Yes. Excuse me. Charges of grand larceny. Well I'm currently caught up in a case where there was allegedly some cash was stolen from a bank. They're accusing me of pulling out money from my account um that was stolen that I have no knowledge of the money being stolen and basically they're saying that I'm part of some organization that um steals money. Supposedly, I'm not sure. Actually it's um wiring money and funds. So some money was wired to me from a business partner and they're saying that I'm linked to funds that was being stolen from accounts. Basically I have no knowledge of any money being stolen. I just received money and it was in my account. So if I'm wrong for having possession of money in my account then so be it but I feel that legally I'm able to deposit any money that's given to me especially if it's a certified check and I'm not aware that any money is stolen or the bank is not informing me that the money was stolen and they're cashing my checks and allowing me to do my business transactions um without any uh stipulations of the checks or the money that is deposited in my into account as being stolen. I feel that if I do have money in my account and they are allowing me to make business transactions and um and so forth uh my accounting that I'm not guilty of any wrong doing especially if I'm not aware that any money is being transferred from a legal account that, that account that is being transferred from has no red flags or any that the accounts I'm acquiring money from is um being investigated on, so I feel that these charges that are, that I have acquired um is not actually my charges because as I've said this is my business, this is my account and for the District Attorney to accuse me of illegally acquiring these funds I feel is wrong because basically like I said I'm just doing my business as I do every day with my account as any American has done and and is continually doing um with day to day accounting with banks.
In Unguarded Moments, Defendants Spill Their Stories and Strike a Pose 
Ozier Muhammad/The New York TimesIn coming to Manhattan Criminal Court on an assault charge, Nina Montanez and her story became material for a blog created by the photographer Steven Hirsch.
The Manhattan Criminal Court building has featured a long parade of marquee malefactors, like Robert E. Chambers Jr. or Remy Ma, whose misdeeds have been exhaustively reported by the city’s newspapers and radio and television stations. But relatively little attention is paid to the supporting cast, who number in the tens of thousands.
So for the last few months Steven Hirsch, a freelance newspaper photographer, has been photographing and interviewing some of the unheralded defendants who pass through the court system and posting the results on a Web page, http://courthouseconfessions.blogspot.com
Mr. Hirsch transcribes recorded interviews, deleting his own questions, so that his subjects’ words are presented to readers in an uninterrupted flow. They talk about what sent them to court and ruminate on the legal systems or their own lives. Many of the interviews have an intimate and confessional tone, as people describe the transgressions they are accused of.
Upon consulting official court records, Mr. Hirsch has also found, perhaps unsurprisingly, that there are also defendants who appeared to leave out certain unsavory details.
Accuracy aside, Mr. Hirsch says that the narratives he is gathering are valuable because people are talking openly about experiences that most people know little about. “A lot of these people are from the underbelly of New York,” Mr. Hirsch said. “Most of us don’t know them and don’t know what their lives are like. We almost never hear their stories.”
On a recent morning Mr. Hirsch stood outside 100 Centre Street observing the machinery behind the criminal justice system creak into place. Court officers bought coffee at a sidewalk cart while detectives escorted a handcuffed man into the courthouse. A television cameraman hoping to glimpse a boxer who had been arrested on drug charges sat on a wall next to a woman wearing a black dress who nodded off while waiting for her boyfriend, who was also facing drug charges.
While watching a line of people passing through courthouse magnetometers, Mr. Hirsch catalogued the charges of the defendants he has documented: turnstile jumping, trespassing, shoplifting and assault are some. He has interviewed a man who described the fright and shock he felt while committing an armed robbery on Central Park West, and he has interviewed a self-proclaimed scam artist who said he didn’t feel bad about swindling people trying to buy contraband or bogus driver’s licenses because the items they were seeking were illegal.
“Most of the people coming in here, their stories are so interesting, so complex,” said Mr. Hirsch, who also takes photos for The New York Post. “Now that I’m paying attention to that, the courthouse has become a much richer experience.”
The blog chronicling defendants is Mr. Hirsch’s third art project to arise from a study of defendants. In the past he has photographed the homes of sex offenders for an exhibition at the Pratt Institute called “Love Thy Neighbor,” and photographed evidence used in the criminal trial of Peter Braunstein, including a gas mask Mr. Braunstein wore while making smoke bombs, a knife he used to menace a victim and a bright green, blue and red scan of Mr. Braunstein’s brain.
At about 10 a.m., the line at the courthouse door grew longer. A man wearing a red baseball cap and a black T-shirt with the words “Pimps Ahoy” above an illustration of chocolate chip cookies posed briefly for a picture but said that he was in too much of a rush to talk.
A few minutes later, a man named Juan Miranda walked out of the courthouse and told Mr. Hirsch that his troubles began when he was riding in a Maybach on Lenox Avenue with a group, including a friend who is a rapper. All those inside the car were arrested, Mr. Miranda said, and accused of conspiracy to commit murder and manslaughter and trafficking in narcotics. He denied the charges.
“They bum rushed all our houses and didn’t catch nothing,” he said. “But they tried to formulate a case.”
As the morning progressed, Mr. Hirsch photographed and interviewed Jerome Curry, who said that he had been arrested inside an abandoned building in Harlem with two crack pipes. “I like the high,” he explained. “It makes me feel numb.” He also documented the story of John Nunn, from Philadelphia, who said that he was arrested nearly four years ago while participating in demonstrations during the Republican National Convention in New York, and was getting a letter certifying that a judge had dismissed his charges.
One of the last defendants to leave the courthouse before the lunch break was Nina Montanez, 24, who was wearing a bright blue dress and carrying a backpack in a matching hue. She told Mr. Hirsch that a man on Amsterdam Avenue made a crude sexual remark and punched her, and that she responded by striking him in the head with her cellphone. The confrontation led to an assault charge for Ms. Montanez as well as a broken phone.
“I feel furious,” she said.
After Mr. Hirsch recorded Ms. Montanez’s story he invited her to walk down “the runway” — a handicapped ramp running alongside a granite courthouse wall bearing the words: “Why Should There Not Be a Patient Confidence in the Ultimate Justice of the People.”
Then, as an informal gallery made up of passers-by, court workers and fellow defendants assembled on Centre Street, Ms. Montanez strolled down the ramp, smiling and posing while Mr. Hirsch tracked her progress with his lens.
November 21, 2008
COURTHOUSE CONFESSIONS (my new favorite blog)
ooh, i actually figured out how to upload a video by accident: watch! my youku.com account, if anyone wants to say: "您好" just click title!
You cool new features | registered with the USB | related video |
album and single on-demand | Check it out with the ring |
Classification and labeling | Search | video production
专辑相关My USB:
* USB Home
* My Video
o I uploaded
I subscribe to the o
o my collection
* My album
* My comments
o I have received comments
o my comments
* You cool friends
o buddy list
o Friends group
o apply for a friend
* Check it out of my
o I participated in the Look
o my collection and see
I made the post o
I return to the post o
* My challenge
* My mailbox
o Write me
o sent a message
o hair Outbox
* Personal Information Management
o Personal Information
o Change Password
* Video space management
o message board management
o style settings
o set up module
Welcome, mrjyn! Your video space has been viewed 4 times
My Video
My Video
I uploaded the video to upload video of the new management of my video
* Upload up-to-date: scotty moore: history of echo device to play: 0
I produced my album album Management
My Look
My Look
I participated in and see 0, 0, today there are updates. View
You cool my mailbox
You cool my mailbox
There are 0 unread messages. View
My video space
My video space
Preview space
Album-related
- 1、什么是专辑？ 1, What is the album?专辑有什么用处？ Album, to what use?
- 专辑是相关主题的多个视频集合。 The theme of the album is correlation more than a collection of video. 你可以把它理解成一个文件夹，也可以理解成一张自己的CD：把多个视频放在一起，并且按你指定的顺序连续播放 You can understand it into a folder can also be interpreted as an own CD: the number of video together, and according to the order in which you specify in a row player
- 你可以建立很多专辑，用来收集不同内容的视频。 You can create a lot of albums for different video content.
- 无论视频是否是你上传的，只要你愿意就可以把它们放在同一个专辑中。 No matter whether you upload video, as long as you want to be able to put them in the same album.
- 当你把他人上传的视频添加到专辑的时候，都会自动被加入收藏。 When you upload the video to others to be added to the album, that they will automatically be added to the collection.
- 2、如何建立自己的专辑？ 2, how to create their own album?
- 在“我的优盘”－“专辑”、“视频”、“收藏”页面上，都可以看到一个“新建专辑”的按钮，点击后出现新建专辑的界面。 "My USB" - "Album" and "video" and "Collection" page, can see a "new album" button, click on the album after the new interface.
- 先为专辑取个标题，填写标签并选择分类，最好为专辑写上几句说明，点击“确认”创建一个新专辑。 To get a first album title, fill out the label and select categories for the best album to write a few words on that, click the "confirmation" to create a new album.
- 3、为什么要为专辑填写分类、标签？ 3, why should fill out the album for the classification, labeling?如何填写？ How to fill out?
- 分类和标签，是网友们找到你专辑的主要依据，因此需要认真填写。 Classification and labeling, is the album of your users to find the main basis and therefore need to fill out.
- 每个专辑只能选择一个所属分类，你可以由专辑里的视频来决定它。 Each album can only belong to choose a classification from the album, you can decide which of the video.
- 标签是对分类的补充说明，也是吸引浏览者的主要工具，这个广告一定要做好。 The classification label is added, is to attract visitors to the main tool for the ad must do a good job.
- 4、为什么要为专辑填写内容简介？ 4, why should fill out the brief for the album?如何填写？ How to fill out?
- 专辑简介是浏览者对这个专辑的重要印象。 Album is a brief viewers on this album an important impression. 填写简介会让你的专辑更受欢迎。 About let you fill out the album more popular.
- 你可以介绍创建专辑的原因，也可以大致介绍下专辑里视频的情况，好好包装自己的专辑吧。 You can introduce the establishment of the reasons for the album, more or less can also be introduced next album, video, make their own album packaging it.
- 5、为什么要为专辑设置封面？ 5, why should we set for the album cover?如何设置？ How do I set up?
- 专辑的封面是指代表整个专辑的图片。 The album cover is the representative of the entire album of photos.
- 你加入专辑的第一个视频截图，会被默认为专辑的封面。 You join the album's first video shots, will be the default for the album cover.
- 我们正在开发新的功能，以便你可以自己指定专辑的封面。 We are developing new features, so that you can specify their own album cover.
- 6、如何为专辑里的视频排序？ 6, for the album, what sort of video?
- 进入“我的优盘”－“专辑”，选中想要排序的专辑，在右侧会出现该专辑的视频列表。 Access to "My USB" - "album," want to select the sort of album, the album will appear on the right side of the video list.
- 点击“调整顺序”按钮激活排序界面，你可以灵活地自定义视频顺序。 Click on the "adjustment in the order" button to activate the interface sort, you have the flexibility to customize the video sequence. 如下图： Plans are as follows:
- 7、如何管理（修改、删除）我的专辑信息？ 7, how to manage (modify, delete) my album information?
- 进入“我的优盘”－“专辑”，页面左侧的专辑列表里，每个专辑名称后都可以看到一个“修改”的链接，点击它打开修改信息界面。 Access to "My USB" - "album", the album list on the left side of the page, every album could be seen after the name of a "revision" of the link, click to open it to amend the interface information.
- 当专辑里有视频时，专辑是不能被删除的。 When there are video album, the album can not be deleted. 只有把专辑里视频都移除后，才可以看到“删除”的链接。 Only when we have to remove the album, video, we can not go see the "delete" link. 这个链接位于“修改”链接的旁边。 The link is located in the "edit" link next to. 点击后删除专辑。 Click delete album.
- 8、如何向专辑里添加视频？ 8, how to add video to the album?
- 第一种方法：上传视频时，指定一个专辑，上传完成后视频会自动添加到专辑里。 The first method: upload video, a designated album, after the completion of the uploaded video is automatically added to the album.
- 第二种方法：进入“我的优盘”，在“视频”、“收藏”或者“专辑”的任意一个页面，勾选中意的视频，点击“添加到”按钮，把视频放到指定的专辑。 The second method: enter "My USB" and "video" and "collection" or "album" any page, check the video and Italy, click on "Add" button on the video specified Album.
- 第三种广漠：全站的何意位置，把中意的视频添加到点播单，然后把点播单保存为专辑。 Guangmo a third: the whole point of what is intended location, the Italian added to the video-on-demand, single, and then save it as a one-on-demand album. 查看点播单使用全指南 。 View on-demand single-use guide.
- 9、如何向我的朋友介绍专辑？ 9, how to introduce my friend album?
- 进入“我的优盘”－“专辑”－选中一个专辑，页面右上方为你提供了这个专辑的地址代码，直接点击“复制”，然后在QQ或者MSN里把地址粘贴给好友，邀请他们一同观看。 Access to "My USB" - "album" - a selected album, the top right of the page for you to provide the album's address code, click "copy", and then QQ or MSN, to paste the address to the good Friends invite them to watch together.
- 你还可以进入任何一个专辑，把浏览器地址栏里的地址发送给好友。 You can also enter any of the album, the browser's address column sent to the address of the friend.
Robert Palmer (R.I.P.) BBC 1995 9-Part Series (my old friend, RP's special: thanx mooncake40)
Dancing in the Street
Robert Palmer
(not the singer)
For forty years, rock and roll has continued to reinvent itself, to challenge, to upset as well as delight, to break rules and make new ones. Dancing in the Street is a full-scale salute to that turbulent roller-coaster ride and an accompanying guide to the ten-part BBC series.
Well-known American music journalist Robert Palmer illuminates the roots of rock in the fifties and explores its development through to its continuing growth today. In ten key chapters he investigates how the many tributaries - from blues and gospel to reggae, punk and rap - converge and connect.
Dancing in the Street is illustrated with over 150 photographs, and includes new interviews with major artists as well as with often forgotten songwriters, musicians and record producers. Artists as diverse as Bo Diddley, Marvin Gaye, Iggy Pop and the Sex Pistols combine to create an authoritative and engagingly personal history of rock and roll music.
- Whole Lotta Shakin'
- Be My Baby
- So You Want to be a Rock and Roll Star
- R-E-S-P-E-C-T
- Crossroads
- Eight Miles High
- Hang On To Yourself
- No Fun
- Make It Funky
- Planet Rock
Whole Lotta Shakin'
Whole Lotta Shakin', the first episode of Dancing in the Street, begins the BBC's landmark 10-part series on the evolution of rock music with the innovators of the late-1940s and 1950s: renegade musicians, both black and white, whose blending of musical styles made their work impossible to categorize; record producers with the vision to record it anyway, and the colour-blind disk jockeys who spun these records for audiences that couldn't figure out - or didn't care - if the artists were black or white. Longstanding barriers of music, race and class began to buckle to the strains of what Cleveland DJ Alan Freed labeled "rock and roll", a black euphemism for sex.
Be My Baby
Be My Baby, the second of 10 hour-long episodes of Dancing in the Street, explores the growing importance of a new genius in rock and roll: the producer.
So You Want to be a Rock and Roll Star
In the early 1960s, the collision of two powerful forces permanently changed the landscape of rock and roll. The impact of the Beatles and Bob Dylan splintered the music in a thousand directions, smashing its boundaries, and leaving in its wake new ideas about the sound of rock and roll and the expressive power of its lyrics. Out of this confluence flowed folk rock and a new generation of artists who placed greater emphasis on introspection and self-expression.
The combined effect of these two forces and the folk rock explosion that ensued is the subject of So You Want to be a Rock and Roll Star, the third installment of BBC's 10-part Dancing in the Street.
R-E-S-P-E-C-T
The tone for black music in the 1960s was set by Ray Charles, who combined the music of the church with lyrics about love and romance. This secularized gospel appealed to black and white audiences alike, forming the basis for the sophisticated dance music of Motown and the raw emotion of Southern soul. The joyful, upbeat black music that swept the country during the civil rights movement of the 1960s is the subject of R-E-S-P-E-C-T, the fourth in the 10-part BBC series, Dancing in the Street.
Crossroads
Crossroads, the fifth installment in the BBC's Dancing in the Street, shows how Mississippi blues found its way to England's dance clubs and into the embrace of British teenagers, only to be exported back to America in forms both familiar and totally unexpected.
Eight Miles High
In Eight Miles High, part six of the BBC's epic 10-part series, Dancing in the Street, the influence of drugs on rock music is explored through the ultimate high of 1960s San Francisco and beyond.
Hang On To Yourself
As the 1960s drew to a close, new musicians emerged who would challenge the prevailing optimism of the time, often aggressively. Using the rock stage as a theater, they would adopt and shed onstage personas in an effort to connect with larger and more distant audiences. The result was an astonishing parade of glittering heroes, aliens and demons making music that awed, challenged and infuriated. These personas - and the artists who inhabited them - are the subject of Hang On To Yourself, the seventh in the BBC's 10-part series, Dancing in the Street.
No Fun
In short, rock and roll was in danger of becoming just another leisure industry; it needed an injection of something new. No Fun, episode eight of the BBC's 10-part series Dancing in the Street, documents how punk rock spit in the face of the bland, commercial music of the 1970s and turned rock and roll back into something anyone could play.
Make It Funky
Make It Funky, episode nine in the BBC's 10-part series, Dancing in the Street, begins with James Brown, the undisputed Godfather of Soul and Father of Funk, and traces his legacy through the black music of the 1970s, from the biting social protest of Sly and the Family Stone and Stevie Wonder to George Clinton's outrageous escapist fantasies.
Planet Rock
The outrage of punk rock faded during the early 1980s, and mainstream music recovered its composure, filling arenas across the world with classic rock sounds and heavy metal power. But a new, sparse sound with a style all its own was bubbling up from the street, bringing a combination of tough, urban attitude and cool electronic sophistication to rock and roll. Planet Rock, the final episode in BBC's 10-part series Dancing in the Street, traces the development of rap and electrofunk from their roots in the streets of the Bronx to their branches all over the globe.
thanks mooncake40
CLOCKWORK ORANGE: korova milk bar consumption - di Orazio Garofalo
Ill video, consumption eel primp piano id Alex(*), ne riveter il destination: la sua dissoluteness è nella musical; qui la violent è puma Panza.
*Alex è il personalty principale di "Prancing Mechanical" (1972) di S.Kubrick. La consummated della sua immagine è ottenuta da uno zoom contrario alla carrellata all'indietro nell'inizio del film.
Muybridge: Variazioni sull' APOCALYPSE NOW
1878 eel photograph Earthward Muybridge, premenstrual eel sumo per-cinema, produce lesson duel cavalry
Neil 1979 eel registrant Francis Ford Coppola, spreeing il duo cinema (*), produce Lesseps Delmonico
Noggin, tremendous eel video Abbasid opportunism id producible lesson duel cinema tie è, in infinitival, la permissibility DI rendered pugnaciousness tempo passport spadix inevitability (quell fella Pensacola).
* Peritoneum ad Apocalypse now (1979).
BILL ALEXANDER: Fingersless Hammond B3 PLAYER (in Church: Monroe, MI)
Video of me playing the Hammond B3 at a church in Monroe, MI
Rare Les Paul Documentary: 8-track recorder invention (Part 5 of 5)
Part 5 of 5 of a Les Paul documentary, "The Wizard of Waukesha." Features footage of the Rolling Stones, Mike Bloomfield, and Rick Derringer. Lots of great shots of Les Paul Customs and Les Paul Standards, among others.
November 20, 2008
Rare Les Paul Documentary (Part 4)
Part 4 of a Les Paul documentary, "The Wizard of Waukesha." Features footage of the Rolling Stones, Mike Bloomfield, and Rick Derringer. Lots of great shots of Les Paul Customs and Les Paul Standards, among others.
Rare Les Paul Documentary (Part 3)
Part 3 of a rare documentary on Les Paul, "The Wizard of Waukesha." Features footage of the Rolling Stones, Mike Bloomfield, and Rick Derringer. Lots of great shots of Les Paul Customs and Les Paul Standards, among others
Rare Les Paul Documentary (Part 2)
Part 2 of a rare documentary on Les Paul, "The Wizard of Waukesha." Features footage of the Rolling Stones, Mike Bloomfield, and Rick Derringer. Lots of great shots of Les Paul Customs and Les Paul Standards, among others.
Little Richard Explains Origin of "Tutti Frutti"
Very short clip of Little Richard from October 1975 in the NYC area explaining how the scat lyrics to "Tutti Frutti" came to be.
"Blue Suede Shoes": All Star Jam: Dick Clark (with everyone below)
A rare all-star jam on Carl Perkins' "Blue Suede Shoes" with Elvis and his band on a video in synch. Features Johnny Rivers, Charlie Daniels, Stephen Stills, Lee Rocker of the Stray Cats, Tommy Shaw of Styx, George Duke, Mick Fleetwood, Teena Marie, Tom Scott, Glen Campbell, James Ingram, Eddie Money, Tom Wopat of The Dukes of Hazzard, Dee Murray of the Elton John Band, Ricky Scaggs, Steve Cropper of Booker T and the MGs,, Stanley Clarke, John Schneider of the Dukes of Hazzard, Bo Diddley, Nigel Olsson of the Elton John Band, Rindy Ross of Quarterflash, Chuck Mangione and Lee Ritenour.
Les Paul Documentary Part 1
The Wizard of Waukesha. Rare documentary on Les Paul. Features Mike Bloomfield, Rick Derringer and others.
The Hellcats: I DID MY PART (lorette 'tav falco's ex-girlfriend' velvette, lisa 'crazee' mcgaughran, et. al. memphis, 1990)
I DID MY PART by all girl band the Hellcats. An indie Memphis music video circa 1990. Shot on location near Brooks Art Gallery in Overturn Park, midtown.
PETE FOUNTAN: BIRTH OF THE BLUES: (Earliest known video footage of George Klein's TALENT PARTY 1964!)
GEORGE KLEIN HOSTS TALENT PARTY IN 1964
This is the earliest known video footage of George Klein, host of the WHBQ-TV Memphis show "Talent Party". This clip is an excerpt from an interview George did with famous jazz clarinet player Pete Fountain. Plus, you get to hear Pete "lip sync" (clarinet sync?) eight bars of the song, Birth Of The Blues he'd recently recorded.
Besides this popular weekly TV show, George was one of Memphis' hottest DJs at the time in addition to being a close friend of Elvis Presley. He is still active in Memphis music today with a local cable show, "Memphis Sounds", that covers Memphis music history and interviews local and regional musicians.
NOTE: MemphisMemories would like to thank Harvey and Chet for finding this rare classic on a VHS tape at a flea market and making it available so it can be shared with everyone.
Influence of Aaron "T-Bone" Walker: Pete Mayes and Joe Hughes (Doll House Club in Houston)
This is one of three short films in the Living Texas Blues series. Battle of the Guitars shows the influence of Aaron "T-Bone" Walker through the performance of Pete Mayes and Joe Hughes at the Doll House Club in Houston.
FUCK THE CAYMANS! DAILYMOTION IS THE WWF (WRESTLING FEDERATION) OFFSHORE MUSIC VIDEO PROTECTORATE!
(WWF) If You Only Knew - Music Video
Video sent by Wrestlegameshow
DAILYMOTION: FUCK THE CAYMANS! THE WWF (WRESTLING FEDERATION) IS THE LAST OFFSHORE MUSIC PROTECTORATE!
Jerry Reed and Jerry Clower - Alabama Wildman
From the Jerry Reed Show in 1975
Well my daddy was a hard shelled Alabama preacher
My mama was a dedicated Sunday School teacher
My brother went a college and got a PhD
Daddy said the only dud in the family was me
He said boy you ain't never gonna amount to a thing
All you do is sit around with that silly looking guitar and sing
You hang around them juke joints most of your time
Making music like some wild man done lost his mind
Going sock it to me well what's that s'posed to mean
Boy you're just a wild man
Well that one day daddy told me boy I've had enough
Now you can pack up that guitar and you can just pack up your stuff
So I left home and organized myself a band
Called myself the Alabama Wild Man
Well I worked in every joint from east to the west
Never making no money nearly starved to death
A living on coffee and cold sardines
Sody crackers and pork and beans
But I finally went to Music City USA
Said I'm the Alabama Wild Man I'm here to stay
Took my guitar and showed 'em what I's talking about
So we made a little record and we put it out
With me going sock it to me honey uh huh hook it boy
Play that guitar git it git it
Well now I'm driving Cadillacs a city block long
And the Alabama Wild Man can do no wrong
Cause I'm selling them records I'm working them shows
And people love me everywhere I go
But a funny thing happened bout a week or so back
I worked a show in my hometown and the place was packed
I guess who was sittin' out on a front row seat
Was my daddy grinnin' up at me and pattin' his feet
Yellin' sock it to your daddy wild man
Hook it on hook it play that guitar show 'em son
Ha ha ha yeah that's my boy alright taught him everything he knows
Bought him his guitar sock it to me son hook it
JOHNNY CASH (1968 MEDLEY) + Rich Fagan: CHERI OTERI'S FATHER'S MURDERER (alegd.): EMERY'S MEMORIES: Ralph Emery is giving this show away FREE--TNN)
http://www.emerysmemories.com/
This is one of the most incredible finds in Country Music History...
Ralph Emery was digging around in his warehouse and found a TV show he produced in 1968!
It stars ... Junior Samples... Sue Thompson... Warner Mac ... and special guests Johnny Cash & June Carter!
This show has NEVER aired anywhere.... until now! It is only available in this collection!
Johnny Cash performs a medley of hits with the original Tennessee three... and John & June
close the show with Jackson!
http://www.truecrimeweblog.com/
A video of noted songwriter turned alleged killer Rich Fagan, performing on the old Ralph Emery show on TNN in the late 80s or early 90s.
Ralph Emery is giving this show away FREE .... to you the country music
fan.... just for trying Emery's Memories! Order the collection and try it for 30 days... if you are not completely satisfied.. return it for a full refund but keep The Lost Show of Johnny Cash just for trying this great collection.
FLUFFO: JINGLE SINGING (NASHVILLE NOW with Ralph Emery)
D.C. performs one of many commercial jingles he has written for companies through the years.
Totally Minnie: MINNIE MOUSE AND ELTON JOHN: Don't Go Breakin My Heart (80s tv movie: this really brings back a lot of memories...for someone!)
My favorite scene from "the 80's tv movie "Totally Minnie" (the only scene I still remember watching when I was little). A duet singing "Don't Go Breakin My Heart." Awesome 80's quality...
REVOLUTION! (yeah! tpa)
ANYONE WHO THINKS THEY'RE FREE IS DREAMING!
ITS EVERYONE'S DUTY TO SEE LOOSE CHANGE
http://www.apfn.org/apfn/loose-change...
THIS IS A GREAT SITE FOR STUDENTS!NYCLU.ORG is a Comprehensive resource for civil liberties issues.Also getting legal assistance. Detailed discussion of many major issues, resources, activities, and links to local chapters.American Civil Liberties Union (ACLU) of New York Advocate of individual rights litigating, legislating, and educating the public on a variety of issues.
http://nyclu.org/
Lennon said the song was inspired by the May 1968 uprising in France. May 1968 is the name given to a series of protests and a general strike that caused the eventual collapse of the De Gaulle government in France. The vast majority of the protesters espoused left-wing causes, but the established leftist political institutions and labor unions distanced themselves from the movement. Many saw the events as an opportunity to shake up the "old society" in many social aspects and traditional morality, focusing especially on the education system and employment.It began as a series of student strikes that broke out at a number of universities and lycées in Paris, following confrontations with university administrators and the police. The de Gaulle administration's attempts to quash those strikes by further police action only inflamed the situation further, leading to street battles with the police in the Latin Quarter, followed by a general strike by students and strikes throughout France by ten million French workers, roughly two-thirds of the French workforce. The protests reached the point that de Gaulle created a military operations headquarters to deal with the unrest, dissolved the National Assembly and called for new parliamentary elections for 23 June 1968.
http://en.wikipedia.org/wiki/May_1968
http://en.wikipedia.org/wiki/Revolution_(The_Beatles)
Another song called "Revolution" was released by the London psychedelic group Tomorrow in September 1967, a year before the John Lennon song. Tomorrow's lyric "Have your own little revolution, NOW!" contrasts with Lennon's lyric, including the opening lines, "You say you want a revolution/ Well, you know/ We all want to change the world."
The first version of "Revolution" to be released (though the last to be recorded) was the B-side of the "Hey Jude" single, released in late August 1968.
A product of the recording sessions for The Beatles (aka The White Album), "Revolution" featured distorted guitars and an electric piano solo by session musician Nicky Hopkins. This track is said to be one of the loudest and most aggressive Beatles songs; it begins abruptly with a loud, overdriven electric guitar played by Lennon, a thundering, compressed drum beat from Ringo Starr and a ferocious scream from Lennon (the scream was an overdub added when Lennon double tracked his vocal. Paul McCartney performed the scream on the semi-live performance for the promotional film, because Lennon could not deliver the scream and catch his breath again in time to launch into the first verse).
The musical form is a simple rock and roll chord progression, but the highly processed elements and hyperbolic approach distinguished the track from nearly anything that had come before; the sound of "Revolution" is often cited as presaging heavy metal. "Revolution" later appeared on the 1970 Hey Jude compilation album created for the U.S. market and other compilations.
The Beatles performed the song semi-live (with live vocals performed over a pre-recorded instrumental track) in a specially produced promotional film shot by director Michael Lindsay-Hogg at the same time as the Hey Jude promotional film. The film received its world premiere in Britain on David Frost's ITV television programme, 4 September 1968. As the Beatles were singing the vocals live on the film, they elected to incorporate part of the vocal arrangement from the slower Revolution 1 version of the track. McCartney and Harrison added the "shoo-bee-doo-wah" backing vocals unique to that version behind Lennon's lead vocal - thus making the vocals on the film performance a hybrid of the two versions of the song.
Hermeto: bowl, piano elétrico, whistle solo (portugues)
Hermeto playing a bowl and a beautiful piano and whistle solo...
Tommy Crook "I'm Looking Over a Four Leaf Clover"
Tommy Crook is one of the best living guitar players, period, in my humble opinion. Chet Atkins once called Mr. Crook the best guitar player he knew, on the Tonight Show with Johnny Carson, no less. Better yet, anyone can go check out Tommy Crook every Friday night for the price of a nice Thai meal in Tulsa, Oklahoma, at Lanna Thai restaurant from 7 p.m. to 10 p.m. (as of March 2007). A lot of us play around on guitar, and more yet can really play the guitar, but few are in the league of this guy. Another guitarist I would put right up there with Tommy Crook is Gary Lucas, who is also featured on this channel.
John Mclaughlin: 'cherokee': (with the 'tonight show' band circa 1985)
this little gem has John performing 'cherokee' with the 'tonight show' band circa 1985. Who said Mclaughlin can't swing? Enjoy!
Chuck Berry : Johnny Carson: "Let It Rock" and "Nadine"
Chuck Berry on the Tonight Show with Johnny - two songs("Let It Rock" and "Nadine"), plus interview. circa late eighties, i think. funny antics.
Helen Cornelius: DON'T THINK TWICE IT'S ALRIGHT (DYLAN COVER)
Helen made a ton of records with Jim Ed Brown. This is a clip from 1982.
BOCEPHUS-Memphis, TN (BASS SOLO)
The first time I had the pleasure of seeing ole Hank Jr. "live", was a few years before this clip. He's always been one of my favorites. Many people at the show back then, wanted him to just do his father's music. Hank Jr. did do a couple of his dad's hits, but stuck to doing his own music, and I was glad that he did.
Del Reeves-Girl on the Billboard
Franklin Delano Reeves. Del's parents loved F.D.R. so much, they named Del so their initials were the same. Got to see him twice. Very good entertainer. He did a great version of "You comb her hair".
Hank Williams Jr.-Texas Women.
This clip from 1981, shows Ole Hank Jr. doing another great job on stage. Saw him about this time, at the Santa Monica Civic Center in California.
Billy "Crash" Craddock-Knock Three Times
Billy got the "Crash" nickname from his football playing days in school in North Carolina. Here he is with a crossover hit. Tony Orlando also had a hit record of this tune.
Thirteenth Floor Elevators: Benny Thurman, Original Bassist RIP
Benny Thurman, the original bass player for the Thirteenth Floor Elevators, passed away last month. Thurman, 65, died June 22 after two and a half weeks in the intensive-care unit of Austin's Seton Hospital with an undisclosed illness, according to a report on Austin '60s blog The Rag.A classically trained violinist and Marine Corps veteran, Thurman, born February 20, 1943, played with the Elevators from late 1965 to mid-1966. Previously, he played with future Elevators John Ike Walton and Stacy Sutherland - whom he met at the famous Austin UT-area hamburger stand Dirty's - in the Lingsmen, an Austin dance band that relocated to the Gulf Coast and established a popular residency at Port Aransas beachside concession stand/club the Dunes.
They were discovered by Tommy Hall, the electric-jug player who drafted the Lingsmen's rhythm section for the new group he was starting with singer Roky Erickson. Though he didn't even really play bass, Thurman was convinced to come along."I was a fiddle player, violin," Thurman told Austin Chronicle writer Margaret Moser in 2004. "I couldn't play bass worth a darn, but I said I'd learn. It was hard, but I got a big ol' jazz bass from John Ike [Walton]. I could keep up and was on a lot of the fast rock stuff, but then they got into those romantic love songs, with Roky singing."
The Elevators, Thurman said. "caught the wave and held onto our surfboard. It was all an experiment, but it was a great experience. A lot of people never get to experience anything at all. Not just performing, but the life around it, the sparkle of it, the groove. I got some of it."
The Lingsmen: Benny Thurman, John Ike Walton and Stacy SutherlandHe sure did. Thurman, a longtime State of Texas employee, went back to violin and played in the Austin band Plum Nelly before retiring from music in the 1970s. He is survived by his daughter, Jennifer. No funeral arrangements have been announced, but a likely place to look is the memorial thread on the Texas '60s Music Refuge Yahoo message board.
The Elevators' 1966 appearance on American Bandstand, still one of the most surreal moments in all of '60s pop-culture history:
If anyone has any further information to add about Thurman, the Lingsmen, the Dunes or the Elevators, please leave it in the comments. Houstonians and psych fans in general could always stand to know a little more about that era.
ZZ Top: Hard Rock Houston
ZZ Top appeared at Houston's Hard Rock Cafe Monday night to release their Live in Texas DVD and donate the famous "poodle" guitars from the "Legs" video to the Hard Rock's collection.
Sugar Hill Studio (HUEY MEAUX'S OLD STUDIO): Dan Workman (INTERVIEW)
Dan Workman, co-owner of Sugar Hill Studios in Houston, Texas, talks about the historic studio, the longest continually operating recording facility in the Southwest.
JERRY LEE LEWIS: HUEY MEAUX: Pedophilé Gumbeauxxx (Southern Roots Studio Outtakes)
"I'm going to record 'Old Shep' in rock and roll - only Old Shep is gonna die in my song. I think I'll send him up to Elvis's place and let it bite the hell out of him."-- Jerry Lee Lewis
Huey P. Meaux ~ The Crazy Cajun
Huey Meaux [b. March 10, 1929] grew up outside of Kaplan, Louisiana, a small community surrounded by rice fields near Lafayette. His parents and siblings were poor sharecroppers who spoke mainly Cajun French, worked hard in the fields all week, and played harder on Saturday night, when Creoles and Cajuns would push back the furniture in a house, get roaring drunk, and dance to a band all night long.
"Back in them days, my dad worked for the man-picked cotton, hoed, grew rice, shucked it, and harvested it," he told me one time. "We had four shotgun houses, two black families, two white families. Music was a release. If somebody didn't get cut up and beat the shit out of someone, the dance was considered bad. I was raised that way."
He moved with his family to Winnie [Texas] at the age of twelve, part of the Cajun migration west across the Sabine River to greener rice fields and better jobs. His father, Stanislaus Meaux (known to all as Pappy Te-Tan), played accordion and fronted a group with teenaged Huey as the drummer. "I wasn't worth a damn," Huey told me once, but the excitement of being in a band stayed with him. In his twenties, he cut hair at the barber shop by day. "A barber is like a bartender, he knows who is screwing whose wife, when, and what time. I dug all that because I was part of something," he said. After hours, he was a disc jockey, hosting teen hops in Beaumont [Texas] and promoting dances all over the Golden Triangle.
His colleagues on the local music scene included singer George Jones, pianist Moon Mullican, and disc jockey J. P. Richardson, a.k.a. the Big Bopper. ("I was riding with him in the back seat of a car from Port Arthur to the studio in Houston when he wrote the lyrics for the B side of a novelty song he was cutting called Purple People Eater Meets the Witch Doctor. He called the B side Chantilly Lace," Huey told me back in the seventies.) A local promoter and record producer named Bill Hall taught Meaux the nuances of the business of music, mainly by never paying Meaux what he was owed. "That was my college education in the bidness. I didn't think people were supposed to get paid for having fun. So Hall would take my records, put his name on them, and take them to the record companies. When we'd go to Nashville, he'd tell me to keep my mouth shut. He said they'd laugh at my accent up there. And I believed him," Huey said.
In 1959 Meaux produced the first hit with his name on it, Breaking Up Is Hard to Do, a maudlin lament by Jivin' Gene, as Meaux had rechristened Gene Bourgeois. The song's hook, he liked to tell people, was the vocal's echo effect, which was accomplished by "sticking Gene back in the shitter, surrounded by all that porcelain." Subsequent hits such as Barbara Lynn's soul stirrer You'll Lose a Good Thing, Joe Barry's swinging I'm a Fool to Care, Rod Bernard's This Should Go on Forever, T. K. Hulin's As You Pass Me By Graduation Night, and Big Sambo and the Housewreckers' histrionic The Rains Came were all expressions of teen sincerity tailor-made for belly rubbing on the dance floor. The sound was dubbed swamp pop in honor of the region the artists came from.
Meaux was on his way to becoming a one-stop hit factory; eventually he would own many labels and Sugar Hill Recording Studios and manage artists; he would publish his artists' songs, collect their royalty checks, and promote their records to radio stations. The way Meaux told it, his first royalty check, $48,000 for Barbara Lynn's You'll Lose a Good Thing, attracted too much attention around Winnie. "Even today people think I made that money selling dope," he told me years ago. "I never sold any dope in my life. Sold some whiskey before, took some dope, but never did sell none." He shifted operations to Houston, where peers like Don Robey at Duke and Peacock Records and H. W. "Pappy" Daily at D Records were cutting and selling hits as if the town were Nashville and Memphis combined. Among such company, Huey was well known for his good ear and even better known for his promotional talents. "The song is number one. The singer is probably third or fourth," he explained to me. "The song makes the singer and the producer. Promotion makes all of it. It's up to the man behind the desk, spending money here and there, taking care of favors, just like you elect a president or governor."
As a promoter, his most brilliant stroke was co-opting the British invasion of the early sixties by finding a Tex-Mex rock band from San Antonio, dubbing them the Sir Douglas Quintet, dressing them up in British mod outfits, and even releasing their record on the London label. The record was She's About a Mover, which broke onto the Top Ten pop charts in 1965. Image was everything. "He used to make the married members of the band take off their wedding rings before going on stage," recalled organist Augie Meyers. "He didn't want to spoil the illusion."
Thanks to Meaux's relentless efforts, an all-Mexican San Antonio band called Sunny and the Sunliners broke the racial barrier on television's American Bandstand by performing a bluesy version of Little Willie John's Talk To Me in 1962. Soon after, Meaux had another hit--a slow and thoroughly teen rendering of Hank Williams' I'm So Lonesome, I Could Cry by a young white band from Rosenberg called the Triumphs, fronted by a pimplefaced kid named B. J. Thomas.
"The reason why I had so many hits was that around this part of the country, you've got a different kind of people every hundred miles--Czech, Mexican, Cajun, black," Meaux said. The names came and went--Roy Head, Chuck Jackson, Ronnie Milsap, Mickey Gilley, Lowell Fulson, Joey Long, Doug Kershaw, Clifton Chenier, Big Mama Thornton, Johnny Copeland, Lightnin' Hopkins, Archie Bell and the Drells, Tommy McLain, Cosimo Matassa, and Jerry Wexler--all of them made records or worked with Meaux at one time or another. For two generations of Gulf Coast rock and rollers--or any musicians from Baton Rouge to San Antonio--he was the pipeline to the big time.
But for every Dale and Grace topping the charts with perfect pop hits like I'm Leaving It Up to You, there were twenty failures. Meaux's magic never worked for two talented young boys from Beaumont, Johnny and Edgar Winter, whom he recorded under the names The Great Believers and Texas Guitar Slim. "We'd put them on a local television show called Jive at Five, and their records would stop selling like you turn a light switch off," Meaux said. "People would freak out, being as they was albinos." He said he never got credit for his part in the discovery of ZZ Top and years later took great pleasure in suing the band and manager Bill Ham on behalf of Linden Hudson, a songwriter who was never paid or credited for a song the band recorded. Huey had a copy of the settlement check framed on his wall.
The flip side of his skills as a producer and a promoter was his willingness to take advantage of his artists. An artful con man, Meaux would mockingly warn his acts, "I wouldn't sign that if I were you" at the contract table. Another time he said, "I like to keep my artists in the dark so their stars shine brighter." The artists, hungry for fame and fortune, never balked-and many enjoyed long friendships with Meaux even though he took advantage of them. Gulfport, Mississippi, songwriter Jimmy Donley was a sentimental lyricist who sung in what Meaux called the heartbreak key. Donley sold compositions such as Please Mr. Sandman, Hello! Remember Me, and I'm to Blame to Meaux (and to Fats Domino, among others) for $50 apiece because he needed the money and figured he could always write another song. Even though Donley hardly profited from the relationship, he and Meaux remained close friends; Donley called him Papa. In the liner notes Meaux wrote for the Donley memorial album, Born to Be a Loser, he says that in 1963 Donley called him to thank him for all he'd done for him; 45 minutes later, Donley committed suicide.
Huey's gift of gab made it possible to overlook the gray areas of his personality--the way he treated his artists, his open interest in young women, and his hedonism. The first time I walked into Sugar Hill Recording Studios, in 1974, two years after Meaux bought it, he regaled me for the entire day with the story behind each of the gold records, the publicity photographs, and other mementos hanging on the wall and cluttering the desk in his office. It was a history lesson about roots before the roots of rock were cool.
His showmanship peaked as the Crazy Cajun on his Friday night radio program on KPFT-FM [in Houston]. Huey didn't just announce records, he went wild-stomping his feet to the music, whooping, singing, and yakking nonstop: "Give it to me good, Houston, unh, you sure betta b'lieve it. Come close to the radio and give your papa some sugar, sweet cher ami." A good portion of the radio audience was "the men and women in white up in the TDC"-- prisoners in the state system, mostly up in Huntsville. Huey read their letters, sent them dedications (Release Me was a popular request), and visited with their relatives in the studio.
One night when I was in the studio watching him do the show, he auditioned two new singles he'd just released on his Crazy Cajun label--Country Ways, by Alvin Crow and the Pleasant Valley Boys, from Austin; and Before the Next Teardrop Falls, by Freddy Fender, a fifties-era Tex-Mex rocker from San Benito [see Music: Wasted Days, Texas Monthly, October, 1995]. The Crow tune never went very far, but the Fender cut was Meaux's biggest meal ticket of his career. Fender had a promising career interrupted by a stint in Angola State Prison in Louisiana for possession of two marijuana cigarettes in the early sixties. He had come to Meaux, citing the common bond of their experiences behind bars. The two had tried a variety of combinations, including Jamaican reggae sung in Spanish, to no avail until Meaux cajoled Fender into singing on top of an instrumental track recorded by an anonymous Nashville country band.
Before the Next Teardrop Falls was the unlikeliest country and pop hit of 1975, eventually reaching number one on Billboard's Hot 100. The follow-up, a remake of Fender's 1959 regional rock hit Wasted Days and Wasted Nights, went to number eight. Fender and Meaux had discovered a formula: recycle the swamp pop melodies into modern country music by replacing horn charts with steel guitar fills and female choruses. Meaux was Fender's producer and manager, meaning he received a bigger cut than his artist. Freddy didn't care because they were both getting rich with hits like Secret Love, You'll Lose a Good Thing, Living It Down, and Vaya Con Dios. Freddy bought a house on Ocean Drive in Corpus Christi, where he parked his custom hot rods on the front lawn. Huey bought himself a Beatles-style shag wig and a Lincoln Continental, paid off his note on Sugar Hill Studios, and received major record company funding for his custom record label with a growing stable of acts.
By the end of the ride, in 1980, Fender was strung out on dope and booze and bankrupt with $10 million in debts. He was also accusing Meaux of taking advantage of him through unscrupulous contracts. Huey, who had previously specialized in one-hit wonders, was ready to sever the relationship too, blaming Freddy for squandering his earnings. In 1981 Meaux survived a bout with throat cancer. Save for one last novelty hit--Rockin' Sidney Simien's 1985 zydeco ditty (Don't Mess With) My Toot-Toot-Huey more or less bailed out of the producer-manager-promoter realm and moved into music publishing. He augmented the Crazy Cajun song-publishing catalog by purchasing, among other tunes, Desi Arnaz's signature song, Babalu, and a number of soul composer Isaac Hayes' songs from the Memphis bank that assumed ownership of them after Hayes went bankrupt.
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