I’m going with “Sing Mew to Sleep.”
I’m going with “Sing Mew to Sleep.”
Kristy Marlana Wallace aka Poison Ivy.
What’s inside a girl?
Somethin’ tellin’ me there’s a whole other world.”
Paul Tanner and the Electro-Theremin.
The signature theremin sound in “Good Vibrations” was produced not by a traditional theremin but by an invention created in the late 1950s by big band trombonist Paul Tanner and actor Bob Whitsell. They called it the Electro-Theremin. It created a sound similar to the theremin, but was easier to play. Instead of passing your hands over two antennae (which required a lot of practice to get right), you would mechanically control an audio oscillator. A simpler process, but far less beguiling to watch than the traditional method of playing the theremin.
Mr. Tanner died this past week at the age of 91.
In addition to “Good Vibrations,” Tanner played his Electro-Theremin on The Beach Boys’ “I Just Wasn’t Made for These Times” and “Wild Honey,” as well as on the soundtracks of movies and TV shows (My Favorite Martian). He also recorded two albums of Electro-Theremin music: Music from Heavenly Bodies and Music from Outer Space.
Tanner’s proto-type was the only authentic Electro-Theremin ever made. He didn’t see much of a future for his instrument. He correctly read the writing on the wall: synthesizers. Therevox created a variation on Tanner’s invention that worked using the same basic principals.
To hear Paul Tanner playing the Electro-Theremin click here.
In the video below, Mike Love is playing a Moog ribbon controller, an instrument developed for the Beach Boys for the sole purpose of simulating the sound of Tanner’s invention.
It’s available on eBay. There’s a bunch of them.
The description of the mask is almost as bizarre as the mask itself:
You are purchasing a very high end very life-like silicone rubber Elvis Presley mask with attached hair and side burns. It is a perfect replica of Elvis from his “Come Back TV Special” of 1968.
Made from ultra flexible human skin-like silicone rubber.
Sideburns and eyebrows bristle like real ones and have human-like realism having been put into the rubber one-at-a-time.
The hair is a wig and is made in the same way that people wigs are made. It is attached (sewn) onto the mask.
The combination of the mask and wig cover entire head.
MASK WILL REQUIRE TRIMMING TO MAKE IT FIT WELL.
IMPORTANT NOTE: This mask is HOT AND SCRATCHY, and generally UNCOMFORTABLE and should NOT be worn more than a few minutes at a time.
ITEM is NEW-REFURBISHED—Never worn. It was removed from a new Alive Elvis robot.
Here’s a video of the Elvis robot prior to having its face ripped off.
Thanks Anne Raso.
From one space rocker to another. French band Les Rockets cover Sweden’s The Spotniks’ “Last Space Train,” keeping it all in the cosmic family. The track appeared on Les Rockets self-titled debut album released in 1976.
Versions of this clip have floated around YouTube for a while, but this one is of exceptional quality.
Andy Kershaw is a writer, a multi-award-winning broadcaster (he once shared an office with John Peel for 12 years, and has won more Sony Radio Awards than any other broadcaster, and was one of the presenters on Live Aid). He is also a foreign correspondent, who eye-witnessed and reported on the Rwandan genocide. His fearlessness as a reporter saw him banned from Malawi under the dictatorship of Dr Hastings Banda.
But that’s only part of this Lancastrian’s incredible story.
Kershaw has worked for Bruce Springsteen; was Billy Bragg’s driver, roadie and tour manager; went on a blind date with a then unknown Courtney Love (to see Motorhead); was propositioned by both Little Richard and Frankie Howerd; spent a week riding out with Sonny Barger and the Oakland Hell’s Angels; went with Red Adair and Boots Hansen to the burning oil well-heads in Kuwait in 1991; and was immortalised by Nick Hornby in High Fidelity, which was later filmed with John Cusack.
This has made Andy Kershaw a bit of a legendary figure—a kind of distant British relative to Hunter S Thompson. This and much more can be found in Kershaw’s excellent autobiography No Off Switch, which I can thoroughly recommend.
But let’s go back to 1982, when Kershaw was working for The Rolling Stones, as Andy explains by way of introduction to this extract from No Off Switch:
I had been, for the past two years, the Entertainments Secretary of Leeds University, booking all the bands and organising and running the concerts, at the largest college venue in the UK. Although non sabbatical and unpaid, I devoted all my time and energies to the job. We enjoyed a reputation - among bands, booking agents and management companies - as a highly professional operation with a long and rich history of running prestigious gigs. I had built up a good working relationship with the major UK concert promoters and, with my Leeds University stage crew, I was often hired by those companies to work on big concerts elsewhere. In the spring of 1982, I took a call in the Ents Office in the Students’ Union, from Andrew Zweck, right-hand man to Harvey Goldsmith, the UK’s biggest concert promoter at the time. “Andy,” said Andrew. “Would you like to work for the Rolling Stones this summer? And could you bring Leeds Uni’s stage crew with you?” Al, referred to in this extract, is Al Thompson, my friend and right-hand man in running the Leeds University concerts. Now read on…
Already the size of an aircraft carrier, the stage was only partially built when we arrived.
Members of Stage Crew, like the remnants of a rebel patrol, were threading their way down through the trees, into the natural bowl of Roundhay Park, and gathering behind the vast scaffolding framework.
A couple of dozen articulated lorries, and a similar number of empty flat-beds were parked up in neat lines. More were rumbling into the park.
We squinted up at the riggers, chatting and clanking, swinging and building, climbing higher on their Meccano as they worked.
“Fuck,” said Al. And we all concurred with his expert analysis.
It was an impressive erection, even for Mick Jagger. And, at that time, the biggest stage that had ever been built, anywhere in the world.
Roundhay, in Leeds, in front of 120,000 fans, was to be the final date on the Rolling Stones European Tour, 1982, which broke records, set standards and established precedents on a scale never seen before. The logistics alone were mind-boggling.
If the scale of the infrastructure being unloaded before our eyes in Roundhay was extraordinary, there had to be - for the Stones to play a handful of consecutive dates in new locations - three of these set-ups on the road, and leap-frogging each other, at the same time: one under construction, a second ready for the gig; and a third being dismantled following the previous performance. We were just a fraction of the total operation.
To meet the backstage requirements at Roundhay, I was to be in charge of those logistics and grandly titled, for the next three weeks, Backstage Labour Co-ordinator.
It was reassuring to find a couple of familiar and friendly faces in the Portakabin offices which had been plonked down overlooking the grassy slope of what would become the backstage area. Andrew Zweck from Goldsmith’s office, and Harvey’s earthly representative during the build-up at Leeds, is a bluff, blond Australian with a reputation for getting things done. Uncommonly, for the music business, Andrew is good-humoured and devoid of self-importance. Similarly, Paul Crockford – Andrew’s assistant for the Roundhay gig.
Dear old Crockers was about the only bloke in the music industry that I actually considered to be a pal. Just a few years old than me, and a former Ents Sec at Southampton, he was now working in a freelance capacity for Harvey Goldsmith’s concert promotion company.
A tour of the Rolling Stones magnitude had required the UK’s biggest promoter to be co-opted as the British servant of the the overall mastermind of the enterprise, the legendary hippy impresario and pioneer, Bill Graham. In fact, this Rolling Stones adventure – taking in Europe and the States over two years - was the first time one promoter had staged a whole tour, globally. Graham’s experiment with the Stones, in 1981-2, would become the model for the industry in years to come. For the moment, however, in this previously uncharted territory, Graham and Goldsmith were making it up as they went along.
Crockers - even when he was ripping me off, selling me bands for the University - is always huge fun. Like Andrew Zweck, he doesn’t know how to be pompous. And like me, Crockers is amused most by the ridiculous and the absurd. This was to be a quality we would find indispensable over the following couple of weeks.
“That’s your desk,” said Andrew, pointing to a freshly-acquired bargain, in simulated teak finish, from some second-hand office supplies outlet. My position was in the middle of our HQ, handily by the door, and with a window overlooking the side of the stage and the slope leading down to where the dressing rooms and band’s hospitality area hadn’t yet been built. I could keep an eye on everything.
Crockers dumped in front me a telephone, a heavy new ledger and a cash box containing five hundred pounds before briefly outlining the mysteries of double-entry book keeping.
It started to rain.
A stocky, bearded little bloke soon popped up at the door.
“Hey, you,” he said. “Who’s the guy around here in charge of all the purchases.” The accent was American.
“Me,” I said. “Mine name’s Andy. Who are you?”
“Magruder,” he snapped, as though he was a brand. And one that I should recognise.
“What’s your job here?” I asked.
“Site Co-ordinator, Rolling Stones.” It crossed my mind it was unlikely he’d have been there for The Tremeloes. “Get me fifty pairs of Hunter’s boots and fifty waterproof capes,” he snapped.
And he was gone.
More from The Rolling Stones Guide to Painting & Decorating, after the jump…
With kind thanks to Andy Kershaw
Claiming to be from Seton Hall University in South Orange, NJ.
I do agree with their strict termination policy, tho.
Click here to read larger image.
Cancelled by CBS only 90 seconds into the first episode, “The Gary Show” was the pioneering tale of a large, dim-witted boy who loved breakfast cereal.
LearnFoTainment is proud to have picked up the entire syndication package for the unheard of price of $16, some grape Kool-Aid, and a box of Swingline 49 staples.
My wife was laughing her head off about this earlier and she sent it to me and then I laughed so hard that I cried. Now it’s your turn.
The genius behind this goes by the moniker of Clarington Shpoo. I don’t think that’s his real name, though.
More Small Dads here.
A few more after the jump…
If there is a Hell, Roger Mahoney will spend all of eternity roasting in it
The Los Angeles archdiocese is broke and still paying off a $175-million loan it received to pay victims of child molester priests in a civil settlement agreement six years ago. But they’ve got a plan.
In the midst of renewed public outrage over its handling of the priest molestation cases, the Los Angeles Archdiocese is considering a $200-million fund-raising campaign. The archdiocese has hired a New York company, Guidance in Giving, to study the feasibility of a capital campaign that would shore up the church’s finances.
The archdiocese is $80 million in debt, according to a recent church financial report. In 2007, the archdiocese agreed to a record $600-million settlement with with over 500 alleged victims of priest abuse. The consultants conducting the six-month study are interviewing every pastor in the archdiocese, as well as lay leaders.
A spokesman for the church said initial feedback has been “very positive.” The funds used would “be put into various endowments earmarked to support the pastoral priorities of the archdiocese, as well as for the general repair and upkeep of our parish churches and schools,” spokesman Tod Tamberg said in a statement. The campaign would be the archdiocese’s first in 60 years.
I’m sure it will be a resounding success! Why of course an organization that has recently agreed to an over half a billion dollar payoff to 508 victims of predatory priests should feel “very positive” about the prospects of raising that much money!
How many people would think, “Oh those guy are all right. They’re just tryin’ to put their kiddie fiddling days behind ‘em. Where’s my checkbook, I want to show my support”?
The Los Angeles Archdiocese posted 12,000 pages of priest personnel files online that revealed many instances of high Church officials covering up for the priest abusers.