worship? A fulfillment of the paranoid fantasies of the fundamentalist right, who believe the Eastern establishment is a front for Satanic conspiracy. Probably not, but it made me more eager to participate in this year's caper: the attempt to see as well as hear it, to capture it all on video--for educational, historical and journalistic purposes to document a defining rite of passage of the American ruling class. Oh, yes--before we get to the night-vision videotape, there was one more thing, the embarrassing part of the audiotape, the OOGA-BOOGA part. Part of the ceremony on the tape involved an initiation master ordering the neophytes to fetch bones and uttering the (I guess) fake Tarzan-movie "native" chant "OOGA BOOGA." It left me feeling embarrassed for Skull and Bones. Hard to ever take seriously again anyone whose defining life-mission moment includes an OOGA BOOGA. But as it turned out, "OOGA BOOGA" was not evident in this year's ceremony, as far as we were able to tell. Perhaps it was an improvisation, like this year's impersonation of George W. ("I'll ream you like I reamed Al Gore") was. The Observer Mission Impossible Force met to plot strategy an hour before sunset on initiation night, Saturday, April 12. It is not widely known, but Tap Night, which occurs on Thursday, is not generally the same as initiation night. The good stuff happens on Saturday night, and already limos are cruising the quiet streets that crisscross the Yale campus, conveying initiates of other secret societies to their rituals. Bones initiates come on foot, knock on the massive triple-locked wooden door of the Tomb and are conveyed to the first stage of the ritual. But we are getting ahead of ourselves. Let me just mention how much I admired the intrepid Yale members of the Observer Bones Task Force for displaying the kind of curiosity, initiative and heretical, skeptical impulse apparently absent on most Ivy campuses, if you believe David Brooks' recent Atlantic Monthly cover story on get-along-go-along premature careerists. The guys on my team will make more of a real contribution than any of the smug secret-society types. First on the agenda was a quick examination of the Bones income-tax filings, which an outside consultant to the team had obtained through Freedom of Information Act requests. He and Peggy Adler pointed out to me a couple of dubious assertions on the Form 990's (Return of Organization Exempt from Income Tax), which called into question certain of the grounds for charitable exemption. In particular, there was the assertion in the 1997 RTA Incorporated filing (Part VI, line 80b) that the organization was not "related ... through common membership, governing bodies, trustees, officers etc. to any other exempt or non-exempt organization." Contradicting that assertion is information on the filing of the Deer Island Club Corporation. Deer Island is the private island of the Skull and Bones Society, located in the St. Lawrence River. It is the place where Bones members bring their families for summer get-togethers. It is wholly owned and run by Skull and Bones members, apparently contradicting Bones' claim of "no relationship" to another exempt organization, and appearing to contradict the strictly educational and charitable mission for which RTA gets its exemption for Skull and Bones. The consultant argues in a memo that the purpose of the 80b question on the Bones deduction claim form "is to prevent tax exempt charities from undertaking non-charitable activities by hiding them in another corporation. This is of course precisely what RTA Inc. is accomplishing through the Deer Island Club Corporation. In order to conceal this arrangement however RTA Inc. denies its connection to the DICC." In fact, he goes on, "RTA and the DICC are so closely linked that for all intents and purposes RTA Inc. does own Deer Island despite its claims to the contrary." I'm not going to go into the whole tax issue here. Perhaps the Bones shell corporation has a good and valid reason for claiming that it has no connection to the Bones private-island country club.** Perhaps this sort of thing goes on all the time among the private charities of the privileged. I don't think Deer Island will become George W. Bush's Whitewater. But one might think that a scrupulous White House counsel would want to look at the kind of tax information George W.'s secret society is filing on his behalf. Particularly since he's promising enormous windfalls for the privileged, the tax breaks his secret society takes should be utterly beyond suspicion. Does the President, I'd like to know, claim his Skull and Bones dues as a charitable deduction, when the only charity seems to be providing a club house and country house for the privileged? The RTA filing claims Skull and Bones exists "for the benefit of Yale University." But Yale--which celebrates three centuries of luminous atainments this weekend--ought to question what "benefit" it gets from chants of "lick my bumhole" and the mockery of Abner Louima. Anyway, as night came falling and we choreographed the evening's caper, I felt that we were carrying on an old-fashioned, longstanding tradition: the natural reaction of the democratic (small D) tradition to elitist power that conceals itself within the cloak of privilege and secrecy. And for me, it was a culmination of my own quarter-century quest, one that had become personalized lately by the fact that our Skull and Bones President had been a classmate of mine at Yale. 'Run, Neophyte, Run!' At last, zero hour approached. For two centuries, the outside world had wondered and fantasized about what was about to happen, what actually went on in the fabled Skull and Bones initiation. There's a long tradition of Yale secret societies (including Bones) raiding other secret societies to capture their ritual artifacts. In the 1970's, an all-woman break-in team published photographs of the Bone's Tomb's interior. But tonight, for the first time ever, we would attempt to capture the actual secret initiation ritual and bring it to light for anthropological study. Our team's equipment included three night-vision-capable digital-video cameras, one tape recorder, a stepladder and two walkie-talkies. (I could never get mine to work.) Because of a recent injury which limits my mobility, I was stationed at a listening post with my tape recorder while the video-cam team proceeded to their more perilous perch at the forward base (as those of us in special ops call it). We planned to rendezvous afterward for me to view the tape. We split up just as the whoops and groans, the screams and moans began to emanate from inside the Tomb and the masters of the Skull and Bones initiation began establishing the posts they'd man for the occult psycho-drama to come. From my post, I could see through an open window shadowy figures walking very close above my head. Later I'll put my audio impressions together with the video-cam record the other team obtained for a more complete picture, but first let me transcribe some of the notes I made from listening in. Fragmentary as they are, they capture some of the strangeness, and perhaps the kind of disorientation the initiates themselves experienced there in the courtyard of Skull and Bones. First, there was the guy posing as George W. He seemed to be a bit disgruntled at being given this role--a feeling he expressed by calling out in his George W. drawl to another "Patriarch" (as they're called): "I got the power to bomb the crap out of China and they give me this station." Then someone--one of the initiates?--called out "Uncle Toby!" (Many Bone ritual personae are taken from Laurence Sterne's Tristram Shandy-- you gotta give them credit there for good taste.) "Uncle Toby!" the cry repeated. "Shut up, neophyte." "Take that plunger out of my ass, Uncle Toby." Presumably, this mocking Louima reference was a ploy to scare initiates into thinking Uncle Toby was going to give them the plunger treatment. That cheerful rectal theme was followed up by: "I'm gonna ream you like I reamed Al Gore!" from the George W. imitator. Followed by "Help me! It's the devil!" And then "George W." really getting into it: "I'm gonna kill you like I killed Al Gore." Silence. Then a door opened. Voices--half of them, it seemed, women--were screaming: "Run! Neophyte! Run, neophyte!" (The neophytes are, of course, the new initiates.) From my post, I could only see hooded figures racing about in the darkness above my head, accompanied by cries of: "Run, neophyte!" "Find the femur!" And (again): "Take that plunger out of my ass, Uncle Toby!" Then silence for awhile. The neophyte seemed to have gone back inside the Tomb. After which one of the Patriarchs complained, "We ought to get better blood than this fuckin' syrup, man." It was only later that I learned what the blood was for: the whole throat-slitting "barbarian" tableau after the skull-kissing."Find the femur, neophyte!" Along with the occasional "Lick my bumhole!" "Remove the plunger!"—type outcries. The devil figure pulled them into a white tent in the courtyard where, we think, they found their femurs and emerged with what looked like a thigh bone, although it was impossible to tell whether it once belonged to a human or not. When they reemerged from the tent, they were led to the centerpiece of this part of the ritual. They were forced face-to-face with a shocking tableau: a guy holding what seemed like a butcher knife, wearing a kind of animal-skin "barbarian" look, stood over what seemed to be a woman covered in fake blood and not much else. The neophyte then approached a skull a few feet away from the knife-wielder-and-victim tableau. The neophyte knelt and kissed the skull, at which point the guy with the knife knelt and cut the throat of the prone figure. (Well, pretended to cut the throat.) I'm not sure what it all means. I've yet to decode the mystical significance of this, although I do love to think of former President George Bush kissing the skull. Obviously, it has something to do with subservience. Kiss the skull of power. Bow down to The Order. But what about the "barbarian" cutting the throat of his victim? Does it mean "One dies to the barbarian world"? Does it mean "Death to the barbarians"? Does it endorse cutthroat tactics? Is that how they enforce silence and secrecy? I plan to continue my relentless study of the hermeneutics of the Bones rituals, myths and symbolism based on these new revelations, and perhaps with the help of a Bones graduate who feels the time has come to lift the veil on the silly (and no longer even secret) symbolism of their society. (Contact me privately c/o The Edgy Alliance, 577 Second Avenue, Box 105, N.Y., N.Y. 10016.) All that death imagery, though: Maybe it's meant to be a first ritualistic confrontation with Mortality, the skull as a memento mori designed to instill in the "neophyte" a sense of the gravity of one's mission in life. In that regard, consider the direct relevance of at least one aspect of the ritual to George W. That recurrent phrase: "Run, neophyte, run!" Think about it. When George W. was first considering the fairly serious shift from baseball-team owner (whose major achievement was trading away Sammy Sosa) to governor of Texas, or when he was considering the shift from one-term governor of Texas to President of the United States, what decided him--what made him think he could pull it off, despite years as a semi-permanent neophyte? Could it be that what he heard, echoing in his brain, down the corridors of the years, was the injunction from that long-ago April night when he was a Skull and Bones initiate? When he bent down to kiss the skull and heard, resounding in his ears, the command: "Run, neophyte, run!"Those on the inside know it as The Order. Others have known it for more than 150 years as Chapter 322 of a German secret society. More formally, for legal purposes, The Order was incorporated as The Russell Trust in 1856. It was also once known as the "Brotherhood of Death". In America it is called the 'Skull & Bones' club, The American chapter of this German order was founded in 1833 at Yale University by General William Huntington Russell and Alphonso Taft who, in 1876, became Secretary of War in the Grant ministration. Alphonso Taft was the father of William Howard Taft, the only man to be both President and Chief Justice of the United States. It is a senior year society which exists only at Yale. Members are chosen in their junior year and spend only one year on campus, the senior year, with Skull & Bones. In other words, the organization is oriented to the graduate outside world. The Order meets annually - patriarchies only - on Deer Island in the St. Lawrence River. Senior societies are unique to Yale. There are two other senior societies at Yale, but none elsewhere. Scroll & Key and Wolf's Head are supposedly competitive societies founded in the mid-19th century. We believe these to be part of the same network. Rosenbaum commented in his "Esquire" article, very accurately, that anyone in the Eastern Liberal Establishment who is not a member of Skull & Bones group is almost certainly a member of either the Scroll and Key or the Wolf's Head . The selection procedure for new members of The Order has not changed since 1832. Each year 15, and only 15, never fewer, are selected. In the past 150 years about 2500 Yale graduates have been initiated into The Order. At any time about 500-600 are alive and active. Roughly about one- quarter of these take an active role in furthering the objectives of The Order. The others either lose interest or just change their minds. The most likely potential member is from a Bones family, who is energetic, resourceful, political and probably an amoral team player. ... Honours and financial rewards are guaranteed by the power of The Order,but the price of these honours and rewards is sacrifice to the common goal of The Order.Some have not been willing to pay this price. The Old Line American families and their descendants involved in the Skull & Bones are names such as the following:Whitney,Perkins, Stimson, Harriman, Rockefeller, Lord, Brown, Bundy, Bush and Phelps. The order is not just another Greek letter fraternal society with passwords and handgrips common to most campuses. Chapter 322 is a secret society whose members are sworn to silence. It has rules and ceremonial rites. It is not at all happy with prying, probing citizens - known among initiates as 'outsiders' or 'vandals'. Its members always deny membership. An interesting point is whether the many members in various Administrations or who hold government positions have declared their members in the biographical data supplied for FBI 'background checks'. We doult this fact as test cases along with freemason membership often goes unrecorded.Pressure is now being placed to correct this.Between 1983-1986, the British-born conspiracy theorist Antony Sutton wrote a series of pamphlets about the Order of Skull & Bones. According to informed sources, Sutton was one of several historians who were provided with a large file of the Order's internal documents, including minutes of some meetings, descriptions of rituals, and what would appear to be a rather complete list of its members from its founding through to the early 1980s. The short pamphlets were compiled into one volume and published as a book in 1986.For someone closely following the just-concluded Persian Gulf War and attempting to gain some insight into George Bush's performance during that largely orchestrated affair, one recurring theme in the Sutton volume stands out like a sore thumb: the New World Order.According to the Skull & Bones documents used by Sutton in his somewhat flawed profile of the Order, the creation of a New World Order is a primary goal of the Bonesmen and has been for decades. For the initiates into the Order, the term New World Order has a very specific meaning.It is a world dominated by American military power and American control over all strategic raw materials. Just as the Greek city-state of Sparta provided the Skull & Bones with the image of a WASP warrior caste, the Persian Empire, with its system of coalitions of satrap armies, provides the model for the Bonesmen's New World Order. The image of Secretary of State James A. Baker III traveling from foreign capital to foreign capital demanding military legions or chests of gold to finance the war for a New World Order is an image straight out of the chronicles of the Persian Empire.According to the recent biography of Henry Stimson, the man who inspired President Bush was firmly convinced that it was essential for America to go to war once every generation or so. It was, for Stimson, a spiritually cleansing process which enables the nation to rally behind a cause and overcome its weaknesses and shortcomings in one grand burst of military fervor. The romantic mystique of the purgative powers of combat is key to understanding the political philosophy of Skull & Bones.Although America's Vietnam debacle remains a bitter memory of the Bonesmen's failure in war, the recent Persian Gulf conflict, with its massive overkill and the use of highly advanced weapons and technologies, is now the new glorious symbol of the WASP warrior caste's reincarnation. When President Bush vowed that the Gulf War would not be another Vietnam, he was speaking first and foremost to his fellow Bonesmen -- not to the American people. If such thinking smacks of dangerous fantasy on the part of a major world power in the modern era, it is indeed.On a more practical political level, the Gulf War was a gambit to save the Bush presidency from a mounting pile of domestic financial woes, not the least of which was the savings and loan (S&L) crisis and a pending series of failures of major commercial banks. In the months preceding the Gulf showdown, the president's own son, Neil Bush, came under intense media scrutiny for his role in the failure of a large S&L in Colorado. Neil's photograph, testifying under oath before a congressional committee probing fraud among top S & L managers, became a familiar front-page feature in every major newspaper in America, threatening dangerous popular disillusion with the Yale Bonesman in the White House. With a U.S. federal government deficit projected at nearly a half a trillion dollars for Fiscal Year 1991, in large part because of the S&L crisis and a shrinking business tax base, the Democratic Party majority in the U.S. Congress was pressing for deep cutbacks in defense spending now that the Cold War had ended.On the international stage, the reunification of Germany, clearly the most dramatic event of 1990, posed new challenges to the Bush team. Germany was about to emerge as the dominant power in continental Europe by virtue of its advanced industrial infrastructure and its long tradition of independent political dealings with Moscow. Just months before the outbreak of the Gulf crisis, Germany's Chancellor Helmut Kohl had met with Soviet President Mikhail Gorbachev and signed a long term economic assistance pact. As a result, Gorbachev dropped all remaining objections to the immediate reunification of Germany.At that point, the Bush administration changed its tactics. Previously, in sharp contrast to the Thatcher government in Great Britain, it had been nominally in favor of German reunification. But at the Houston economic summit of the Group of Seven Industrialized Countries in the summer of 1990, the United States blocked (with Britain) Germany's plan of unconditional economic aid to the Soviet Union. President Bush took the position that the Soviet Union must submit to International Monetary Fund requisites as a precondition for any substantive economic assistance.In the Far East, Japan's continuing growth in manufacturing also posed a threat to Washington's desire to retain superpower status. If President Bush and his Bonesmen coterie were unaware of a stunning historical analogy, their British "cousins" were quick to pick up on the parallels between the global strategic situation in July 1990 and the identical international situation that existed 100 years earlier.In the 1890s, France, under the brilliant political leadership of Foreign Minister Gabriel Hanataux, was attempting to forge a Eurasian alliance with Germany, Russia and Meiji Japan. The idea was to link continental Europe with Japan and China through a series of large overland infrastructure projects, beginning with the Trans-Siberian Railroad. Through treaties covering key areas of economic and security matters, Hanataux hoped to create a zone of prosperity, built on a foundation of rapid economic growth and extensive trade.Such a political-economic common interest alliance threatened the imperial hegemony of Great Britain. At the turn of the 20th century, Britain looked to the United States (as its English-speaking ally) to join in sabotaging the Hanataux plan. Through the Spanish-American War of 1898 and the Russo-Japanese War of 1905, Britain and her American junior partner (by then led by Henry Stimson's old mentor Teddy Roosevelt) managed to disrupt the French-German-Russian-Japanese economic axis. Two world wars and the Great Depression were the consequences of that interference.THE PERSIAN GULF WARIt was against this historical backdrop that President Bush, invoking the World War II imagery of his Skull & Bones idol Henry Stimson, went to war against Iraq. There is even speculation that President Bush was personally instrumental in luring Saddam Hussein into invading Kuwait, thereby provoking the American-led military response. Many news accounts have emphasized that a two-hour private meeting between the president and Margaret Thatcher in the Aspen, Colorado vacation chalet of U.S. Ambassador Henry Catto on August 2, 1990 helped finalize Bush's decision to immediately deploy military force.Recently, an astute Japanese analyst drew a disturbing parallel between Bush and FDR, who was greatly influenced by Stimson. According to the writer, FDR lured Japan into World War II through an intricate series of economic warfare maneuvers which left Japan with little choice but to strike-back. In much the same way, said the analyst, Bush had lured Saddam Hussein into Kuwait in order to launch a new Gulf War that would have consequences reaching far beyond Iraq and the Middle East.As a result of the military victory over Iraq, the United States is in the process of establishing a string of permanent military bases throughout the Persian Gulf and Near East. The oil sheikdoms of the region, led by Saudi Arabia, are now thoroughly dependent on the American military presence to ensure the survival of their regimes. The Organization of Petroleum Exporting Countries (OPEC) is effectively captured by Washington. American bankers aided by U.S. gunboats now are setting world oil prices. Thus, one consequence of the Persian Gulf War is that the United States now has an oil weapon -- pointed principally at Germany and Japan. Ironically, America's two chief economic rivals have paid out a total of $27 billion to date to help finance a Bush administration military adventure which put the oil weapon in Washington's hand.Another telling example of how the Order's man in the Oval Office intends to administer a crumbling U.S. domestic economy while imposing the New World Order on the rest of the world is to be found in the recent buyout of the majority of stock in Citicorp, the largest U.S. commercial bank, by Saudi Prince Talal bin Abdul Aziz. Citicorp is one of the major American commercial banks on the verge of collapse, but which is considered by the Bush administration and the Federal Reserve System to be "too big to fall." The stock purchase amounted to a Saudi Royal Family bail-out of Citicorp, using the increased profits being enjoyed by the House of Saud as a result of the massive jump in Saudi oil production since the beginning of the Gulf crisis in August 1990.There points up a striking difference between the role of the United States in World War II and the Bush administration's handling to date of the Middle East crisis. During World War II, the United States went through a genuine economic revival. Skull & Bones historian Samuel Huntington described it as a "neo Hamiltonian" policy, a reference to the first United States Secretary of the Treasury Alexander Hamilton. (Less)
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19, 00:45, 2008-04-17 13:21:31 Description: 10,000 B.C. College Road Trip Semi-Pro Vantage Point The Bank Job Jumper Step Up 2 the Streets The Spiderwick Chronicles The Other Boleyn Girl Fool's Gold Penelope Definitely, Maybe Welcome Home (More) 10,000 B.C. College Road Trip Semi-Pro Vantage Point The Bank Job Jumper Step Up 2 the Streets The Spiderwick Chronicles The Other Boleyn Girl Fool's Gold Penelope Definitely, Maybe Welcome Home Roscoe Jenkins The Eye Juno 27 Dresses Be Kind Rewind Rambo 2008 The Bucket List Witless Protection Charlie Bartlett Hannah Montana & Miley Cyrus: Concert Tour (2008) Untraceable The Hottie and the Nottie Meet the Spartans Cloverfield Sweeney Todd The Great Debaters The Orphanage The Kite Runner P.S. I Love You Teeth Cassandra's Dream There Will Be Blood Over Her Dead Body Strange Wilderness National Treasure 2 Book of Secrets First Sunday I Am Legend In the name of the King Mad Money Aliens vs Predator: Requiem Hitman One Missed Call Atonement How She Move Beowulf Alvin & the Chipmunks Vince Vaughn's Wild West Comedy Show August Rush American Gangster No Country For Old Men High School Musical 2 The Water Horse Stephen King's The Mist Awake The Eye Jumper Step Up 2 the Streets Fool's Gold and lots lots more New Movies.....HD College Road Trip Trailer Highest Quality Raven-Symoné Brenda Song March 2008 Release (Less)
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287, 01:27, 2008-04-17 15:08:54 Description: Jim Morrison December 8, 1943 - July 3, 1971 Jim Morrison 8 December..1943 - 3 Juli..1971 "Zeg enkel ik de grenzen van werkelijkheid testte. Ik was nieuwsgierig om te zien wat zou (More) Jim Morrison December 8, 1943 - July 3, 1971 Jim Morrison 8 December..1943 - 3 Juli..1971 "Zeg enkel ik de grenzen van werkelijkheid testte. Ik was nieuwsgierig om te zien wat zou gebeuren. Dat was allen het: nieuwsgierigheid enkel." -- Jim Morrison, Los Angeles, 1969 Elf maanden na het huwelijk van Steve en Clara Morrison, was Jim geboren. Zijn vader was conservatief geen onzin Zeeambtenaar, terwijl zijn moeder meer van een vrije geest, de dochter van een non-conformistadvocaat van Wisconsin was. Jim als de meesten van die era, was het product van een geboortengolf in oorlogstijd die in de recente jaren '40 voorkwam. Na Oorlog van de Wereld II, bewoog de familie zich aan Melbourne, Florida waar Steve werd geplaatst. Jammer genoeg voor Jim en zijn moeder, werd zijn vader gedwongen weggaan, aan de Stille Oceaan teruggaan om Hellcats van een vliegdekschip te vliegen. Voor de volgende drie jaar zouden Jim en zijn moeder met de familie van haar echtgenoot in Clearway, Florida moeten leven. Als zijn vader, had Jim een zeer strikte opvoeding die door Victorian cliches wordt geregeerd. In de grootoudershuis van Jim, werd hij gezien maar werd zelden gehoord. Zijnd oudere mensen waren zij zeer impatient met de jongen. De dingen waren niet groot ook niet voor Clara. Ouders van Steve waren zeer godsdienstige mensen die niet, roken dronken noch tolereerden om het even welk outlandish gedrag. Zij was een jonge vrouw die voor de Onafhankelijkheid longed die een huis van haar kon verstrekken. Hebbend weinig vrijheid in hun huis dat zij voor de terugkeer van haar echtgenoot longed. Maar omwille van haar huwelijk en de haar zoon Jim, handhaafde zij het impassible en soms stuffy huishouden dat haar schoonouders verstrekten. In 1946, was zij verlicht om het eind van de Afdeling te zien en met haar echtgenoot weer eens worden weer verenigd. Ondanks het eind van de oorlog, zouden de militaire verplichtingen Steve vanaf zijn familie voor lange tijdspannes blijven houden. Uiteindelijk verliet de familie Florida en bewoog zich aan Albuquerque, New Mexico waar Steve een instructeur in van de de atoomwapensprogramma's van Milty werd. Zodra terwijl zeven yaer-oude Jim met zijn ouders op een weg enkel buiten Albacore reisten, zij op een weggeknipte vrachtwagen kwamen die Pueblo Indi had gedragen. Zij waren uitgeworpen van het voertuig en gelegd helemaal over de verwonde weg en stierven. Dit incident be loedde het geheugen van Jim ' s vele jaren. Vaak zou hij verwijzen naar het incident beweert, dat dat van de zielen van de Indi zijn lichaam op het tijdstip van hun dood was ingegaan. Toen Jim een tiener zijn opnieuw bewogen familie werd, dit keer aan Alameda, Californi Alameda wordt gevestigd dichtbij San Francisco en nota genomen van voor het is zeeluchtpost. De levensstijl was omhoog verschillend dan hij aan in New Mexico werd gebruikt. Jim moest de overgang van de landelijke manieren van Albacore aan de nieuwe sociale nuancen van Noordelijk Californi aken. Het was niet meer koel om een fiets aan school, zo hoofed Jim te berijden het een mijl en de helft elke dag. Schone Levis was uit, zodat moest Jim zijn moeder informeren om zijn jeans niet te wassen elke week. Aandacht van medeklasgenoten doen bereiken zou hij om het even wat enkel stom om worden opgemerkt. Voor gelegenheid, bond hij een koord rond zijn oor en zette het andere eind in zijn mond. Wanneer gevraagd wat hij die was, zijn antwoord was doet dat er een uiterst kleine emmer in zijn keel was en hij verzamelde speeksel voor medische tests. n van favoriete pastimes van Jim las. Hij hield MAD van tijdschrift, maar viel in liefde met Jack Kerouac's "op de Weg." Daar leerde hij van een nieuwe termijn die een nieuwe levensstijl zou begeleiden: Beatnik. Gelukkig voor Jim, was het hoofdkwartier voor alle Banken enkel zuivere veertig minuten weg in het Strand van het Noorden. Jim en zijn vrienden zouden vaak het Strand van het Noorden bezoeken, controlerend alle winkels en oneven boekhandels. Hij hield vooral van de boekhandels die gecensureerde boeken droegen. Daar ontmoette hij eens een lokale "beroemde" dichter bij van deze boekhandels. De bovengenoemde dichter hallo en Jim liepen. Hoewel Jim langzaam een rebel en misschien een "beatnik" werd hij bereikte altijd uitstekende rangen. Zonder veel inspanning kon hij een 88,32 gemiddelde handhaven en maakte tweemaal het eerbroodje. Zijn IQ was 149 en noteerde op GEZETEN met goed 528 in math en 630 in mondeling. Zijn eerste echte inleiding aan muziek was wanneer als tiener hij de dunne staven op Route 1, dichtbij het Geloof van het Fort, om aan zwarte blauwsingers zou bezoeken te luisteren. Zijn seconde was tijdens universiteit toen hij zijn toekomstige keyboardist, Miniseries van de Straal ontmoette. Jim werd aangetrokken naar de muziek van de Straal en had vaak zijn bandspel gehoord. Rick en Ravens, de band van de Straal, speelden soms het Gezamenlijke Westen van Turkije in Santa Monica een staaf die in de nabijgelegen strandgemeenschap wordt gevestigd. Tijdens zijn universiteitsjaren, streefde Jim ook een andere kunstvorm na: hij maakte kleine vreemde schetsen van macabre cijfers die behandelden geweld, pedofilie, seksueel enz. Al dit leidde aan een nog vreemdere filmcarri . Spoedig zou hij alles zetten wat achter hem om een band met sommige universiteitsvrienden te beginnen. Zeer "het openbaren" bekijkt in Jim Morrison de muziekzaken innocently met begonnen wanneer terwijl bij de Universiteit van de Staat van Florida samen met zijn vriend, SAM Klan, Jim voorstelde zij een band beginnen. SAM was drummer maar was niet van mening dat zijn vaardigheden genoeg goed waren een deel van een band te worden. SAM was niet zelfs dat zeker van het zingen van Jim capaciteiten, maar Morrison werd bepaald om deze onderneming van de grond te krijgen. Het was ook Jim die zonder een gehele partij van gedachte met de naam van de band op de proppen kwam: DE "DEUREN." Hij zei dat er twee entiteiten, het geweten en onbekend zijn. Allebei worden gescheiden door een deur en dat wat hij wilde zijn, de Deur. Toen Jim zijn ouders meedeelde dat hij zijn universiteitsgraad ging weg werpen om zijn dromen als singer in een rotsband na te streven, zijn weggeknipte vader! Hij herinnerde snel Jim over de verlaten pianolessen en de tijd eraan die hij heeft geweigerd om de hymnes van Kerstmis met de familie te zingen. Vader van Jim was boos omdat hij allen had betaald dat het geld voor een universiteitsonderwijs en nu Jim bereid was om het allen op een gril weg te werpen. Na alles wat, Jim nooit zijn ouders opnieuw schreven. Spoedig na graduatie van UCLA in 1965, sloot aan Jim zich bij de hippiesc in het Strand van Veneti Het was tegelijkertijd, een klein artistiek gebied dat hippies, vluchtelingen en kunstenaars aantrok. De jonge mensen brachten hun tijd aan het strand rokende pot of het dalen zuur door. Tijdens die era, was LSD nog wettelijk en kon bij de lokale "hoofdwinkel worden gekocht." Veneti as aan Los Angeles wat Ha -As aan San Francisco Jim nam woonplaats onder een promenade op waar hij zijn tijd doorbracht die drugs neemt en gedichten schrijft, tot hij vriend Ray Manzarek tegenkwam, een vroegere medeklasgenoot. Ray was een keyboardist in een kleine lokale rotsband die tegen alle andere banden in het gebied worstelde. Om het groot te maken, wenste hij speciale iets of iemand om zijn band zo speciaal te maken dat het van de rest duidelijk uit zou komen. Weinig wist hij dat dat speciale "ding" zijn vriend Jim was. n van de "gedichten" die hadden het begint op het strand was "Hello, houd ik van u," (1965) die door een jong, lang dun zwart meisje werd ge pireerd dat naar hem liep aangezien hij op een strand van Veneti at. "Sidewalk crouches bij haar voeten zoals een hond die voor zoet bedelt iets u hoopt aan eke haar, u dwaas ziet? Hoopt u om dit duistere juweel te plukken? Ray werd uiterst indruk gemaakt op na het lezen van wat van het gedicht van Jim en voorstelde dat zij een band samenbrachten. Hij overtuigde Jim dat zij muziek aan zijn po e konden zetten en dat hij zijn gedichten op stadium "kon zingen". Jim had reeds een wens gehad om een band samen te brengen maar niet de visie of de leden gehad om het samen te brengen. Zij wierven twee nieuwe leden, Robbie Kroger, gitarist en John Tonsure, drummer aan en begonnen speel de clubs op de Strook van de Zonsondergang. Spoedig werden zij de erkenning die zij en zich op de "betere" clubs hebben verdiend bewogen. Door begin 1966, had de band ongeveer vijfentwintig originele liederen in hun repertoire. n waarvan het "Eind was," een lied niet over dood zoals de meesten maar over langzaam verdwenen liefde geloven. Met tegenzin ondertekende de Kiesvoorzitter van Verslagen, Horseman van de Punt de groep aan een opnamecontract. Zij sneden hun eerste album in 1967, de "Deuren" dat werd vrijgegeven en snel universele toejuiching ontving. Het "licht Mijn Brand" werd de eerste werkelijk grote enige klap van de groep en ontwierp hen toen aan aantal op de muziekgrafieken. Samen met hun klap, ontwikkelde Jim snel een reputatie voor onregelmatig openbaar gedrag op stadium. 9 December..1967 merkte eerste van vele incidenten terwijl in overleg. Tijdens een show in Nieuw Toevluchtsoord, Connecticut werd hij gearresteerd voor het proberen om een rel op te roepen door de menigte te vertellen dat de politie hem en journalist Patricia Genially met foeliecoulisse vlak v het overleg had bespoten. Dan in 1 Maart..1969, was Jim opnieuw bij het. Tijdens een ander overleg, dit keer in conservatief Miami, Florida, werd Morrison gearresteerd voor het blootstellen van op stadium en het gebruiken van profanity. De wettelijke problemen bewogen de groep ertoe om hun het boeken voor de verscheidene maanden daarna los te maken. Thankfully hadden zij nog hun klapverslagen die toeclip de grafieken voortzetten om hen in drugs, drank en vrouwen te houden. Geschonken door iemand wie anoniem wenst te blijven. Dit is het daadwerkelijke arrestatieverslag van Jim Morrison in Miami, Florida. Morrison werd gebracht aan proef en hurkte van de lasten van lewd en lascivious gedrag. Hij was nochtans, schuldig van onfatsoenlijke blootstelling en profanity en werd veroordeeld aan acht maanden in gevangenis. Het oordeel was een beroep gedaan en Jim bleef vrij op borgtocht. Vermoeid van de gehele sc en de perspectieven op het gaan gevangen zetten, Jim en meisje, bewoog Pamela zich aan Parijs, Frankrijk. De gehele tijd dat Morrison in Parijs was, zwaar dronk hij. Hij hield van wijnbistros en de koffie. Nu had hij bovenmatig gewicht bereikt en door zijn periode "Elvis" gegaan. Voor gelegenheid, zat Jim in een koffie drinkend toen hij sommige jonge geitjes opmerkte toting guitar gevallen. Na een tijdje dat hij over aan hun lijst heeft gelopen en gevraagd hen als zij waren Amerikanen. Zij zeiden dat zij waren en toen Morrison waar hij was van vroegen, erkennend niet de GROTE rotsster. Aangezien het zij al bijgewoonde UCLA bleek. Na twintig vragen, samen brachten de jonge geitjes definitief wie Morrison was. Na zich overvloedig het verontschuldigen, behandelde Jim hen aan dranken van whisky met bierjagers. Een paar dranken die tot een onvoorbereide jamzitting worden geleid met Jim, een ervaring ben ik zeker zij nooit vergaten. Rond 1 Juli..1971, om welk reden ook Morrison in een periode van despondency was uitgegleden. Hij dronk veel slechter dan ooit, maar probeerde op te houden met. In het midden van al deze chaos probeerde hij te schrijven. Jammer genoeg werd hij geblokkeerd, zouden de woorden niet stromen. Pamela werd ongerust gemaakt voor hem en zijn geestelijke staat. Zij probeerde om hem af te leiden en hem gelukkige onder geen beding te maken. Hij werd zelfs verzocht door vrienden om zich bij hen voor diner aan te sluiten de volgende dag, maar weigerde te gaan omdat hij niet hen met zijn gedeprimeerde staat wilde zadelen. Tot slot overreedden zij hem en hij bleef stil voor de volledige maaltijd. Na diner nam hij het huis van Pamela en ging alledgedly naar movie, "Achtervolgd" starring Robert Mitchum. Er is alot van tegenspraak betreffende zijn verblijfplaats die avond. Sommigen zeggen hij naar het gedeprimeerde Circus van het Broodje van de Rots ' n ' ging, zo dat hij of andere hero en O.D'd in het clubtoilet kocht. Vermoedelijk werd hij toen uitgevoerd de achterdeur en werd gedumpt bij zijn vlakte, in de badkuip. Een ander gerucht is dat hij Pamela verliet en voor de luchthaven leidde. De getuigen hebben ge t om hem zien te hebben inschepend een vliegtuig. Beroemdst van geruchten was dat na het lopen rond de hele nacht hij naar huis terugkeerde klaagde dat hij voelde en goed geen bad nam. Tijdens zijn bad, braakte hij een kleine hoeveelheid bloed uit. Dit was gemeenschappelijk voor hem en Pam dacht niet om het even wat verkeerd was. Spoedig ging zij en verliet hem in het bad naar bed. Later zij awoke omdat hij zich niet bij haar had aangesloten, die toen zij hem vond. Zijn wapens waren gedrapeerd over de kanten van de ton en zijn hoofd leunde terug, zijn lang gematteerd en nat haar. Hij had een grijns op zijn schoon geschoren gezicht. In eerste gedachte Pam speelde hij toen op een andere van zijn zieke grappen, maar merkte hij ademde en niet de de reanimatieeenheid van de brandafdeling riep. Na hen kwamen een arts en de politie op de sc aan. Het was te laat, was het het "Eind" voor Jim. Wat er ook op die fateful Vrijdag nacht gebeurde, weten wij dat op 5 Juli, de geruchten doorgaven dat hij dood was. De Engelse kranten riepen Verslagen Elektra om te verifi n al dan niet hij dood was. Niemand kende om het even wat. Het enige ding dat kon blijken hij was een verzegelde doodskist, een een ondertekend overlijdensakte en woord van Pamela dood was. De begrafenis regelingen werden snel gemaakt en werden in het geheim bevestigd. Pamela diende de overlijdensakte met de Amerikaanse Ambassade in, identificeert hem als James Douglas Morrison. Ook zei zij er geen andere levende verwanten waren. De offici doodsoorzaak werd vermeld als hartaanval. Op 7 Juli, werd zijn doodskist verminderd in een graf ' Chaise van La een Pere. Dit was de begraafplaats dat gravehunter, Jim Morrison uren zoekend de graven van beroemd zou doorbrengen: Edith Piaf, Oscar Wilde, Balzac, Bizet en Chopin. Doodskist van Morrison moest op 6 Juli, van 2001 worden geopend en hij ging aan Californi orden opnieuw gevestigd toen zijn "huur" verliep. Beide gebeurtenissen hebben nog voor te komen. Deze foto werd gegeven aan me door sommige zeer aardige mensen die ik bij het Boek Internationale Fest van Miami ontmoette. Ik verloor het document dat zij gaven me met hun naam, adres enz. Zo als iemand de foto wil eisen door te identificeren, me met de elektronische post versturen en ik zal u krediet voor de foto geven en zal het terug naar u verzenden. Drie later jaar, stierf het meisje Pamela Courson aan een herionoverdosis in Parijs. Zij ook was zevenentwintig op het tijdstip van haar dood. L.A. Vrouw die in de hand van Jim wordt geschreven Morrison's. Onlangs zag ik speciaal op televisie over deze twee kerels, misschien broers die de werkelijk reusachtige ventilators van Jim Morrison waren. Ik geloof zij ergens in Detroit leefden, kan me ik herinneren niet en het is niet van belang. In elk geval, beslisten zij een mislukking van Jim te maken en het te trekken aan Parijs om het op zijn graf op te richten. Eigenlijk keek de mislukking werkelijk goed en zou een ontzagwekkende toevoeging aan zijn graf geweest zijn. Ik weet niet waarom zij niet de familie contacteerden en vraag toestemming. Ik ben zeker de familie o.k. voor deze inspanning zou gegeven hebben. Zo zetten deze kerels de mislukking van de het levensgrootte van Jim in hun koffer (of reus hatbox, hoe een mislukking op een vliegtuig? draagt) en van gaan zij naar Frankrijk. Dit moet pre geweest zijn - 911 omdat zij geen problemen vervoerend de mislukking ontmoetten. Kon u, een bom die in de vorm van het hoofd van Jim wordt gevormd Morrison's veronderstellen? Tot slot worden zij aan de begraafplaats equpped met machtshulpmiddelen en wachten tot de begraafplaats of of sluitend wordt gesloten en er zeer rond weinig als geen mensen waren. Zodra zij denken is de kust duidelijk, beginnen zij en hamer bij het graf van Morrison boren om de mislukking te installeren. Natuurlijk lokale begraafplaats worden cops bijeengeroepen en spoedig verschijnen zij. In plaats van werkelijk gek het zijn bij deze twee kerels werden zij genomen met de schoonheid van het standbeeld. Het is zeer Frans om kunst te waarderen zelfs als er een misdaad in uitvoering vooruitgang is. Hoewel zij dachten was het gehele ding koel, zij nog een te doen baan hadden en arresteerden twee. Drie van hen, de twee kerels en de mislukking, gebracht=werden= aan de lokale Franse gevangenis, werden gevraagd en toen werden gedeporteerd terug naar de V.S. Dat min of meer was het eind van hun opdracht. Vertel me, wat zij dacht? HET "EIND" "Let's just say I was testing the bounds of reality. I was curious to see what would happen. That's all it was: just curiosity." -- Jim Morrison, Los Angeles, 1969 Eleven months after the marriage of Steve and Clara Morrison, Jim was born. His father was a conservative no nonsense Naval officer, while his mother was more of a free spirit, the daughter of a maverick lawyer from Wisconsin. Jim like most from that era, was the product of a wartime baby boom that occurred in the late forties. After World War II, the family moved to Melbourne, Florida where Steve was stationed. Unfortunately for Jim and his mother, his father was forced to leave, in order to go back to the Pacific to fly Hellcats from an aircraft carrier. For the next three years Jim and his mother would have to live with her husband's family in Clearway, Florida. Like his father, Jim had a very strict upbringing governed by Victorian cliches. In Jim's grandparents house, he was seen but rarely heard. Being older people they were very impatient with the boy. Things were not great for Clara either. Steve's parents were very religious people who did not drink, smoke nor tolerated any outlandish behavior. She was a young woman who longed for the Independence's that a home of her own could provide. Having little freedom in their house she longed for her husband's return. But for the sake of her marriage and her son Jim, she maintained the impassible and sometimes stuffy household that her in-laws provided. In 1946, she was relieved to see the Ward's end and to be rejoined with her husband once more. Despite the end of the war, military obligations would continue to keep Steve away from his family for long periods of time. Eventually the family left Florida and moved to Albuquerque, New Mexico where Steve became an instructor in one of the Milty's atomic weapons programs. Once while the seven year old Jim was traveling with his parents on a highway just outside of Albacore, they came upon a flipped truck that had been carrying Pueblo Indians. They had been ejected from the vehicle and were laying all over the road injured and dying. This incident affected Jim 's memory for many years. Frequently he would refer to the incident, claiming that one of the Indian's souls had entered his body at the time of their death. When Jim became a teenager his family moved again, this time to Alameda, California. Alameda is located near San Francisco and noted for it's naval air station. The lifestyle was aloft different than the one he was used to in New Mexico. Jim had to make the transition from the rural ways of Albacore to the new social nuances of Northern California. It was no longer cool to ride a bike to school, so Jim hoofed it a mile and a half each day. Clean Levis were out, so Jim had to inform his mother not to wash his jeans every week. To gain attention from fellow classmates he would do anything stupid just to be noticed. On one occasion, he tied a string around his ear and put the other end in his mouth. When asked what was he doing, his reply was that there was a tiny bucket in his throat and he was collecting saliva for medical tests. One of Jim's favorite pastimes was reading. He loved MAD magazine, but fell in love with Jack Kerouac's "On the Road." There he learned of a new term that would accompany a new lifestyle: Beatnik. Fortunately for Jim, the headquarters for all Banks was just a mere forty minutes away in North Beach. Jim and his friends would frequently visit North Beach, checking out all the shops and odd bookstores. He especially loved the bookstores that carried censored books. There he once met a local "famous" poet at one of these bookstores. The poet said hi and Jim ran. Although Jim was slowly becoming a rebel and perhaps a "beatnik" he always achieved excellent grades. Without much effort he was able to maintain a 88.32 average and twice made the honor roll. His IQ was 149 and scored well on the SAT with a 528 in math and 630 in the verbal. His first real introduction to music was when as a teenager he would visit the sleazy bars on Route 1, near Fort Belief, to listen to the black blues singers. His second was during college when he met his future keyboardist, Ray's Miniseries. Jim was attracted to Ray's music and had frequently heard his band play. Rick and the Ravens, Ray's band, sometimes played the Turkey Joint West in Santa Monica a bar located in the nearby beach community. During his college years, Jim also pursued another art form: he made little strange sketches of macabre figures that dealt with violence, pedophilia, sexually, etc. All this led up to an even stranger film career. Soon he would put all that behind him to start a band with some college friends. A very "revealing" look at Jim Morrison The music business began innocently when while at Florida State University along with his friend, Sam Klan, Jim suggested they start a band. Sam was a drummer but didn't feel that his skills were good enough to become part of a band. Sam wasn't even that sure of Jim's singing abilities, but Morrison was determined to get this venture off the ground. It was also Jim that without a whole lot of thought came up with the band's name: "THE DOORS." He said that there are two entities, the known and the unknown. Both are separated by a door and that's what he wanted to be, The Door. When Jim informed his parents that he was going to throw away his college degree to pursue his dreams as a singer in a rock band, his father flipped! He quickly reminded Jim about the abandoned piano lessons and the time he refused to sing Christmas carols with the family. Jim's father was angry because he had paid all that money for a college education and now Jim was prepared to throw it all away on a whim. After all that, Jim never wrote his parents again. Soon after graduation from UCLA in 1965, Jim joined the hippie scene in Venice Beach. It was at the time, a small artistic area that attracted hippies, runaways and artists. Young people spent their time on the beach smoking pot or dropping acid. During that era, LSD was still legal and could be purchased at the local "head shop." Venice was to Los Angeles what Haiti-Ashes to San Francisco Jim took up residence under a boardwalk where he spent his time taking drugs and writing poems, until he ran into friend Ray Manzarek, a former fellow classmate. Ray was a keyboardist in a small local rock band that was struggling against all the other bands in the area. In order to make it big, he needed something or someone special to make his band so special that it would stand out from the rest. Little did he know that that special "thing" was his friend Jim. One of the "poems" that had it's beginning on the beach was "Hello, I Love You," (1965) which was inspired by a young, long thin black girl who was walking towards him as he sat on a Venice beach. "Sidewalk crouches at her feet Like a dog that begs for something sweet Do you hope to eke her see, you fool? Do you hope to pluck this dusky jewel? Ray was extremely impressed after reading some of Jim's poem and suggested that they put together a band. He convinced Jim that they could put music to his poetry and that he could "sing" his poems on stage. Jim had already had a desire to put a band together but didn't have the vision or the members to get it together. They recruited two new members, Robbie Kroger, guitarist and John Tonsure, drummer and began playing the clubs on the Sunset Strip. Soon they were getting the recognition they deserved and moved on to the "better" clubs. By early 1966, the band had about twenty-five original songs in their repertoire. One of which was "The End," a song not about death as most believe but about faded love. Reluctantly Electoral Records president, Jag Horseman signed the group to a recording contract. They cut their first album in 1967, "The Doors" which was released and quickly received universal acclaim. "Light My Fire" became the group's first really big hit single and then projected them to number one on the music charts. Along with their hit, Jim quickly developed a reputation for erratic public behavior on stage. December 9, 1967 marked the first of many incidents while in concert. During a show in New Haven, Connecticut he was arrested for attempting to incite a riot by telling the crowd that the police had sprayed him and journalist Patricia Genially with mace backstage just before the concert. Then in March 1, 1969, Jim was at it again. During another concert, this time in conservative Miami, Florida, Morrison was arrested for exposing himself on stage and using profanity. The legal troubles caused the group to loose their bookings for the next several months. Thankfully they still had their hit records that continued toeclip the charts to keep them in drugs, drink and women. Donated by someone who wishes to remain anonymous. This is the actual arrest record of Jim Morrison in Miami, Florida. Morrison was brought to trial and squatted of the charges of lewd and lascivious behavior. He was however, guilty of indecent exposure and profanity and was sentenced to eight months in prison. The verdict was appealed and Jim remained free on bail. Tired of the whole scene and the prospects of going to jail, Jim and girlfriend, Pamela moved to Paris, France. The whole time that Morrison was in Paris, he drank heavily. He loved the wine bistros and cafes. By now he had gained excessive weight and was going through his "Elvis" period. On one occasion, Jim was sitting in a cafe drinking when he noticed some kids toting guitar cases. After a while he walked over to their table and asked them if they were Americans. They said that they were and then asked Morrison where he was from, not recognizing the BIG rock star. As it turned out they all attended UCLA. After twenty questions, the kids finally put together who Morrison was. After apologizing profusely, Jim treated them to drinks of whiskey with beer chasers. A few drinks led to an impromptu jam session with Jim, an experience I'm sure they never forgot. Around July 1, 1971, for whatever reason Morrison had slipped into a period of despondency. He was drinking far worse than ever, but was trying to quit. In the middle of all this chaos he was trying to write. Unfortunately he was blocked, the words would not flow. Pamela was worried for him and his mental state. She tried to distract him and make him happy to no avail. He was even invited by friends to join them for dinner the next day, but refused to go because he didn't want to saddle them with his depressed state. Finally they persuaded him and he remained quiet for the entire meal. After dinner he took Pamela home and alledgedly went to a movie, "Pursued" starring Robert Mitchum. There are alot of contradictions concerning his whereabouts that evening. Some say he went to the Rock 'n' Roll Circus, so depressed that he bought some heroin and O.D'd in the club lavatory. Supposedly he was then carried out the back door and dumped at his flat, in the bathtub. Another rumor is that he left Pamela and headed for the airport. Witnesses have claimed to have seen him boarding a plane. The most famous of rumors were that after walking around all night he returned home complained that he wasn't feeling well and took a bath. During his bath, he regurgitated a small quantity of blood. This was common for him and Pam didn't think anything was wrong. Soon she went to bed and left him in the bath. Later she awoke because he had not joined her, that's when she found him. His arms were draped over the sides of the tub and his head was leaning back, his long hair matted and wet. He had a grin on his clean shaven face. At first Pam thought he was playing another one of his sick jokes, but then noticed he wasn't breathing and called the fire department's resuscitation unit. After them a doctor and the police arrived on the scene. It was too late, it was "The End" for Jim. Whatever happened on that fateful Friday night, we know that on July 5th, rumors circulated that he was dead. English newspapers were calling Elektra Records to verify whether or not he was dead. No one knew anything. The only thing that could prove he was dead was a sealed coffin, a signed death certificate and Pamela's word. Funeral arrangements were quickly made and secretly confirmed. Pamela filed the death certificate with the American Embassy, identifying him as James Douglas Morrison. Also she said there were no other living relatives. The official cause of death was listed as a heart attack. On July 7th, his coffin was lowered into a grave a Pere' La Chaise. This was the cemetery that gravehunter, Jim Morrison would spend hours looking for the graves of the famous: Edith Piaf, Oscar Wilde, Balzac, Bizet and Chopin. Morrison's coffin was to be opened on July 6th, of 2001 and he was going to be relocated to California when his "lease" expired. Both events have yet to occur. This photo was given to me by some very nice people whom I met at the Miami Book Fest International. I lost the paper that they gave me with their name, address etc. So if someone wants to claim the photo by identifying themselves, email me and I'll give you credit for the photo and send it back to you. Three years later, girlfriend Pamela Courson died of a herion overdose in Paris. She too was twenty-seven at the time of her death. L.A. Woman written in Jim Morrison's hand. Recently I saw a special on television about these two guys, perhaps brothers who were really huge Jim Morrison fans. I believe they lived in Detroit somewhere, I can't remember and it doesn't matter. Anyway, they decided to make a bust of Jim and lug it to Paris to erect it on his grave. Actually the bust really looked good and would have been an awesome addition to his grave. I don't know why they didn't contact the family and ask permission. I'm sure the family would have given the okay for this endeavor. So these guys put the life size bust of Jim in their suitcase (or giant hatbox, how does one carry a bust on a plane?) and off they go to France. This must have been pre- 911 because they didn't encounter any problems transporting the bust. Could you imagine, a bomb molded in the shape of Jim Morrison's head? Finally they get to the cemetery equpped with power tools and wait until the cemetery is either closed or closing and there were very little if no people around. As soon as they think the coast is clear, they commence to drill and hammer at Morrison's grave to install the bust. Of course the local cemetery cops are summoned and soon they appear. Instead of really being mad at these two guys they were taken with the beauty of the statue. It's very French to appreciate art even if there is a crime in progress. Although they thought the whole thing was cool, they still had a job to do and arrested the two. The three of them, the two guys and the bust, were brought to the local French jail, questioned and then deported back to the U.S. That more or less was the end of their mission. Tell me, what were they thinking? "THE END" (Less)
Channel: 123videoTags: a as Door fly gig in Jim loud Morrison out plane poetry private reads s the they to Jim Morrison: De Deuren: Luide po e in het priv liegtuig van de Deur (aangezien zij aan een jol vliegen)
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1021, 02:36, 2008-04-17 15:09:52 Description: The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, (More) The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, R&B, and adult contemporary. Formed in Detroit, Michigan in 1960 as The Elgins, the Temptations have always featured five African American male vocalists/dancers. The group, known for its recognizable choreography, distinct harmonies, and onstage suits, has been said to be as influential to soul as the Beatles are to rock.[1] Having sold an estimated 22 million albums by 1982,[2] The Temptations are one of the most successful groups in music history[3] and were the definitive male vocal group of the 1960s.[4] In addition, they have the second-longest tenure on Motown (behind Stevie Wonder), as they were with the label for a total of 40 years: 16 years from 1961 to 1977, and 24 more from 1980 to 2004 (from 1977 to 1980, they were signed to Atlantic Records). As of 2007, the Temptations continue to perform and record for Universal Records with only one original member, founder Otis Williams, in its lineup. The original group included members of two local Detroit vocal groups: The Distants, which featured second tenor/baritone Otis Williams, first tenor Elbridge "Al" Bryant and bass Melvin Franklin; and first tenor/falsetto Eddie Kendricks and second tenor/baritone Paul Williams (no relation to Otis) from The Primes. Among the most notable future Temptations were lead singers David Ruffin and Dennis Edwards (both of whom became successful Motown solo artists after leaving the group), Richard Street (another former Distant), Damon Harris, Ron Tyson, Ali-Ollie Woodson, Theo Peoples, and G.C. Cameron. Like its sister female group, the Supremes, the Temptations' lineup has changed frequently over the years. Over the course of their career, the Temptations have released four Billboard Hot 100 number-one singles and 14 Billboard R&B number-one singles. Their material has earned them three Grammy Awards, while two more awards were conferred upon the songwriters and producers who crafted their 1972 hit "Papa Was a Rollin' Stone". History The Primes Childhood friends Eddie Kendricks, Paul Williams, Kel Osbourne, and Wiley Waller formed a doo-wop group called the Cavaliers in their hometown of Birmingham, Alabama, in 1955.[5] Reduced to a trio after Waller left the group in 1957, Kendricks, Williams, and Osbourne left Birmingham in order to break into the music business. After first moving to Cleveland, they settled in Detroit. The Primes, as the doo-wop trio was now called, were well-known around Detroit for their meticulous performances.[6] Group manager Milton Jenkins even created a sister group for the Primes called the Primettes, recruiting Florence Ballard, Mary Wilson, Diane (later Diana) Ross, and Betty McGlown for the spin-off act.[5] The Distants Otis Williams had moved from his native Texarkana, Texas to Detroit as a young boy, to live with his mother.[7] By 1958, he was the leader of Otis Williams & the Siberians, a doo-wop group that included Williams, his friend Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain, and Arthur Walton.[8] This quintet recorded the single "Pecos Kid" backed with "All of My Life" for a label run by local radio deejay Senator Bristol Bryant.[8] The single never took off outside the local Detroit market, and the Siberians changed their name to The El Domingoes shortly afterward.[5] At this time, more changes took place. Montgomery, Alabama native Melvin Franklin replaced Arthur Walton as the bass singer, and Franklin's cousin Richard Street replaced Vernard Plain as lead singer.[9] The group soon signed with Northern Records, run by Johnnie Mae Matthews, who renamed the group The Distants. The Distants recorded two singles for Northern, "Come On" (1959, featuring additional background vocals by the Andantes), and "Alright" (1960).[9] Between these two releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford.[9] "Come On" was a local hit for the Distants, and the Warwick label picked the record up for national distribution.[9] After the release of "Alright", Matthews appointed Williams the group leader, and the group was renamed Otis Williams & the Distants.[10] [edit] Influences and colleagues The Primes and the Distants were but two of dozens of local male vocal acts, the most famous of which was the Miracles, led by Smokey Robinson. The Miracles were known for their stage show, and their pop success was something for which both groups strived.[11] Other important inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers.[12] The various members of The Primes and the Distants who would later become part of the Temptations met a number of their later Motown bandmates, labelmates, and producers during the early part of their careers. Melvin Franklin had been a member of the recording group the Voice Masters, which also included among its ranks Lamont Dozier and David Ruffin.[9] The musicians at the recording session for the Distants' "Come On" included James Jamerson on bass; the Andantes on background vocals; and Norman Whitfield on tambourine.[9] A promotional image of the original early 1960s Temptations lineup. Clockwise from top right: Otis Williams, Paul Williams, Melvin Franklin, Eddie Kendricks, and Elbridge "Al" Bryant. [edit] Forming the Temptations Although "Come On" was a local success in the Detroit area, the Distants never saw much of their share from the record sales, and the second single was not as successful. After receiving an offer from Berry Gordy of Motown Records, the group got out of its contract with Matthews and left Northern. At the same time, it lost Mooch Harrell, Richard Street, and the rights to use its name. Street would front a new group of Distants for the local Thelma label during the early 1960s. The Distants were acquainted with the Primes, as both groups made the same rounds to local record hops, talent shows, and concerts. The two groups were friendly rivals. The Primes disbanded in 1960 when Kel Osbourne moved to California, and Eddie Kendricks and Paul Williams returned to Alabama. While in Detroit visiting relatives, Kendricks called Otis Williams who, needing two more members for an audition for Gordy, offered Kendricks a place in the Distants. Kendricks agreed, with one condition -- that he could bring Paul Williams with him. Otis Williams agreed, and Kendricks and Paul Williams moved back to Detroit to join the group. The new lineup of Otis Williams, Franklin, Bryant, Kendricks, and Paul Williams took on the name The Elgins and auditioned for Motown in March 1961. Gordy agreed to sign the group to his Miracle Records imprint, but discovered just before signing that there was already a singing group called the Elgins. The quintet quickly began tossing about ideas for a new name on the steps of Motown's Hitsville U.S.A. headquarters. On a suggestion from Miracle Records employee Billy Mitchell and Otis Williams, The Temptations became the group's new moniker. The "Elgins" name would re-surface at Motown in 1965, when Gordy renamed a quartet called The Downbeats as The Elgins. The Temptations released two singles on Miracle, "Oh Mother of Mine" and "Check Yourself", before it was closed and merged with the Gordy label (to avoid confusion with the Miracles singing group). All seven of the Temptations' singles released between 1961 and 1963 failed to make it onto the U.S. pop singles charts; the 1962 single "Dream Come True" made it to number 22 on the R&B chart. Paul Williams and Kendricks split most of the leads during this period, with Bryant, Otis Williams, and Franklin occasionally singing lead. Many songwriter and producer teams had been trying to craft a hit for the Temptations, including Berry Gordy, Mickey Stevenson, Clarence Paul, and Norman Whitfield. Gordy had in fact written the song "Do You Love Me" for The Temptations in 1961, but when he was unable to get ahold of the group, he recorded the song with the Contours instead. Miracles lead singer/songwriter/producer Smokey Robinson produced his first Temptations single, the Paul Williams-led "I Want a Love I Can See", in 1963, and proved to have the best rapport with the group. Elbridge Bryant, who preferred his day job as a milkman to performing, soon became restless and uncooperative. After a performance at the 1963 Motown company Christmas party, Bryant was fired from the group. His replacement was Meridian, Mississippi native David Ruffin, younger brother of Motown artist Jimmy Ruffin. Though both Ruffin brothers were considered, David was given an edge over Jimmy thanks to his performance skills, which David displayed when he joined the Temptations on-stage during a local Detroit performance earlier that year.[13] The "Classic Five" lineup of the Temptations, circa 1965. Left to right: Melvin Franklin, Eddie Kendricks, Otis Williams, Paul Williams, and David Ruffin. The "Classic Five" era In January 1964,Miracles members Smokey Robinson and Bobby Rogers co-wrote and produced "The Way You Do the Things You Do" with Kendricks on lead; the single became the Temptations' first Top 20 hit that April. While traveling as part of Motown's Motortown Revue later that year, Robinson and fellow Miracle Ronnie White wrote a song for the emotive Ruffin to sing lead on, which the group recorded in the fall of 1964. Released as a single on December 24, 1964, "My Girl", became the Temptations' first number-one pop hit in March 1965, and is their signature song to this day. David Ruffin's emergence as lead singer gave way to the Temptations' most successful period, today referred to as the "Classic Five" era, during which Ruffin, Kendricks, Franklin, Otis Williams, and Paul Williams recorded many of the group's most familiar hits. After the success of "My Girl", Ruffin sang lead on the next three Temptations singles: "It's Growing", "Since I Lost My Baby" and "My Baby", all of which made it to the Top 20 in 1965. The b-side to "My Baby", "Dont Look Back", featured a lead from Paul Williams, and was a sleeper hit on the R&B charts. In 1966, Norman Whitfield became the Temptations' new main producer, after his "Ain't Too Proud to Beg" performed better than Robinson's "Get Ready" on the U.S. pop charts. Whitfield began pushing the group away from Robinson's ballad-based production towards a harder-edged and brass-heavy soul sound reminiscent of the work of James Brown. Nearly all of the pre-1968 Whitfield-produced Temptations singles featured David Ruffin on lead vocals, including the R&B number-one/pop Top 10 hits "Beauty Is Only Skin Deep" and "(I Know) I'm Losing You". Other singles from this period included "You're My Everything", on which Eddie Kendricks and David Ruffin share lead vocals, and "All I Need", produced by Whitfield's protg Frank Wilson. Whitfield's writing partners during this period included Roger Penzabene, Temptations road show manager/guitarist Cornelius Grant, and Edward Holland, Jr.. After Eddie Holland left Motown with the rest of the Holland-Dozier-Holland songwriting/production team in 1967, Barrett Strong (who sang Motown's first hit, 1960's "Money (That's What I Want)") began working with Whitfield and Penzabene on Temptations material. Two of Whitfield/Strong/Penzabene's collaborations, "I Wish It Would Rain" and "I Could Never Love Another (After Loving You)", became hits in 1968. Strong became Whitfield's sole collaborator after Penzabene's suicide in December 1967. Exit David Ruffin Between 1964 and 1968, the Temptations went from unknown hopefuls to international stars. The group appeared frequently on television shows such as American Bandstand and The Ed Sullivan Show, and catered to middle America with a pop standards album (The Temptations in a Mellow Mood, 1967) and performances at the Copacabana in New York City and other such supper clubs. Outside of music, the Temptations were made honorary members of Phi Beta Sigma Fraternity, Inc. Initially laid back and even-keeled, by 1967 David Ruffin felt that he was almost single-handedly responsible for the group's success. He demanded special treatment, riding to and from gigs in a private mink-lined limousine with his then-girlfriend, singer Tammi Terrell (known for her duets with Marvin Gaye), instead of in the group limousine the other four Temptations used. Ruffin missed a number of rehearsals, concerts, and group meetings; and began regularly using cocaine. After seeing how Motown had made Diana Ross the focus of the Supremes by renaming the group Diana Ross & the Supremes, Ruffin demanded that his group be renamed, as well -- to David Ruffin & the Temptations. Additionally, Ruffin was demanding an accounting of the Temptations' earnings, which caused friction between him and Berry Gordy. There was general agreement among the rest of group that Ruffin needed to be replaced. Otis Williams insists that Ruffin was given fair warning that if he did not change his attitude he would be fired. When Ruffin missed a June 1968 engagement at a Cleveland supper club in order to attend a show by his new girlfriend (Dean Martin's daughter Gail), it was decided that he had crossed the line. The other four Temptations drew up legal documentation firing Ruffin from the group, and Dennis Edwards, formerly of the Contours, was hired to replace him. Edwards and Ruffin were good friends, and Ruffin at first went along with the changing of the guard. After a short time, however, Ruffin began turning up at Temptations shows, jumping onstage during performances of the songs he once sang lead on and stealing the spotlight. The audiences were delighted, but the Temptations and Motown were frustrated and embarrassed. Extra security guards were hired to prevent Ruffin from attending other Temptations' performances. Ruffin sued Motown in October 1968, seeking a release from the label, and Motown settled by offering Ruffin a solo recording deal. Beginning in 1968, Berry Gordy commissioned a number of collaborations for the Temptations with Diana Ross & the Supremes. The results included a joint tour, two studio albums (Diana Ross & the Supremes Join the Temptations, which featured the number-two hit single "I'm Gonna Make You Love Me", and Together), and two NBC television specials, TCB (aired December 9, 1968) and G.I.T. on Broadway (aired November 12, 1969). The tracks for Diana Ross & the Supremes Join the Temptations included Dennis Edwards' first studio recordings with the Temptations. Psychedelic soul Dennis Edwards' addition to the Temptations coincided with producer Norman Whitfield's adoption of a new sound for the group. In the fall of 1968, Whitfield began producing psychedelic-based material for the Temptations, derived primarily from the sound of funk band Sly & the Family Stone. This new style, which debuted with the Top 10 hit single "Cloud Nine" in October 1968, was a marked departure from the David Ruffin-era ballads. The instrumentation was funkier, the beat was hard-driving, and all five Temptations traded lead vocals, similar to Sly & the Family Stone. "Cloud Nine", the centerpiece of the group's landmark Cloud Nine LP, was a Top 10 hit and won Motown its first Grammy Award, for Best R&B Vocal Group Performance of 1969. The blending of the Motown sound and psychedelic rock sound resulted in a new subgenre of music called "psychedelic soul", also evident in the work of Diana Ross and the Supremes ("Reflections", "Love Child"), Marvin Gaye's version of "I Heard It Through the Grapevine", and the music of the Fifth Dimension and War. More Temptations psychedelic soul singles would follow in 1969 and 1970, among them "Runaway Child, Running Wild" (a number-one R&B hit), "I Can't Get Next to You" (a number-one pop hit), "Psychedelic Shack" , "Ball of Confusion (That's What the World Is Today)", and "Ungena Za Ulimwengu (Unite the World)". Exit Eddie Kendricks and Paul Williams During the late-1960s, Paul Williams' physical and mental health began to decline sharply. Williams suffered from both depression and sickle-cell disease, and also developed alcoholism, all of which made it hard for him to continue performing. Oxygen tanks were kept in the wings of performance venue stages for Williams, and the other four Temptations made valiant efforts to raid and drain his alcohol stashes. By 1969, former Distant Richard Street, now lead singer of Motown act The Monitors, was touring with the group as a backup replacement for Williams. For most shows, Street would sing Williams' parts (save for his solo numbers) from offstage behind a curtain, while Williams danced and lip-synched onstage. At other shows, and during most of the second half of 1970, Street took Williams' place onstage. As Paul Williams' health failed, Eddie Kendricks became detached from the group. He regularly picked fights with Otis Williams and Melvin Franklin over the group's leadership. In addition, Kendricks was uncomfortable with the psychedelic soul material the group was now performing, preferring the ballad material from the earlier days. Kendricks rekindled his friendship with David Ruffin, who persuaded him to quit the Temptations and go solo. After another confrontation between himself, Otis Williams, and Franklin during a November 1970 Copacabana engagement, Kendricks walked out in-between shows and did not return. Both Franklin and Otis Williams agreed at this time that Kendricks would be leaving the group. Before Kendricks officially left the Temptations, he and Paul Williams recorded the lead vocals for "Just My Imagination (Running Away with Me)", a lush, wistful ballad that became Kendricks' Temptations swan song. Released as a single in January 1971, "Just My Imagination" began steadily climbing the U.S. pop singles chart. By the time "Just My Imagination" hit number-one in March, Kendricks had negotiated his release from the group and signed a solo deal with Motown's Tamla imprint. Kendricks' original replacement was Ricky Owens, from the Los Angeles-based vocal group the Vibrations. However, Owens gave poorly-received performances during the few shows he performed with the group, and he was dropped after only a few weeks. During most of the spring of 1971, the Temptations remained a quartet, and re-recorded the single "It's Summer" without a fifth member. In April, Paul Williams quit the Temptations, after a medical declaration that he was unable to continue performing. Richard Street officially took his place, while Williams remained on the group's payroll as an advisor and choreographer. After Williams had recovered enough to perform again, Motown made plans for a Paul Williams solo career, but he died at age 34 in Detroit on August 17, 1973. Williams' death was ruled a suicide. The Temptations in the early 1970s By May, The Temptations had found a permanent replacement first tenor in twenty-year-old Baltimore native Damon Harris. Otis Williams, Edwards, Franklin, Street, and Harris continued recording and performing, and Norman Whitfield continued producing hits for them. Among these were Top 40 hits such as "Superstar (Remember How You Got Where You Are)" (1971), a message from the Temptations to the estranged David Ruffin and Eddie Kendricks, and "Take a Look Around" (1972). The fall of 1972 saw the release of Whitfield's magnum opus, "Papa Was a Rollin' Stone". Originally a three-minute record written and produced for the Undisputed Truth, Whitfield took the sombre tune and created a sprawling, dramatic eleven and -minute version for the Temptations. An edited seven-minute version was released as a single in September 1972, hitting number-one on the pop charts and number-five on the R&B charts. In 1973, "Papa Was a Rollin' Stone" won the Temptations their second Grammy for Best R&B Performance by a Group. Whitfield and arranger/conductor Paul Riser won the award for Best R&B Instrumental Performance with the instrumental version of "Papa" on the single's b-side, and Whitfield and Barrett Strong won the songwriters' Grammy for Best R&B Song. After "Papa Was a Rollin' Stone", Whitfield stopped working with Barrett Strong, and began writing the Temptations' material on his own. The success of "Papa" led Whitfield to create more elongated, operatic pieces, including the Top 40 hit "Masterpiece" (1973) and several of the tracks on the resulting Masterpiece album. Tensions developed between Whitfield and the group, who found Whitfield arrogant and difficult to work with. The group cited his habitual tardiness, his emphasis of the instrumental tracks over the vocals on many of his productions, and the declining singles and albums sales as other sources of conflict. Otis Williams complained about Whitfield's actions and the Temptations' stagnant sales to Berry Gordy, who intervened and reassigned them to Jeffrey Bowen, co-producer of the 1967 In a Mellow Mood album. The final Norman Whitfield-produced Temptations album, 1990, was released in late 1973, and included the Top 30 single "Let Your Hair Down". Whitfield left Motown shortly afterwards, and in 1975 established Whitfield Records, taking with him the Undisputed Truth, Willie Hutch, and Rose Royce, who performed the instrumental track for "Let Your Hair Down". Dry spell Bowen's first LP with the Temptations was January 1975's A Song for You, which included a cover of the titular Leon Russell tune (popularized with soul audiences by Donny Hathaway), along with the pop Top 40/R&B number-one hits "Happy People" (featuring the Commodores as the instrumentalists) and "Shakey Ground" (featuring instrumentation by Funkadelic's Eddie Hazel and Billy Bass Nelson), and "Glasshouse", the group's final Top 40 Pop hit. Damon Harris was fired from the group during the recording of A Song for You, as his behavior and work ethic were deemed unprofessional.[14] His replacement was Washington, D.C. native Glenn Leonard, formerly of the Unifics.[15] A number of producers, including Bowen, Brian Holland, James Carmichael, and even the Temptations themselves tried producing hits for the next three LPs, House Party (November 1975), Wings of Love (March 1976), and The Temptations Do the Temptations (August 1976). None of these recordings were as commercially successful as A Song for You, and none of their singles entered the Billboard Hot 100 Top 40.[16] As time progressed, Bowen pushed Dennis Edwards further to the front. This was evident in on Wings of Love, which features Edwards' voice more prominently than the other Temptations' backing vocals.[17] Otis Williams felt that this was hurting the group, and after The Temptations Do the Temptations was recorded in 1976, Edwards was fired from the group.[18] His replacement was Louis Price. The Temptations left Motown for Atlantic Records, citing Motown's inattention as the reason for their declining sales and popularity.[19] However, the group's releases on Atlantic -- Hear to Tempt You (1977), Bare Back (1978), and their associated singles -- failed to perform better than their last handful of Motown singles, and in 1979 Atlantic released the group from its contract.[17] Shortly afterwards, the Temptations met with Smokey Robinson and Berry Gordy, and the group re-signed with Motown in 1980.[20] ] Return to Motown and Reunion Upon the return to Motown, Louis Price departed from the group and joined the Drifters. Dennis Edwards, who had been inactive for the previous three years despite remaining with Motown as a solo act, returned to the lineup. Berry Gordy co-wrote and produced the Temptations' first single under the new contract, "Power", from the album of the same name. "Power" missed the Billboard Hot 100 Top 40, but hit number 11 on the R&B charts. Two years of underperforming singles and albums followed, including an eponymous album with Philadelphia-based producer Thom Bell, until Motown began planning a Temptations reunion tour in 1982. Eddie Kendricks and David Ruffin agreed to rejoin the group for the Reunion album and tour. Melvin Franklin's nephew, Motown funk star Rick James (who had previously used the Temptations as backup vocalists on his 1981 hit "Super Freak"), wrote, produced, and guested on the Reunion album's lead single, "Standing on the Top", which featured Ruffin, Kendricks, and Edwards on lead. The single went to number-six on the R&B charts. While the ensuing Reunion tour with all seven Temptations (Ruffin, Kendricks, Otis Williams, Franklin, Edwards, Richard Street, and Glenn Leonard) was financially successful, it ended up being a stressful venture: Kendricks' voice had weakened after decades of chain smoking, and Ruffin, still addicted to drugs, missed a number of the performances. At the conclusion of the Reunion tour, Ruffin and Kendricks were fired, and they began touring and performing together as a duo. One more album, Surface Thrills, was released in 1983. It featured a sharp departure in the group's sound by incorporating elements of then-current rock. Following its release, Glenn Leonard left and was replaced by Ron Tyson. Tyson had been a songwriter at Atlantic during the Temptations' time there, and co-wrote several songs on the album Hear To Tempt You. [edit] From the 1980s to the 1990s By this time, the Temptations' releases were no longer performing well on the pop charts, though they sometimes made the R&B Top 20. "Love on My Mind Tonight", a single from Surface Thrills, made it to number 17. "Sail Away", produced by a returning Norman Whitfield and featuring Ron Tyson's first lead vocal, peaked at number 13. Dennis Edwards was again fired in 1984, this time for missing rehearsals, or showing up hungover. He attempted a second solo career, and his place was taken by Ali-Ollie Woodson, who had been a potential candidate to replace Edwards back in 1977. The album Back to Basics was released; it was the first album featuring Ron Tyson, and featured one track with Woodson, "Stop the World Right Here (I Wanna Get Off)". Woodson's first lead on a single was 1984's "Treat Her Like a Lady", co-written by himself and Otis Williams, and co-produced by Al McKay and Ralph Johnson, formerly of Earth, Wind and Fire. The single became their biggest success on R&B radio in some time, reaching number-two on the R&B charts, and just missing the Pop Top 40. The group experienced similar success the following year with the single "Lady Soul", another Top 5 R&B smash. On July 13th 1985, Eddie Kendricks and David Ruffin would achieve "World comeback" recognition for their performances with Pop/Rock superstars Daryl Hall and John Oates(Hall and Oates) in a performance given at the "Live Aid" concert in Philadelphia televised world wide. The segment with Kendricks and Ruffin included a Medley of "Get ready/The way you do the things you do/My Girl. The combination of Hall, Oates, Ruffin and Kendricks went on to perform the resurrected Hall and Oates hit (made popular by the English artist Paul Young), "Every time you go away". This was the exact performance the singing quartet had just recorded live in a sold out performance for the "reopening" of the historic Apollo Theater. The medley recorded on "Live at the Apollo" for RCA, became a top 20 hit on the pop charts. Ollie Woodson remained with the Temptations until 1987, when he was fired and replaced by an again-returning Dennis Edwards. The group recorded one album during Edwards' third tenure, Together Again, released in late 1987. The following year, Otis Williams published his autobiography, Temptations, co-written with Patricia Romanowski, chronicling the careers of the group from the Primes/Distants days to the present, and focusing on the lives of Williams and Melvin Franklin. An updated version of the book was published in 2002. Edwards was fired for the third and final time in late 1989, with Woodson re-joining the lineup. Also that year, the Temptations were inducted into the Rock and Roll Hall of Fame, honoring Edwards, Franklin, Otis Williams, David Ruffin, Eddie Kendricks (now performing as "Eddie Kendrick"), and, posthumously, Paul Williams. Most of the Temptations, present and former, showed no ill feelings towards each other, although Otis Williams reported that Kendricks would not speak to him during the ceremony. [21] The Temptations ended their induction with Paul Willaims' signature song, "Don't Look Back", dedicated to his memory. After reuniting at the induction ceremony, Edwards, Ruffin, and Kendrick made plans to tour and record as "Ruffin/Kendrick/Edwards, Former Leads of The Temptations". The tour was carried out, much to the chagrin of Otis Williams and Motown, but production on an album was terminated when Ruffin, age 50, died on June 1, 1991 in Philadelphia after a drug overdose. Kendrick was diagnosed with lung cancer but continued to perform; he died on October 5, 1992 at the age of 52, in his native Birmingham. The Temptations in the 1990s From the 1990s on, the Temptations' lineup began to change more frequently than before. Richard Street missed a performance in 1992 after undergoing emergency surgery to remove kidney stones. Otis Williams was not aware of Street's surgery, and called him, angry about Street's absence. Street felt Williams was unsympathetic, and as a result, he left the group in 1993 after twenty-two years. His replacement was St. Louis native Theo Peoples. Two years later, Melvin Franklin was forced to stop performing because of failing health. He died on February 23, 1995 at the age of 52, after suffering a brain seizure. Ray Davis from Parliament/Funkadelic came on as new bass, and the group recorded the pop standards album For Lovers Only, which contained two tracks led by Melvin Franklin. Davis left shortly after completing the album, due to a throat cancer diagnosis. The group continued as a quartet for a short time, before recruiting bass Harry McGilberry, a former member of The Futures. For Lovers Only would also be the last for lead Ali-Ollie Woodson; he was released from the group in 1996 due to health problems, having suffered two battles with throat cancer. He was replaced by his fill-in from his first health concern, new member Terry Weeks. The new Temptations lineup, consisting of Otis Williams, Ron Tyson, Theo Peoples, and newcomers Harry McGilberry and Terry Weeks, debuted at the halftime show of Super Bowl XXXII, which celebrated the 40th anniversary of Motown. In 1998, The Temptations released Phoenix Rising, their first million-selling album in over twenty years. The album was anchored by the Theo Peoples-led single "Stay", a number-one hit on the adult contemporary charts that featured a sample from The Temptations' "My Girl". During the recording of Phoenix Rising, however, Theo Peoples departed, and was replaced by Barrington "Bo" Henderson. The completed album features both Henderson and Peoples (who later joined the Four Tops) on different tracks. A scene from the 1998 Temptations NBC miniseries. The Temptations mini-series Main entry: The Temptations (miniseries). Nineteen ninety-eight also saw the debut of The Temptations, a four-hour television miniseries based on Otis Williams' Temptations autobiography. It was broadcast in two parts on NBC on November 1 and November 2, 1998. The miniseries was a ratings success and won an Emmy award for Best Direction; it was subsequently rerun on the VH-1 cable television network and released to VHS and DVD. Otis Williams' former wife Josephine, Melvin Franklin's mother Rose Franklin, and David Ruffin's family, jointly filed a lawsuit against Williams, Motown, de Passe Entertainment, Hallmark Entertainment, and NBC for a number of charges, including defamations of character. The judges ruled in favor of the defendants, and the ruling was upheld when the plaintiffs appealed in 2001. Williams later claimed that, although his book was used as the source material for the film, he did not have a great deal of control over how the material was presented. From 2000 to the present day The Temptations were inducted into the Vocal Group Hall of Fame in 1999. In 2001, their 2000 album Ear-Resistible won the group its third Grammy, this one for Best Traditional R&B Vocal Performance. Three classic Temptations songs, "My Girl", "Ain't Too Proud to Beg", and "Papa Was a Rollin' Stone", are among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Bo Henderson was fired from the group in 2003, prompting a wrongful termination lawsuit [22]. His replacement was former Spinners lead G.C. Cameron. The lineup of Cameron, Otis Williams, Ron Tyson, Harry McGilberry, and Terry Weeks recorded for a short time before Harry McGilberry was dismissed;[23] his replacement was former Spaniels bass Joe Herndon. McGilberry died on April 3, 2006, at age 56. The group's final Motown album, Legacy, was released in 2004. Later that year, The Temptations asked to be released from their Motown contract, and moved to another Universal Motown Records Group label, New Door Records. Their latest album, Reflections, was released on January 31, 2006, and contains covers of several popular Motown songs, including Diana Ross & the Supremes' "Reflections", the Miracles' "Ooo Baby Baby", Marvin Gaye and Tammi Terrell's "Ain't Nothing Like the Real Thing", and the Jackson 5's "I'll Be There".[24] The Temptations were nominated for the 2007 Grammy Award for Best Traditional R&B Vocal Performance, for their version of Gaye's "How Sweet It Is (To Be Loved by You)" from Reflections. G.C. Cameron left the group in June of 2007 to focus on his solo career.[25]. The current lineup is Otis Williams, Ron Tyson, Terry Weeks, Joe Herndon, and new member Bruce Williamson. Splinter groups Several former Temptations continue to perform outside of the group in spin-off or offshoot acts. The most well known splinter was "Ruffin/Kendrick/Edwards: Former Leads of the Temptations", which featured the three former Temptations and three other members (David Sea, who'd been a consideration to replace Edwards in 1984, Nate Evans, a former member of The Impressions, and a female vocalist). Following David Ruffin's death, Dennis Edwards and Eddie Kendrick began touring as "The Temptations", still with David Sea and Nate Evans, and bringing in another former Temptation, Damon Harris. The group had different sixth vocalists at different times, including Charles Blackmon and Curtis Taylor.[26] This prompted a legal battle with Otis Williams. Following Kendrick's death, the group splintered: Dennis formed "Dennis Edwards and the Temptations Review," Damon formed "Damon Harris and the Temptations Review" (featuring future Temptation Joe Herndon), David Sea went on to a solo career[27], and Evans and Taylor formed a Temptations tribute band[28]. Dennis Edwards' group tours to this day. The group has appeared on several PBS music specials. The lineup is Edwards, David Sea (baritone, returning in 1999), Mike Patillo (bass since 1993), Chris Arnold (first tenor/falsetto, joined post-2000)[29], and another former Temptation, Ali-Ollie Woodson. Woodson previously fronted an act called Ali-Ollie Woodson & the Emperors of Soul--Emperors of Soul being the name of the 1994 Temptations boxed set. He replaced Bernard Gibson[30][31] in 2007; Gibson was an original 1993 addition, and was in the group for all of their PBS performances. Damon Harris split from his group in the late 1990s; the other four members then joined with another former Temptation, Glenn Leonard, to become "Glenn Leonard and the Temptations Experience." Joe Herndon left this group to join the Temptations[32] His spot was filled by former Temptations bass Ray Davis, and, following Davis' death on July 5, 2005, Harry McGilberry, another former Temptations bass (McGilberry died on April 3, 2006). Damon Harris would form a new group later, billed as "Damon Harris and the Temptations Tribute." Richard Street also leads a group, billed as "Richard Street" or "Richard Street's Temptations"[33]. Street is in the process of writing a book regarding his time with The Temptations entitled Ball of Confusion. If it is published, it will be the second autobiography regarding the group. [edit] Musical style The Temptations' songs depended upon the individual members' interaction as a group; unlike many other R&B groups, each member of the Temptations was a lead singer of some capacity. Although the group always had an appointed main lead singer who dominated most the lead vocals (from Paul Williams to David Ruffin, Dennis Edwards, and later singers such as Louis Price, Ali-Ollie Woodson, and Terry Weeks), that singer was never given more of a promotional push than the other members. Co-lead songs, with two or more of the singers sharing the lead vocals, are common in the Temptations catalog, particularly among the psychedelic-era recordings of the late 1960s/early 1970s The "Motown Sound" The group would alter their style several times over the years following their first Motown hit, adapting to the popular styles of the day while retaining their signature visual and vocal styles. The earliest Temptations recordings reflect the influence of producers Berry Gordy and Smokey Robinson, featuring a blend of black rhythm and blues and white pop music that came to be later identified as the "Motown Sound". Backed by Motown's stalwart studio band, the Funk Brothers, pre-1966 Temptations recordings were built around songs (usually ballads like "My Girl") with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. During this period, each recording usually featured only one lead singer, usually David Ruffin or Eddie Kendricks, although Paul Williams, Melvin Franklin, and Otis Williams each had solo numbers of their own at various times. Like most Motown groups, melisma and other complicated vocalization techniques were eschewed by the Temptations for a more direct, yet obviously gospel-rooted vocal approach, to make the songs more palpable for white audiences. Creative control remained primarily in Smokey Robinson's hands, although the Temptations, most frequently Eddie Kendricks, periodically co-wrote some of their material. Kendricks also handled the vocal arrangements for all of the Temptations' material. In 1966, Norman Whitfield changed the group's dynamic, moving them away from the previous one lead singer model and adding elements derived from the rougher soul of artists like James Brown, Wilson Pickett, and the performers at Stax Records. Whitfield and his lyricists crafted Temptations songs with shifts of dynamics, syncopated horn stabs, and more intricate harmony arrangements which spotlighted each singer's unique vocal range. Onstage, this change was reflected in the group's use of a custom-made four-headed microphone, which allowed each member freedom to perform without having to all crowd around one or two microphones. Under Whitfield's control, the Temptations retained their white pop appeal, but also gained popularity amongst black audiences as well. Psychedelic and cinematic soul When David Ruffin was replaced by Dennis Edwards, and Sly and the Family Stone became popular, Whitfield again restructured the Temptations' sound, this time driving the group almost completely into a "psychedelic soul" sound. Recordings from this period (such as "Cloud Nine" and "Psychedelic Shack") featured echoed vocal tracks, distorted guitar lines with prominent use of the wah-wah pedal, hard-hitting drums, and various stereo effects and sound effects. The majority of these songs feature at least two lead singers; often, all five Temptations sang lead, trading bars a la the Family Stone. Dennis Edwards, whose vocal style had a rougher, more Southern-soul based sound than David Ruffin's, was featured prominently on most of these recordings. The lyrics for these songs, inspired heavily by Sly Stone's concurrent works, centered primarily around social issues such as integration, the Vietnam War, and self-consciousness. Ballads in the group's traditional style were still being recorded as b-sides and album fillers (the exception being "Just My Imagination"). Many of the psychedelic soul recordings were presented in extended-length mixes longer than the typical three-minute Motown song. Tracks such as the album version of "Run Away Child, Running Wild" from Cloud Nine, "Take a Stroll Thru Your Mind" from Psychedelic Shack, and "Smiling Faces Sometimes" from Sky's the Limit, all run at least eight minutes in length. Much of the running time for each song consists of instrumental passages without vocals, at Whitfield's insistence. The hit version of their smash 1972 single "Papa Was a Rolling Stone" was nearly seven minutes long, with an instrumental intro that was almost two minutes long -- a rarity for songs of that era. "Psychedelic soul" soon gave way to "cinematic soul": Long recordings with detailed orchestration and extended instrumental introductions and bridging passages, oten focusing on lyrics about the ghettos and inner cities of black America. These songs were heavily influenced by the work of singer/songwriters Isaac Hayes and Curtis Mayfield. Unlike Hayes and Mayfield, the Temptations had no creative control over their recordings, and were not fond of the twelve and thirteen-minute long songs that Norman Whitfield was now producing for them. Whitfield's contributions were the focal point of Temptations albums such as Solid Rock, All Directions, and particularly Masterpiec. From funk to disco to adult contemporary After Whitfield was dismissed as the Temptations' producer in 1974, the group altered its sound to accommodate a balance of both up-tempo dance material and ballads. The vocal arrangements began to again focus primarily on one lead singer per track, although leads were still being periodically shared. In addition, the Temptations themselves, after fighting Motown and Berry Gordy for creative control, began to write and produce some of their material. From this point on, the Temptations focused almost exclusively on songs about romance; songs about social issues similar to the Whitfield-era recordings were periodically recorded as well. Mid-1970s Temptations recordings focused significantly on funk music influences from artists such as Parliament Funkadelic and Sly and the Family Stone; members of both acts contributed to Temptations material during this period. The group's ballads, reduced to filler material during much of the Whifield period, were restored to the lush sound of the earlier Smokey Robinson-produced hits. After a brief diversion into disco in the late-1970s, the Temptations settled into an adult contemporary-rooted form of R&B, a style in which they continue to record. As the ages of its members increased, the Temptations' live shows have focused on less intricate choreography, although dancing remains an important aspect of the group's act. Legacy and influence The Temptations, with their tailored suits and detailed choreography, set the bar for male soul and R&B groups. Before the Temptations became popular, most black vocal groups were rough, high-energy acts with rawer vocals and more improvisational dance movements. Only a few performers, including contemporaries Marvin Gaye, Sam Cooke, and the Four Tops, showed the refined style that would be popularized by the Temptations. Berry Gordy insisted his acts be equally appealing to white and black audiences, and employed a creative team to help tailor Motown talent for crossover success. Paul Williams and Motown choreographer Cholly Atkins created the Temptation's trademark precise and energetic, yet refined, dance steps. The most famous of these, the "Temptation Walk", or "Temptation Strut", was adapted from similar moves by the Flamingoes and the Vibrations. From those two sources, Paul Williams crafted the group's signature dance routine. During the 1960s and 1970s, a number of soul groups showed significant influence from the Temptations, among them the Delfonics, the Stylistics, George Clinton's original Parliaments, the Dramatics, and Motown labelmates the Jackson Five. These acts, and others, showed the influence of the Temptations in both their vocal performances and their onstage choreography. Several more recent soul and R&B vocal groups, including the Johnny Gill-led version of New Edition, Jodeci, BLACKstreet, Dru Hill, and, most notably, 1990s Motown act Boyz II Men, also showed significant influence from the Temptations. Temptations songs have been covered by scores of musicians, from R&B singers such as Luther Vandross ("Since I Lost My Baby"), to pop vocalists such as Bette Midler ("Just My Imagination"), to rock bands such as Rare Earth ("Get Ready"), Duran Duran ("Ball of Confusion (That's What the World Is Today)") and the Rolling Stones ("Ain't Too Proud to Beg"). In 1991, British singer Rod Stewart collaborated with the Temptations on the single "The Motown Song". The lives and careers of The Temptations were one of several inspirations for Robert Townsend's 1991 film about a 1960s Motown-esque male group, The Five Heartbeats. In 2004, Rolling Stone Magazine ranked The Temptations #67 on their list of the 100 Greatest Artists of All Time.[34] (Less)
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43, 04:30, 2008-04-17 15:10:32 Description: Roderick David (Rod) Stewart (Londen, 10 januari 1945) is een Britse rockzanger van Schotse herkomst, bekend om zijn rauwe bluesy stem. Hij wordt de witte met de zwarte stem genoemd of ook wel eens de (More) Roderick David (Rod) Stewart (Londen, 10 januari 1945) is een Britse rockzanger van Schotse herkomst, bekend om zijn rauwe bluesy stem. Hij wordt de witte met de zwarte stem genoemd of ook wel eens de laatste "song and dance man" vanwege zijn podiumpersoonlijkheid, zijn onstuitbaar enthousiasme tijdens live-optredens en zijn, haast, persoonlijk contact met elk mens in zijn publiek. Song and dance man is een begrip uit de tijd dat entertainment nog echt en aanraakbaar was. Rod Stewart is CBE (Commander of the order of The British Empire), een onderscheiding die hij met kerst 2006 kreeg uitgereikt door Elizabeth II voor bewezen diensten, (cultureel, artistiek en de verkoop van meer dan 300 miljoen platen) aan het Britse Koninkrijk. Hij is ook opgenomen in de Rock & Roll Hall of Fame.------------------Biografie Op jonge leeftijd wilde Stewart voetballer worden en kwam terecht bij Brentford F.C.. Al snel richtte hij zich echter op de muziek en werd straatzanger. Na enige omzwervingen door Europa (hij werd Spanje zelfs uitgezet wegens landloperij), werd hij op het station van Twickenham ontdekt door Long John Baldry. Vanaf 1964 trad hij veel op met Shotgun Express, Steampacket, Long John Baldry, Julie Driscoll en Alexis Corner. Zijn eerste opvallende plaatopname was zijn virtuoze mondharmonicaspel op het nummer My Boy Lollipop van Millie Small, een skazangeresje in 1964. Hij bleef relatief onbekend totdat hij zich in 1967 aansloot bij de Jeff Beck Group (voorloper van Led Zeppelin en vele anderen) met virtuoos gitaarspeler Jeff Beck, bassist Ron Wood en drummers Aynsley Dunbar en Micky Waller.-----------------------------The Faces The Faces (Stewart 2e van rechts In 1969 verliet hij de Jeff Beck Group om samen met Ron Wood over te stappen naar The Faces. Hij bracht in datzelfde jaar nog een soloalbum uit,"An Old Raincoat Want Ever Let You Down" en met The Faces het album "First Step". In 1970 verscheen zijn tweede soloalbum "Gasoline Alley" en met The Faces "Long Player". "Every Picture Tells a Story" uit 1971 betekende de echt grote doorbraak voor Rod Stewart en vanaf dat moment genoot hij internationale bekendheid. Toen het B-kantje Maggie May vaak op de radio werd gedraaid kreeg hij met het album en de single gelijktijdig een nummer 1 in de Verenigde Staten en in Groot-Brittanni, iets dat in de geschiedenis van de populaire muziek nooit eerder was voorgekomen en sindsdien nog door niemand is gevenaard. Het album "Every Picture Tells A Story" is opgenomen in de befaamde "Rock & Roll Hall of Fame" en bekleedt daar de zeventiende plaats in de top 500 van albums die de meeste invloed en verandering hebben teweeggebracht in de twintigste eeuw. "A Nod's As Good As A Wink To A Blind Horse", ook al uit 1971, bracht The Faces in deze tijd hun enige top 10-hit in de VS met het nummer Stay with me. In 1972 verscheen "Never A Dull Moment", Stewarts vierde soloalbum. Samen met The Faces bracht hij ook nog eens het onvolprezen "Ooh La La" uit waarop enkele pareltjes van de hand van Ronnie Lane. "Sing It Again", de verzamelaar uit 1973 had onvoldoende ruimte om de meesterwerken van de vier eerste soloalbums te herbergen. The Faces brachten dat jaar ook een verzamelaar uit, "Snakes And Ladders", waarop hun laatste nummer-1-hit in het Verenigd Koninkrijk, "Pool Hall Richard" echter waren ze toch de populairste liveband in het Verenigd Koninkrijk tot ze in 1974 uit elkaar gingen. Cindy Incidentally en Pool Hall Richard stonden er weken op de eerste plaats. In 1974 brachten The Faces ook nog "Coast To Coast-Averture and Beginners" uit, een livealbum dat hun reputatie waarmaakte.----------------------------Succesrijke soloperiode 1974 betekende voor Stewart ook zijn laatste soloalbum voor Mercury Records, het uit "Smiler" gesponnen lied "Farewell" was niet toevallig vermits Rod de grote stap over de Atlantische Oceaan reeds plande en zijn kreatiefste periode uit zijn leven afsloot om te beginnen aan zijn "lucratiefste". Het grote geld ging nu pas komen. In 1975 werd de verzamelaar van The Faces, "Snakes and Ladders" heruitgebracht in het zog van het succes van "Atlantic Crossings", het eerste soloalbum bij Warner Bros/Atlantic. De albums "An Old Raincoat", "Gasoline Alley", "Never A Dull Moment", "Smiler", "A Nod's As Good As A Wink To A Blind Horse" en "Ooh La La" kunnen gezien worden als behorende tot de belangrijkste rockalbums ooit. "Every Picture Tells A Story" hoort hier ook in thuis, en Rod Stewart nam hiermee ook zijn intrede in de gerenommeerde Rock and Roll Hall Off Fame. In tegenstelling tot wat je zou mogen aannemen was de hierna volgende periode, waarin Rod Stewart op zijn populairst was, niet zijn creatiefste. Hij had intussen onderdak gevonden bij "Warner Bros, Atlantic". Zijn contract hield in dat alle rechten op zijn songs totaal in eigen handen bleef, Warner streek enkel procenten op voor de verkoop van platen en niet voor auteursrechten, waardoor Warner zich natuurlijk dubbel zo hard inspande voor de promotie van Rods platen. Sailing uit "Atlantic Crossings" (1975), en Tonight's The Night uit "A Night On The Town", dat zestien weken op nummer 1 stond in de Amerikaanse Billboard in 1976, bevestigden toch nog het talent van Rod Stewart. Uit "Footloose And Fancy Free" (1977) stamt de rocker "Hot Legs. Aan het eind van 1978 uit het album "Blonds Have More Fun" had hij nog een hit met het nummer Do Ya Think I'm Sexy?, waarschijnlijk het meest verguisde nummer uit zijn carrire, dat wel meteen doorstootte naar de nummer-1-posities over de ganse wereld. Het bracht Rod echter geen dollar in de beurs want alle rechten werden geschonken aan het kinderfonds van "Unicef".-----------------------Jaren 80 1980 bracht nog het album "Foolish Behaviour", 1981 "Tonight I'm Your's" en in 1982 het dubbele livealbum "Absolutely Live" waar hij Tina Turner opnieuw aan het grote publiek voorstelde. Het optreden in de L.A.Forum bezorgde Tina Turner de start van haar comeback en bevestigde Rod Stewart als een van de grootste rockperformers aller tijden. Uit de tachtiger jaren herinneren we nog de albums "Body Wishes", 1983, "Camouflage", 1985, en dan weer hoopgevend "Every Beat Of My Heart", 1986, "Out Of Order", 1988, waarin hij weer helemaal terug was met de massieve hit "Infatuation". 1989 bracht de vierdelige verzamelaar "Storyteller".--------------------------Jaren 90 Daarna nam zijn productiviteit wat af en stond hij meer bekend als rockster, dan om zijn muzikale talent. Uit die periode de kwamen twee rocksongs Hot Legs en Foolish Behaviour, niet te vergeten "I Was Only Joking" een zelfreflectie met de nodige humor en emotie. In 1993 nam hij samen met Sting en Bryan Adams de hit All for Love op voor de film The Three Musketeers. Dit werd door sommige fans als een groter dieptepunt dan "Do Ya Think I'm Sexy" in zijn carrire gezien. Rod Stewart gaf in 1994 een gratis concert op het strand van Copacabana, dat meer dan 3,5 miljoen bezoekers trok. Dit werd vermeld in het Guinness Book of Records. "Unplugged And Seated" bewees in 1995 nogmaals het livetalent van Rod Stewart die een eerlijke traan niet schuwde als hij de cover van Van Morrison, "Have I Told You Lately" aan zijn toenmalige echtgenote Rachel Hunter opdroeg.-------------------------------Jaren 00 In 2002 keerde Rod terug in de top van de albumlijsten met It Had To Be You, een verzameling van oude klassiekers van Cole Porter tot Nat King Cole uit de jaren '20 en '30 . De verkoop staat op 4.200.000 exemplaren wat een unicum is in de jaren van downloaden. Geen enkele andere artiest van zijn generatie heeft hem dit nagedaan. Eind 2003 keert hij weer terug met het album As Time Goes By waarmee hij de tweede plaats bezet in de Amerikaanse en de Canadese en de eerste in de Australische albumhitlijst in november 2003. 2004 luidt voor Rod Stewart, financieel, het meest succesvolle jaar in zijn lange carrire tot nu toe in. Hij gaat op tournee in de Verenigde Staten en Canada met een volledig uitverkochte stadiontournee die loopt van januari tot augustus, getiteld "From Maggy May to the Great American Songbook". De show bestaat uit twee delen: een eerste deel van goed anderhalf uur rock, en afsluitend een half uur Amerikaanse klassiekers. Rod krijgt voor iedere avond, gemiddeld 22 avonden per maand en dit voor acht maanden, een miljoen Amerikaanse dollars binnen. Na de tour zal Rod samen met Ronnie Wood in de studio duiken voor de afwerking van hun album "You'll Strut, I'll Sing". 19 oktober 2004 verscheen de derde en laatste in de serie Great American Songbooks, genaamd "Stardust", dat meteen doorstoot naar de nummer-1-positie in de Amerikaanse albumcharts. Gasten zijn onder andere Eric Clapton, Stevie Wonder en Dolly Parton.------------------------Invloed op anderen Rod Stewart solo en vooral ook Rod Stewart samen met de Faces wordt door vele artiesten als hun grote voorbeeld genoemd, zoals o.a. Alanis Morissette, The Black Crowes, Stereophonics, Pearl Jam (die zelfs enkele riffs van de Faces geleend hebben) en zelfs Rage Against The Machine. Paul Cook en Steve Jones van de Sex Pistols hebben jaren na hun punkglorie toegegeven dat het nummer Pool Hall Richard (1973) van de hand van Rod Stewart en Ron Wood voor hun de eerste echte Britse punk-song was, de tekst Bang go the Queen, she's so obscene, her hands are dirty but her image clean, Pool Hall Richard, kid you're wicked, whe now! zegt genoeg.----------------------Privleven Rod Stewart is tweemaal getrouwd geweest en gaat na de scheiding van zijn tweede vrouw voor de derde keer in het huwelijksbootje stappen. Hij heeft zeven kinderen. Zijn eerste kind is zijn dochter Sarah Thubron (41 jaar), ze was het resultaat van een tienerromance. De moeder is Susannah Boffey. Toen Sarah geboren werd was Rod 18 jaar. Hij trouwde voor het eerst op 6 april 1976 met Alana Collins, met haar kreeg hij 2 kinderen: dochter Kimberly (geb. 21 augustus 1979) en zoon Sean (geb. 1 september 1980). Hij scheidde van haar in 1984. Op 17 juni 1987 werd Rod vader van derde dochter Ruby, haar moeder was Kelly Emberg, een toenmalige vriendin van Rod. Rod trouwde voor de 2de keer met Rachel Hunter op 15 december 1990. Met haar kreeg hij 2 kinderen: dochter Renee (geb. 1 juni 1992) en zoon Liam McAlister (geb. 4 september 1994). Op 4 juni 2005 heeft hij officieel de scheiding aangevraagd met zijn tweede vrouw. Al vanaf 1999 leven zij niet meer samen. Als hij van Rachel Hunter gescheiden is, wil hij voor de derde keer gaan trouwen, en wel met Penny Lancaster. Op 26 mei 2005 werd bekend dat Penny in verwachting is. Op 27 november 2005 werd zijn derde zoon geboren, Alastair. Op 16 juni 2007 is Rod getrouwd met Penny Lancaster in La Cervara nabij Portofino, Itali. Op de bruiloft waren ongeveer 100 familieleden en vrienden getuige van hun huwelijk. De receptie vond plaats in Santa Margherita alwaar men uitzicht had over de kust. Diner, feest en vuurwerk duurden tot in de kleine uurtjes toen het bruidspaar, dat erin slaagde hun speciale dag priv te houden, vertrokken voor een Mediterriaanse vakantie. (Less)
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32, 05:23, 2008-04-17 15:10:32 Description: Roderick David (Rod) Stewart (Londen, 10 januari 1945) is een Britse rockzanger van Schotse herkomst, bekend om zijn rauwe bluesy stem. Hij wordt de witte met de zwarte stem genoemd of ook wel eens de (More) Roderick David (Rod) Stewart (Londen, 10 januari 1945) is een Britse rockzanger van Schotse herkomst, bekend om zijn rauwe bluesy stem. Hij wordt de witte met de zwarte stem genoemd of ook wel eens de laatste "song and dance man" vanwege zijn podiumpersoonlijkheid, zijn onstuitbaar enthousiasme tijdens live-optredens en zijn, haast, persoonlijk contact met elk mens in zijn publiek. Song and dance man is een begrip uit de tijd dat entertainment nog echt en aanraakbaar was. Rod Stewart is CBE (Commander of the order of The British Empire), een onderscheiding die hij met kerst 2006 kreeg uitgereikt door Elizabeth II voor bewezen diensten, (cultureel, artistiek en de verkoop van meer dan 300 miljoen platen) aan het Britse Koninkrijk. Hij is ook opgenomen in de Rock & Roll Hall of Fame.------------------Biografie Op jonge leeftijd wilde Stewart voetballer worden en kwam terecht bij Brentford F.C.. Al snel richtte hij zich echter op de muziek en werd straatzanger. Na enige omzwervingen door Europa (hij werd Spanje zelfs uitgezet wegens landloperij), werd hij op het station van Twickenham ontdekt door Long John Baldry. Vanaf 1964 trad hij veel op met Shotgun Express, Steampacket, Long John Baldry, Julie Driscoll en Alexis Corner. Zijn eerste opvallende plaatopname was zijn virtuoze mondharmonicaspel op het nummer My Boy Lollipop van Millie Small, een skazangeresje in 1964. Hij bleef relatief onbekend totdat hij zich in 1967 aansloot bij de Jeff Beck Group (voorloper van Led Zeppelin en vele anderen) met virtuoos gitaarspeler Jeff Beck, bassist Ron Wood en drummers Aynsley Dunbar en Micky Waller.-----------------------------The Faces The Faces (Stewart 2e van rechts In 1969 verliet hij de Jeff Beck Group om samen met Ron Wood over te stappen naar The Faces. Hij bracht in datzelfde jaar nog een soloalbum uit,"An Old Raincoat Want Ever Let You Down" en met The Faces het album "First Step". In 1970 verscheen zijn tweede soloalbum "Gasoline Alley" en met The Faces "Long Player". "Every Picture Tells a Story" uit 1971 betekende de echt grote doorbraak voor Rod Stewart en vanaf dat moment genoot hij internationale bekendheid. Toen het B-kantje Maggie May vaak op de radio werd gedraaid kreeg hij met het album en de single gelijktijdig een nummer 1 in de Verenigde Staten en in Groot-Brittanni, iets dat in de geschiedenis van de populaire muziek nooit eerder was voorgekomen en sindsdien nog door niemand is gevenaard. Het album "Every Picture Tells A Story" is opgenomen in de befaamde "Rock & Roll Hall of Fame" en bekleedt daar de zeventiende plaats in de top 500 van albums die de meeste invloed en verandering hebben teweeggebracht in de twintigste eeuw. "A Nod's As Good As A Wink To A Blind Horse", ook al uit 1971, bracht The Faces in deze tijd hun enige top 10-hit in de VS met het nummer Stay with me. In 1972 verscheen "Never A Dull Moment", Stewarts vierde soloalbum. Samen met The Faces bracht hij ook nog eens het onvolprezen "Ooh La La" uit waarop enkele pareltjes van de hand van Ronnie Lane. "Sing It Again", de verzamelaar uit 1973 had onvoldoende ruimte om de meesterwerken van de vier eerste soloalbums te herbergen. The Faces brachten dat jaar ook een verzamelaar uit, "Snakes And Ladders", waarop hun laatste nummer-1-hit in het Verenigd Koninkrijk, "Pool Hall Richard" echter waren ze toch de populairste liveband in het Verenigd Koninkrijk tot ze in 1974 uit elkaar gingen. Cindy Incidentally en Pool Hall Richard stonden er weken op de eerste plaats. In 1974 brachten The Faces ook nog "Coast To Coast-Averture and Beginners" uit, een livealbum dat hun reputatie waarmaakte.----------------------------Succesrijke soloperiode 1974 betekende voor Stewart ook zijn laatste soloalbum voor Mercury Records, het uit "Smiler" gesponnen lied "Farewell" was niet toevallig vermits Rod de grote stap over de Atlantische Oceaan reeds plande en zijn kreatiefste periode uit zijn leven afsloot om te beginnen aan zijn "lucratiefste". Het grote geld ging nu pas komen. In 1975 werd de verzamelaar van The Faces, "Snakes and Ladders" heruitgebracht in het zog van het succes van "Atlantic Crossings", het eerste soloalbum bij Warner Bros/Atlantic. De albums "An Old Raincoat", "Gasoline Alley", "Never A Dull Moment", "Smiler", "A Nod's As Good As A Wink To A Blind Horse" en "Ooh La La" kunnen gezien worden als behorende tot de belangrijkste rockalbums ooit. "Every Picture Tells A Story" hoort hier ook in thuis, en Rod Stewart nam hiermee ook zijn intrede in de gerenommeerde Rock and Roll Hall Off Fame. In tegenstelling tot wat je zou mogen aannemen was de hierna volgende periode, waarin Rod Stewart op zijn populairst was, niet zijn creatiefste. Hij had intussen onderdak gevonden bij "Warner Bros, Atlantic". Zijn contract hield in dat alle rechten op zijn songs totaal in eigen handen bleef, Warner streek enkel procenten op voor de verkoop van platen en niet voor auteursrechten, waardoor Warner zich natuurlijk dubbel zo hard inspande voor de promotie van Rods platen. Sailing uit "Atlantic Crossings" (1975), en Tonight's The Night uit "A Night On The Town", dat zestien weken op nummer 1 stond in de Amerikaanse Billboard in 1976, bevestigden toch nog het talent van Rod Stewart. Uit "Footloose And Fancy Free" (1977) stamt de rocker "Hot Legs. Aan het eind van 1978 uit het album "Blonds Have More Fun" had hij nog een hit met het nummer Do Ya Think I'm Sexy?, waarschijnlijk het meest verguisde nummer uit zijn carrire, dat wel meteen doorstootte naar de nummer-1-posities over de ganse wereld. Het bracht Rod echter geen dollar in de beurs want alle rechten werden geschonken aan het kinderfonds van "Unicef".-----------------------Jaren 80 1980 bracht nog het album "Foolish Behaviour", 1981 "Tonight I'm Your's" en in 1982 het dubbele livealbum "Absolutely Live" waar hij Tina Turner opnieuw aan het grote publiek voorstelde. Het optreden in de L.A.Forum bezorgde Tina Turner de start van haar comeback en bevestigde Rod Stewart als een van de grootste rockperformers aller tijden. Uit de tachtiger jaren herinneren we nog de albums "Body Wishes", 1983, "Camouflage", 1985, en dan weer hoopgevend "Every Beat Of My Heart", 1986, "Out Of Order", 1988, waarin hij weer helemaal terug was met de massieve hit "Infatuation". 1989 bracht de vierdelige verzamelaar "Storyteller".--------------------------Jaren 90 Daarna nam zijn productiviteit wat af en stond hij meer bekend als rockster, dan om zijn muzikale talent. Uit die periode de kwamen twee rocksongs Hot Legs en Foolish Behaviour, niet te vergeten "I Was Only Joking" een zelfreflectie met de nodige humor en emotie. In 1993 nam hij samen met Sting en Bryan Adams de hit All for Love op voor de film The Three Musketeers. Dit werd door sommige fans als een groter dieptepunt dan "Do Ya Think I'm Sexy" in zijn carrire gezien. Rod Stewart gaf in 1994 een gratis concert op het strand van Copacabana, dat meer dan 3,5 miljoen bezoekers trok. Dit werd vermeld in het Guinness Book of Records. "Unplugged And Seated" bewees in 1995 nogmaals het livetalent van Rod Stewart die een eerlijke traan niet schuwde als hij de cover van Van Morrison, "Have I Told You Lately" aan zijn toenmalige echtgenote Rachel Hunter opdroeg.-------------------------------Jaren 00 In 2002 keerde Rod terug in de top van de albumlijsten met It Had To Be You, een verzameling van oude klassiekers van Cole Porter tot Nat King Cole uit de jaren '20 en '30 . De verkoop staat op 4.200.000 exemplaren wat een unicum is in de jaren van downloaden. Geen enkele andere artiest van zijn generatie heeft hem dit nagedaan. Eind 2003 keert hij weer terug met het album As Time Goes By waarmee hij de tweede plaats bezet in de Amerikaanse en de Canadese en de eerste in de Australische albumhitlijst in november 2003. 2004 luidt voor Rod Stewart, financieel, het meest succesvolle jaar in zijn lange carrire tot nu toe in. Hij gaat op tournee in de Verenigde Staten en Canada met een volledig uitverkochte stadiontournee die loopt van januari tot augustus, getiteld "From Maggy May to the Great American Songbook". De show bestaat uit twee delen: een eerste deel van goed anderhalf uur rock, en afsluitend een half uur Amerikaanse klassiekers. Rod krijgt voor iedere avond, gemiddeld 22 avonden per maand en dit voor acht maanden, een miljoen Amerikaanse dollars binnen. Na de tour zal Rod samen met Ronnie Wood in de studio duiken voor de afwerking van hun album "You'll Strut, I'll Sing". 19 oktober 2004 verscheen de derde en laatste in de serie Great American Songbooks, genaamd "Stardust", dat meteen doorstoot naar de nummer-1-positie in de Amerikaanse albumcharts. Gasten zijn onder andere Eric Clapton, Stevie Wonder en Dolly Parton.------------------------Invloed op anderen Rod Stewart solo en vooral ook Rod Stewart samen met de Faces wordt door vele artiesten als hun grote voorbeeld genoemd, zoals o.a. Alanis Morissette, The Black Crowes, Stereophonics, Pearl Jam (die zelfs enkele riffs van de Faces geleend hebben) en zelfs Rage Against The Machine. Paul Cook en Steve Jones van de Sex Pistols hebben jaren na hun punkglorie toegegeven dat het nummer Pool Hall Richard (1973) van de hand van Rod Stewart en Ron Wood voor hun de eerste echte Britse punk-song was, de tekst Bang go the Queen, she's so obscene, her hands are dirty but her image clean, Pool Hall Richard, kid you're wicked, whe now! zegt genoeg.----------------------Privleven Rod Stewart is tweemaal getrouwd geweest en gaat na de scheiding van zijn tweede vrouw voor de derde keer in het huwelijksbootje stappen. Hij heeft zeven kinderen. Zijn eerste kind is zijn dochter Sarah Thubron (41 jaar), ze was het resultaat van een tienerromance. De moeder is Susannah Boffey. Toen Sarah geboren werd was Rod 18 jaar. Hij trouwde voor het eerst op 6 april 1976 met Alana Collins, met haar kreeg hij 2 kinderen: dochter Kimberly (geb. 21 augustus 1979) en zoon Sean (geb. 1 september 1980). Hij scheidde van haar in 1984. Op 17 juni 1987 werd Rod vader van derde dochter Ruby, haar moeder was Kelly Emberg, een toenmalige vriendin van Rod. Rod trouwde voor de 2de keer met Rachel Hunter op 15 december 1990. Met haar kreeg hij 2 kinderen: dochter Renee (geb. 1 juni 1992) en zoon Liam McAlister (geb. 4 september 1994). Op 4 juni 2005 heeft hij officieel de scheiding aangevraagd met zijn tweede vrouw. Al vanaf 1999 leven zij niet meer samen. Als hij van Rachel Hunter gescheiden is, wil hij voor de derde keer gaan trouwen, en wel met Penny Lancaster. Op 26 mei 2005 werd bekend dat Penny in verwachting is. Op 27 november 2005 werd zijn derde zoon geboren, Alastair. Op 16 juni 2007 is Rod getrouwd met Penny Lancaster in La Cervara nabij Portofino, Itali. Op de bruiloft waren ongeveer 100 familieleden en vrienden getuige van hun huwelijk. De receptie vond plaats in Santa Margherita alwaar men uitzicht had over de kust. Diner, feest en vuurwerk duurden tot in de kleine uurtjes toen het bruidspaar, dat erin slaagde hun speciale dag priv te houden, vertrokken voor een Mediterriaanse vakantie. (Less)
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14, 03:32, 2008-04-09 19:57:55 Description: GeorgeBoards demonstrates the Ghost Rider Steel Guitar with C6th tuning. This was a single take with sound directly from the camera mics. George plays to a backing track that features Shane Conaway (More) GeorgeBoards demonstrates the Ghost Rider Steel Guitar with C6th tuning. This was a single take with sound directly from the camera mics. George plays to a backing track that features Shane Conaway and Brian Gurell of the OCU Jazz Lab in Edmond, OK. This tune is from the Great American Song Book. It was featured in the classic Humphry Bogart Film, Casablanca. You can hear the band playing "It Had To Be You" during the opening scene as "Mr. Rick" enters the Cafe Americana. (Less)
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7, 01:45, 2009-05-18 05:29:25 Description: A fan made trailer about the wonderful book by Carrie Ryan. See it as you will. Clips: An american haunting The forest of hands and teeth book trailer a great and terrible beauty book trailer the (More) A fan made trailer about the wonderful book by Carrie Ryan. See it as you will. Clips: An american haunting The forest of hands and teeth book trailer a great and terrible beauty book trailer the sweet far thing book trailer from hell Tess of the D'Urbervilles Song is "Prelude 12/21" by AFI I dont own anything nor claim to, so please don't sue me! (Less)
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