GEORGE JONES: I DON'T GIVE A DAMN! LIVE @ POSSUM HOLLER 1975

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P GEORGE JONES: I DON'T GIVE A DAMN! LIVE @ POSSUM HOLLER 1975 Uploaded by mrjyn

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1. In which branch of the United States armed forces did George Jones serve and why did he enlist?

The United States Marine Corps He enlisted after he had been jailed for non payment of child supportGeorge served two years, beginning in November 1951He sang in neighborhood clubs during his off duty time

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2. George signed with Starday Records in 1954. How did Starday Records get it's name?

Starday was a contraction of the names of the two label founders Jack Starnes and Pappy Dailey

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3. Where was Starday Records' first studio?

The first studio was actually Jack Starnes' living roomJack tacked cardboard egg cartons on the walls to absorb soundThere was only one microphone, shared by the singer and the musiciansAll recording was done live with no overdubbing

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4. George's first recording session for Starday Records produced a single that failed to chart. What was the name of the single?

No Money In This Deal He also recorded Here In My Heart in that session

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5. George has been married five times. Who were his wives?

Dorothy Bonvillion Marriage lasted less than one year Daughter Susan from this marriage Shirley Corley Marriage lasted 14 yearsTwo sons, Jeffrey and Brian, from this marriageTammy Wynette Marriage lasted six years Daughter Tamala Georgette Jones from this marriageLinda Welborn Common-law marriage lasted six years No Children from this unionNancy Sepulvado Marriage will last through eternity Nancy has two daughters from a previous marriage, Adina and Sherry

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6. What was the name of George and Tammy's house in Lakeland, Florida?

The Old Plantation

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7. George and Tammy did not record together until 1971, two years into their marriage. What was their first recording together?

Take MeThey recorded a duet of George's 1965 hitMany fans believe My Elusive Dreams was the first recorded together

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8. George and Tammy had thirteen singles together in the years 1971 through 1980. Three topped the country charts. Name them.

We're Gonna Hold On Golden Ring (Which they recorded again in 1994 For "The Bradley Barn Sessions")Near You

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9. During the worst of his drug years, George suffered from cocaine induced multiple personalities, much like Sybil. Name the two dominant personalities.

Deedoodle The DuckThe Old Man

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10. How did Nancy bring George's life back under control?

Constant and persistant love without nagging.Nancy gave George faithful and devoted attention thathis former wives had not been able to do.Nancy loved George, the man, too much to let George, the addict, push her away.It was love that brought the battle to an end.

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11. George's classic song, He Stopped Loving Her Today took over one year to finish. Why?

George was usually drinking or under cocaine's influence during his recording sessions. Billy Sherrill, George's producer,was satisfied with George's singing, but every timeGeorge tried to do the naration (spoken lines), George slurred the words.Sherrill tried each recording session to get a usable take. Finally, after a year,George made an exceptionally moving rendering.He then bet Sherrill $100 that "Nobody will buy that morbid son of a bitch."He paid up after happily losing his bet.

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12. George has done three touching songs that feature narrated verses, one of which was He Stopped Loving Her Today. Which two other important George Jones songs featured narration?

I'm Not Ready YetThe Visit

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13. Melba Montgomery. The name speaks volumes to the true George Jones fan. What was Melba doing when Pappy Dailey arranged for the initial meeting of Melba and George?

Melba was touring with Lonzo and OscarShe recorded for Nugget Records, their label.

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14. George's I Don't Need Your Rockin' Chair guest starred several younger country singers. Who appeared with George on this track?

Alan Jackson Travis Tritt Mark ChestnuttJoe DiffiePatty LovelessVince GillClint BlackPam TillisGarth Brooks

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15. George's 1994 Bradley Barn Sessions was an album featuring George with talented friends reworking his hits. Recorded in February during one of Nashville's worst snowstorms, it features a stellar cast paying homage to George by accompanying him in song. Which superstars appeared on the album?

cross Down 1. open ___ mine 2. George's drinking buddy 6. ___ because I asked a friend... 8. Bartender's ____ 9. ___ Hard Truth 11. ___ Thinks I Still Care 12. a cold, cold ___ 13. her name is ___ 14. one of the boys in the band 17. we could be ___ 18. one tiny little ___ 20. too ___ too long 21. living dieing with the ___ 24. Till the ___ Grows Over Me 26. Tarnished ___ 27. High Tech ___ 29. Don't Stop The ___ 31. The dangdest dog 32. Henry Brown ran a ___ 33. Six ___ deep, six ___ down 1. He always wanted a ___ out in the country 2. You Don't Seem To ___ Me 3. The ___ Is On 4. I Always Get ___ With You 5. Love ___ 7. ___ me 8. I gave her the ___ 10. ___ Of All 12. I Lived To Tell It All 15. ___ Can Fall 16. One man's one woman! 18. These won't be filled 19. There's Nothing Better ___ You've Had The Best 20. Tennessee ___ 22. I need a honky tonk ___ 23. I'm the big ___ of the year 24. If you'd like to take the ___ tour 25. Hello ___ 26. ___ Lover 30. The George Jones Television ___ (on TNN!)

GEorge Jones had five concerts scheduled in five different cities. Each was unique in that each city had a special encore song, and each city had a minor annoyance to deal with. Each city's fans bought a particular item from the vendors.

Using the six clues given, can you determine the order of cities for the concerts, the encore played in each, the items the fans bought at that concert, and the problems his road crew had in each city?

DISCLAIMER

This is a hypothetical tour and series of events created for this logic problem only. The use of George Jones' name is for entertainment purposes only and does not imply that he actually was served very cold coffee in one of these cities.

Your Clues

1. On the first stop on his tour George sang "He Stopped Loving Her Today" to an enthusiastic crowd that didn't buy any T-shirts or coffee mugs.

2. The stops in some order were : The second stop in a city without mosquitoes, the city where George sang "The Door," the city where the fans bought ODs, Cincinnati, and the city with the very cold coffee.

3. The concert in Seattle was not the first or the last stop on the tour. Seattle fans did not buy posters or coffee mugs and they did not get to hear "If My Heart Had Windows".

4. The stops along the five city tour included the city where the bus developed a flat tire, the sunny city where George sang "If My Heart Had Windows," Boston, the city where the fans bought mostly books, and the CD buying city plagued by mosquitoes during his outdoor concert there.

5. Houston's concert was held after the concert where the fans stood in a pouring rain. The rainy city followed the acoustic concert caused by a blown amplifier. The other two stops on the tour were the city where George sang "Walk Through This World With Me" and where he sold a lot of his autobiography, "I Lived To Tell It All".
6. The five cities in no particular order are : The poster buying third city, the city where George played "Love Bug" to a packed house, the city where the fans bought T-shirts, the city with very cold coffee, and the rainy city on the fourth stopover which wasn't Seattle.

Good luck!

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Use the chart to solve this problem.

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Game Goals

Be the first player to reach The Number One Position on the music chart while forming musical trios or quartets.

Play is fast and furious in Possum Holler. A combination of strategy, skill, and luck are needed to win.

You may find that only one roll separates first place from last. Your next turn could change the entire game for everyone... including yourself!

The fun starts when you draw from another player's hand. They may be ready to climb the chart until you draw one... two... or three cards...

They may be ready to climb the walls when you take their whole hand!

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No money, properties, buying, or selling are involved in family friendly

Possum Holler ~ The Board Game

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Game Needs

You need :

• One deck of playing cards with jokers
• Two dice
• Two tokens for each player ~ (coins, buttons, etc.)
• Print out of the Gameboard

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Game Spaces

The Possum Holler board :

Draw 1	~~~~~~~~ Draw one card from the draw pile
Draw 2	~~~~~~~ Draw two cards from the draw pile
Draw 3	~~~~~~ Draw three cards from the draw pile
Swap 1	~~~~~~~ Trade one card with another player
Swap 2	~~~~~~ Trade two cards with another player
Take 1	~~~~~~~~~ Take a card from another player
Take 2	~~~~~~ Take two cards from another player
Take 3	~~~~~~ Take three cards from another player
Plus 1	~~~~~ Your album moves up one chart space
Plus 2	~~~~ Your album moves up two chart spaces
Give 1	~ Give a card of your choice to another player
Play Back	~~~~~~~~~~~~Game play reverses direction
Start	~~~~~~~Move your album up 2 chart spaces

Each space will determine whether to roll one die or two dice on your next turn.

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The Music Chart on the outer edge of the gameboard will track your album's progress. Use a token to mark your current chart position. Everyone starts at 80 and races to Number One as quickly as the laws of luck will allow!

Trios are three of a kind or two of a kind with a joker.

Quartets are four of a kind or three of a kind with a joker.

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Rules For Play

1. Players start with no cards. All cards are held in a Draw pile. Each player may hold up to but no more than seven cards. If more than seven cards are accumulated by any player or players during a turn, they must immediately either play or discard the excess amount to get back to seven cards or less. All cards are discarded face down so no one will know what cards are no longer available. No turn is completed until all players have seven cards or less in their hand.

2. Game play starts by rolling two dice. The player with the highest roll goes first, the play continues in clockwise fashion. The first turn is always the roll of two dice. Successive rolls are determined by the space landed upon.

3. Players rolling doubles on two dice during their turn must give one card to each other player. The cards are to be drawn at random by the players in current turn sequence. If insufficient cards are available, this penalty is ended with the final card. No cards are to be taken from the Draw pile.

4. Players landing on the Gold Path space must enter the Gold Path on their next turn. All rolls along the Gold Path are of a single die.

5. All player's chart position is to begin at 80 with their movements up the charts determined by the amount of trios and quartets formed during play. Albums move 2 spaces up the chart for each trio formed and 5 spaces up the chart for each quartet. Trios and quartets formed during a player's turn are displayed to the other players, then discarded face down into the discard pile.

6. If a player's album lands on an occupied space on the Music Chart, their album wins that chart position. The losing album moves down the chart one space. If that space is also occupied, the album on that space then moves one space downward. No two albums may occupy the same chart position.

7. Shuffle the Discard pile when the last card is taken from the Draw pile. Place the shuffled cards in the Draw pile.

8. Players without cards or with insufficient cards to fulfill their turn's requirement are not penalized. The play continues after the final card is taken, even if an opponent did not receive the card or cards promised by that player's space. Penalties are forfeited after the final card is removed.

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Buckton goes through Stoya's Bag

While waiting for our flight to Vegas to arrive, Stoya decided to trust Spock BUCKTON with her belongings while she went off to take a shit or something. Bad move, Stoya. Bad frickin' move!

Cyd Charisse et Ricardo Montalban - Tango + Sweet Charity - Trailer

Cyd Charisse et Ricardo Montalban - Tango

Sweet Charity - Trailer
Video sent by enricogay

"Sweet Charity" (vo "Sweet Charity") - 1969

Réalisé par Bob Fosse
Avec Shirley MacLaine, Ricardo Montalban, John McMartin, Chita Rivera, Paula Kelly, Stubby Kaye, Barbara Bouchet, Sammy Davis Jr, Ben Vereen

RINGO STARR CHIPS MOMAN SEND Pete Drake Video Message PLUS Moman Pickets Memphis Commercial Appeal Over Ringo Defamation [1987]

RINGO STARR CHIPS MOMAN send Pete Drake video message PLUS Moman Pickets Commercial Appeal Over Ringo Defamation [1987]

this little gem was found unmarked by a wonderful Memphis videographer, and lo and behold, through persistent viewing through reams of b-roll, i discovered this never-before-seen personal video message from Ringo Starr and Chips Moman to Pete Drake, wishing him the best for an unnamed award circa 1987. [Ringo and Chips were in Memphis preparing to record Ringo's Memphis album, which would soon be aborted and end in legal problems.]

 

the 'Pete' Ringo refers to, regarding finding country tapes in his car, is indeed, Pete Drake, who was the Nashville record producer responsible for convincing Ringo to cut a country record in Nashville with Nashville players, all on the basis of his coincidental discovery of Ringo's country music collection, discovered while picking him up at the airport. [their record became Beaucoup of Blues, winning more than a few top 10s, as well as critical accolades.]

 "HIS NAME IS PETE Drake. He got the brilliant idea one time to make his steel guitar talk and he actually does it, right now, with a beautiful song, Forever."

You may also recall from a few previous posts, Pete Drake's own otherworldly contributions as top session man and inventor of the talking steel guitar [eg. Forever], played with his talkbox, connected to his pedal steel guitar.

Born in Augusta, Georgia in 1932, the son of a Pentecostal preacher, Pete Drake worked as a record producer and sought-after session musician in the ’60s in country music mecca Nashville, Tennessee (it's his pedal steel guitar you can hear on Charlie Rich’s Behind Closed Doors and Bob Dylan's Lay Lady Lay).
However, he is also one of the little-known heroes in the history and development of the voice synthesizer most commonly known as the Vocoder, as outlined in Dave Tompkins' beautiful and meticulous 2011 history of said voice-altering tool, How To Wreck A Nice Beach.
Drake was not the first to modulate a steel guitar sound with the human voice. That honour goes to Alvino Rey and his wife Luise in 1939, who used a carbon microphone placed against the throat (a prototype version of the Sonovox).

But Drake successfully modified and updated the technique, hooking an eight-inch paper-cone speaker-driver and funnel to his guitar amp, the guitar sound travelling to Drake's mouth via a clear plastic tube on the end of the funnel.
Drake first used the device on Roger Miller's 1963 hit, Lock, Stock And Teardrops before recording three albums worth of "talking steel guitar" records between 1964 and 1965.
George Harrison was a fan. Drake's talking pedal steel appears on All Things Must Pass and the Nashville producer's skills were subsequently employed on Ringo’s 1970 C&W tribute, Beaucoups Of Blues.
Oh, and in in case you were wondering who was responsible for Pete Frampton picking up the voice box for his mega-million selling double live album, Frampton Comes Alive, well that would be Pete Drake. But don't hold that against him. The man was an innovator.
Just listen to him here in the studio with George, Ringo and Phil Spector during the ATMP sessions and tell me that you're not hearing the sonic birth of Roger Troutman's Golden Throat Talk Box.

the remainder of the clips document the shitstorm that a Memphis commercial appeal writer caused when she denigrated Starr in one of her columns just as the famous Beatle was arriving to give the dying Memphis music scene a shot in the arm, causing Chips in disgust [Memphis musician and studio genius from the '60s and '70s] to picket in front of the CA's office.

tpa

RINGO STARR + CHIPS MOMAN: Pete Drake - 1987 + PROTEST

Video sent by mrjyn

 

In 1987, after the The Commercial Appeal ran a column about Ringo Starr, whose album Moman was producing, Moman fought back.

The Commercial Appeal column disparaged Starr (saying "the aging Beatle was yesterday's news...least talented of all the Beatles").

Moman retaliated by staging a protest in front of the newspaper's offices.

Despite recording, Starr eventually abandoned the project and sued Moman to stop the album's release.

One place he doesn't visit is Memphis. "I've stayed away," says Moman, in an easy drawl.

MOMAN AND STAX:

Moman and Jim Stewart hit it off, and decided to join forces to start what would become Satellite, and eventually, Stax Records. Moman played a pivotal role in Stax's development. He recorded the label's initial hits, and turned Stax from a white country music company into a Soul label.

Stewart and Estelle Axton brought that to an end in 1962. Axton and Stewart suggested Moman was seeking credits and money he didn't deserve.

MOMAN'S AMERICAN SOUND STUDIOS:

A few thousand dollars was enough to start at 827 Thomas--American Sound Studios.
Moman struggled producing & playing guitar @ Muscle Shoals, writing songs with Dan Penn [Dark End of the Street]...

The studio hit its stride when Moman wooed members of Hi Records and Phillips to form American Studios group: Reggie Young, Gene Chrisman, Bobby Wood, Bobby Emmons, Mike Leech and Tommy Cogbill. A succession of hits like the Box Tops' ("The Letter"), and, most famously, Elvis Presley's ("Suspicious Minds") brought fame.

Between 1967 and 1972, American cut 122 chart records.

thanks to the original poster for this unusual and obscure document, and i'll try and backtrack to let you know who it was, as there are many more very rare Memphis video artifacts contained on his channel.

Twin Peaks [TV Show Opening Theme 1990 David Lynch]

The story begins with the murder of Laura Palmer, a teen aged girl who lived in the quiet town of Twin Peaks, near the US - Canadian borders. Everyone seems surprised and devastated by the girl's murder, and the town's sherif welcomes the help of FBI agent Dale Cooper, who comes to investigate the case. As Cooper begins his search for Laura's killer, the town's secrets are gradually exposed. This is definitely not an average quiet town, it seems as everyone has something big to hide. At nights, agent Cooper sees strange visions of Laura and other mysterious people, visions that tell him that something big is happening here, something far more evil than a single murder case. David Lynch, Kyle MacLachlan, Michael Ontkean, Dana Ashbrook, Lara Flynn Boyle, Sherilyn Fenn, Piper Laurie, Joan Chen, Sheryl Lee

Fantasy Island [TV Show Opening Theme: Season One 1978]

Fantasy Island TV Show Opening Theme Season One Ricardo Montalban ... Mr. Roarke (37 episodes, 1978-1984)
Hervé Villechaize ... Tattoo

1975 Chrysler Cordoba [RM]

Ricardo Montalbán - Chihuahua Choo Choo [R.I.P.]

Ricardo Montalbán singing his classic Chihuahua Choo Choo.

This Emmy Award winning actor is famous for his roles as Mr. Roarke on TV's Fantasy Island and as Khan on the original 1960s Star Trek television program. He also was recognized with a Lifetime Achievement Award in 1993 from the Screen Actors Guild.

He is honoured with a star on the Los Angeles' Hollywood Walk of Fame and The Ricardo Montalbán Theatre on Vine Street is named in his honour.

Singing can definitely be added to his credits as well.

Merrell Fankhauser + Bill Dodd + Dick Lee: Ballad of Fapardokly

Merrell Fankhauser, Bill Dodd, Dick Lee, Ballad of Fapardokly

If ever a reissue could make Merrell Fankhauser a household name, this is it! This scarce classic is nothing less than a moody, mysterious, eclectic junket to all charted depots of the inner psyche, along with several stops completely off the map. Wonderful and intriguing.

Merrell, Bill, and Dick get together after forty years for this interview and new song "Ballad of Fapardokly" for a new album.

The Cyrkle「The Minx」

AA: Je m'appelle 'X' et je suis alcoolique: BY BILL WILSON [8 VIDEES]

We believe, and so suggested a few years ago, that the action of alcohol on these chronic alcoholics is a manifestation of an allergy; that the phenomenon of craving is limited to this class and NEVER occurs in the average temperate drinker. pxxvi The Doctor's Opinion, Big Book

Delivered at the first international conference of Alcoholics Anonymous at Cleveland, Ohio in 1950
---- My good friends in AA and of AA.

I feel I would be very remiss if I didn't take this opportunity to welcome you here to Cleveland not only to this meeting but those that have already transpired. I hope very much that the presence of so many people and the words that you have heard will prove an inspiration to you - not only to you, but may you be able to impart that inspiration to the boys and girls back home who were not fortunate enough to be able to come.

In other words, we hope that your visit here has been both enjoyable and profitable. I get a big thrill out of looking over a vast sea of faces like this with a feeling that possibly some small thing that I did a number of years ago, played an infinitely small part in making this meeting possible. I also get quite a thrill when I think that we all had the same problem. We all did the same things. We all get the same results in proportion to our zeal and enthusiasm and stick-to-primitiveness. If you will pardon the injection of a personal note at this time, let me say that I have been in bed five of the last seven months and my strength hasn't returned as I would like, so my remarks of necessity will be very brief.

But there are two or three things that flashed into my mind on which it would be fitting to lay a little emphasis; one is the simplicity of our Program. Let's not louse it all up with Freudian complexes and things that are interesting to the scientific mind, but have very little to do with our actual AA work.

Our 12 Steps, when simmered down to the last, resolve themselves into the words love and service.

We understand what love is and we understand what service is. So let's bear those two things in mind. Let us also remember to guard that erring member - the tongue, and if we must use it, let's use it with kindness and consideration and tolerance.

And one more thing; none of us would be here today if somebody hadn't taken time to explain things to us, to give us a little pat on the back, to take us to a meeting or two, to have done numerous little kind and thoughtful acts in our behalf. So let us never get the degree of smug complacency so that we're not willing to extend or attempt to, that help which has been so beneficial to us, to our less fortunate brothers. Bill Wilson - Singleness of Purpose 1957 ---

What Is A.A.?

Alcoholics Anonymous is an international fellowship of men and women who have had a drinking problem.

It is nonprofessional, self-supporting, multiracial, apolitical, and available almost everywhere.

There are no age or education requirements. Membership is open to anyone who wants to do something about his or her drinking problem.

Singleness of Purpose and Problems Other Than Alcohol

Some professionals refer to alcoholism and drug addiction as “substance abuse” or “chemical dependency.” Nonalcoholics are, therefore, sometimes introduced to A.A. and encouraged to attend A.A. meetings. Anyone may attend open A.A. meetings, but only those with a drinking problem may attend closed meetings. A renowned psychiatrist, who served as a nonalcoholic trustee of the A.A. General Service Board, made the following statement: “Singleness of purpose is essential to the effective treatment of alcoholism. The reason for such exaggerated focus is to overcome denial. The denial associated with alcoholism is cunning, baffling, and powerful and affects the patient, helper, and the community. Unless alcoholism is kept relentlessly in the foreground, other issues will usurp everybody’s attention.” What Does A.A. Do?

1. A.A. members share their experience with anyone seeking help with a drinking problem; they give person-to-person service or "sponsorship" to the alcoholic coming to A.A. from any source. 2. The A.A. program, set forth in our Twelve Steps, offers the alcoholic a way to develop a satisfying life without alcohol

Henrietta Seiberling is the lady who introduced Bill Wilson to Dr. Bob Smith. May, 1972 In the spring of 1971, the newspapers reported the passing of Bill Wilson of New York City, who was one of the two co-founders of Alcoholics Anonymous. The other co-founder, Dr Robert Smith of Akron, Ohio, had passed on some years earlier. Shortly after Bill's death, the Akron Alcoholics groups asked my mother Henrietta Seiberling, to speak at the annual "Founders Day" meeting in Akron, which is attended by members of Alcoholics Anonymous from all over the world.

She lives in New York and did not feel up to traveling, so they asked me to speak in her place. I agreed to speak but felt that it would mean most to them to hear some of her own words, so I called her on the telephone and asked her to tell me about the origins of Alcoholics Anonymous so that I could make sure my remarks were accurate. I made a tape recording of the conversation and played part of it at the 1971 Founders Day meeting, which was held in the gymnasium at the University of Akron with a couple of thousand people present. The first meeting of Bob and Bill, described in the attached transcript, took place in the summer of 1935 in Henrietta's house in Akron, which was the Gatehouse of Stan Hywet Hall, then my family's estate, now the property of Stan Hywet Hall Foundation. Henrietta was not an alcoholic. She was a Vasser college graduate and a housewife with three teenage children. She, like Bob and Bill, would be deeply disturbed by any inference that she or they possessed any extraordinary virtues or talents. On the contrary, they would all emphasize the power of ordinary people to change their lives and the lives of others through the kind of spiritual discipline so successfully exemplified in Alcoholics Anonymous. I am happy to make this transcript available to persons who are sincerely interested in learning more about Alcoholics Anonymous and its message. It is a way of sharing some of the insight's which made and still make Alcoholics Anonymous a vital force in people's lives. I ask only that the transcript be held in the spirit in which it is offered and not used for publicity or in an effort to magnify any individual. John F. Seiberling

This is the only known video of the co-founders together most likely taken in the 1940's.

TRUST GOD, CLEAN HOUSE, HELP OTHERS

1. We admitted we were powerless over alcohol -- that our lives had become unmanageable.

2. Came to believe that a Power greater than ourselves could restore us to sanity.

3. Made a decision to turn our will and our lives over to the care of God as we understood Him.

4. Made a searching and fearless moral inventory of ourselves.

5. Admitted to God, to ourselves, and to another human being the exact nature of our wrongs.

6. Were entirely ready to have God remove all these defects of character.

7. Humbly asked Him to remove our shortcomings.

8. Made a list of all persons we had harmed, and became willing to make amends to them all.

9. Made direct amends to such people wherever possible, except when to do so would injure them or others.

10. Continued to take personal inventory and when we were wrong promptly admitted it.

11. Sought through prayer and meditation to improve our conscious contact with God as w e understood Him, praying only for knowledge of His will for us and the power to carry that out.

12. Having had a spiritual awakening as the result of these steps, we tried to carry this message to alcoholics, and to practice these principles in all our affairs

Je m'appelle X et je suis alcoolique

STOCKSHOLM FJORTIS !

Band members speak about black metal scene

Norwegian Black Metal [DOC. Norwegian Television - 2003]

Norwegian Black Metal [DOC.]
Band members speak about black metal scene

Featuring:

Darkthrone

Satyricon

Mayhem

Emperor

Dimmu Borgir

Norwegian television 2003

Lindsay Lohan out of rehab

Hello, I'm Rebecca Field with a UPI entertainment update on this Monday, July 16, 2007.

Actress Lindsay Lohan is reportedly out of rehab. People magazine says she completed her 45 days at the treatment facility in southern California. Her rep says Lohan has decided to wear an alcohol monitoring bracelet so there are no questions about her sobriety while she's out at parties and clubs. Her rep added that she's doing great.

"Harry Potter" is casting a spell on U.S. box offices. The fifth installment of the wizard tales, "Harry Potter and the Order of Phoenix" was number one this weekend. It bought in more than 77 million in ticket sales. The film has made more than 140 million total in the U.S. since its release last Wednesday. "Transformers" fell to the second spot and the animated film "Ratatouille" is in third.

Actress Rebecca Romijn and actor Jerry O'Connell have tied the knot. Romijn's rep tells People magazine the couple married Saturday. It was reportedly a small intimate ceremony at their home in Los Angeles. The two met in Las Vegas in 2004 when Romijn was working on a documentary there. They were engaged the year after. This is the actress' second marriage and O'Connell's first.

Millions of people are listening to Prince's new album for free. The singer partnered with a British newspaper to pass out his new release "Planet Earth" to about 3 million of the paper's subscribers. The marketing technique reportedly angered music stores and his own label, but Prince refused to apologize. The singer apparently wanted to reach more fans in the UK. His last album only sold 80,000 copies there.

Showtime Network and Steven Spielberg are apparently teaming up for a new comedy series. Plans are in the works for a show called "The United States of Tara"...to be produced by Spielberg's Dreamworks TV. It's apparently about a woman with a multiple personality disorder. There's no word on the cast yet but Showtime's president says they're getting close to making decisions. Production for the pilot is set to start in the fall.

That's all for now. Go to upi.com for all the day's news and updates. Thanks for watching.

Amy Winehouse - Rehab [Official music video]

Drug Rehab Telephone

This video was made to help people overcome drug and alcohol addiction

Amy Winehouse + Elvis: Rehab [ pictures]

A hibachi Amy Whorehouse's great and uncomfortably pictures video: able song, Elvis's pictures (some of them probably Photostatted by someone) and me singing over a backtrack that I found here at YouTube as a karaoke.
It is a tribute to both the KING (who wasn't an alcohol aficionado, by the way) and Ms AW, one of the greatest talents of these years, in my opinion.
These are the lyrics (I've adapted them just a little bit for my singing):

They tried to make me go to rehab
Uh, I said no,no,no
Yes, I've been black, but when I come back
You'll know,know,know
I ain't got the time
And if my woman thinks I'm fine
Just try to make me go to rehab
Ah, I won't go,go,go

I'd rather be at home with Ray
I ain't got seventy days
'Cause there's nothing
There's nothing you can teach me
That I can't learn from Elvis or Hathaway

I didn't get a bloody class
But I know we don't come in a shot glass

They tried to make me go to rehab
But I said no,no,no
Yes, I've been black, but when I come back
You'll know,know,know
I ain't got the time
And if my woman thinks I'm fine
Just try to make me go to rehab
Uh, I won't go,go,go

The lady said "why bayou think you're here?"
I said: I got no idea...
I said: I'm gonna,I'm gonna loose my baby,
So I always keep a little bottle near me.
She said "I just think you're depressed"
I said: Kiss me here, baby
And go rest.

They tried to make me go to rehab
But I said no,no,no
Yes, I've been black, but when I come back
You'll know,know,know

I don't ever want to drink again
I just, oh, Lord, I need a friend
I'm not going to spend ten weeks
Have everyone think I'm on the mend

And it's not just my pride
It's just 'til these tears have dried

They tried to make me go to rehab
Uh, I said no,no,no
Yearly, I've been black, but when I come back
You'll know,know,know
I ain't got the time
And if my woman thinks I'm fine
Just try to make me go to rehab
Well, I won't go,go,go

CHIPS MOMAN + MEMPHIS+ RINGO STARR + PETE DRAKE + COMMERCIAL APPEAL PROTEST [1987]

"I've stayed away,"
Chips Moman says of Memphis.
"I have no desire to ever be back there."

Tami Chappell Special to The Commercial Appeal

RINGO STARR + CHIPS MOMAN: Pete Drake - 1987 + PROTEST
Video sent by mrjyn

RINGO STARR + CHIPS MOMAN SEND A VIDEO MESSAGE TO Pete Drake CONGRATULATING HIM ON AN AWARD, 1987 + MOMAN'S COMMERCIAL APPEAL PROTEST OVER Ringo STARR SLANDER:
In 1987, after the The Commercial Appeal ran a column about Ringo Starr, whose album Moman was producing, Moman fought back.

The Commercial Appeal column disparaged Starr (saying "the aging Beatle was yesterday's news...least talented of all the Beatles"). Moman retaliated by staging a protest in front of the newspaper's offices.

Despite recording, Starr eventually abandoned the project and sued Moman to stop the album's release.

One place he doesn't visit is Memphis. "I've stayed away," says Moman, in an easy drawl.

MOMAN AND STAX:

Moman and Jim Stewart hit it off, and decided to join forces to start what would become Satellite, and eventually, Stax Records. Moman played a pivotal role in Stax's development. He recorded the label's initial hits, and turned Stax from a white country music company into a Soul label.
Stewart and Estelle Axton brought that to an end in 1962. Axton and Stewart suggested Moman was seeking credits and money he didn't deserve.

MOMAN'S AMERICAN SOUND STUDIOS:
A few thousand dollars was enough to start at 827 Thomas--American Sound Studios.
Moman struggled producing & playing guitar @ Muscle Shoals, writing songs with Dan Penn [Dark End of the Street]...

The studio hit its stride when Moman wooed members of Hi Records and Phillips to form American Studios group:Reggie Young, Gene Chrisman, Bobby Wood, Bobby Emmons, Mike Leech and Tommy Cogbill. A succession of hits like the Box Tops' ("The Letter"), and, most famously, Elvis Presley's ("Suspicious Minds")brought fame.
Between 1967 and 1972, American cut 122 chart records.

Chips

Moman:

missing man of

Memphis music

By Bob Mehr (Contact), Memphis Commercial Appeal
Sunday, July 13, 2008

This is not a sob story or a tale of woe, or a plea for pity or praise. But for Lincoln "Chips" Moman it's about respect -- respect earned, but not given.

In music, few men could claim more or finer achievements. A gifted rockabilly guitarist and band leader in the 1950s, Moman went on to become one of the architects of Stax Records and author of some of the most enduring songs in the history of rhythm-and-blues and country music -- from "Dark End of the Street" to "Luckenbach Texas (Back to the Basics of Love)." Besides Sam Phillips, he was the only man to effectively produce Elvis Presley -- helping midwife The King's creative rebirth in 1969. And it was Moman who helped build and shape American Sound Studios and its house band -- generating the most prolific run of chart hits ever.

Chips Moman helped start Stax Records, then American Sound Studios, which cut 122 chart hits from 1967 to 1972 -- an unparalleled achievement.

In 1985, Moman (right) produced Roy Orbison, Jerry Lee Lewis, Carl Perkins and Johnny Cash for the "Class Of '55" project.

Moman, now semi-retired and living in LaGrange, Ga., still writes songs occasionally. "I write 'em," he says, "but I just leave 'em laying there."

Moman staged a protest in front of The Commercial Appeal in 1987, after the newspaper ran a less-than-flattering column about Ringo Starr, whose album Moman was producing.

Yet, for the last two decades, Chips Moman has been a cipher, a ghost, the missing man of Memphis music. Much of that is his own doing, of course. Sensitive and highly strung, Moman left Memphis twice -- once in the '70s and again in the '80s -- under acrimonious circumstances.

Still, for a town that values its musical history, Moman has been curiously consigned to footnote status. You'll find little mention of him or the American Studios band in the Rock 'N' Soul Museum or the Stax Museum of American Soul Music, and their names were all but absent from the city-sponsored year-long musical celebrations of 2004 and 2007.

The 71-year-old Moman has been back living in LaGrange, Ga., where he was born, for the past decade. Though semi-retired, he still makes his way to Nashville for the odd session or to get together with friends. But one place he doesn't visit is Memphis. "I've stayed away," says Moman, in an easy drawl. "I have no desire to ever be back there. I don't know, man. It's really kind of hard to talk about, 'cause a lot of things that went on there hurt me tremendously."

Moman couldn't possibly have anticipated either the triumph or the trials he would face when he first hitchhiked from LaGrange to Memphis as a 14-year-old back in 1951. "I never knew I'd be in the music business," he says. "I never gave it any thought. But I'd been playing guitar since I was a child."

His eventual "discovery" seems like a story lifted from an old Hollywood script. Sitting in a local drugstore, strumming away on a six-string, he was spotted by Sun rockabilly star

Warren Smith. "He asked me if I wanted a job," says Moman, who played his first gig backing Smith at an Arkansas club on a bill that included Carl Perkins and Roy Orbison. "That's how I went into the business."

Moman quickly became a hotshot local guitarist, and joined up with brothers Johnny and Dorsey Burnette. He traveled with them for sessions in California at the famed Gold Star Recording Studios. Moman watched and studied noted engineer Stan Ross behind the board. "And from what I'd learned in California, I decided to take that experience and put it to work in Memphis," he says.

His chance came when he was called to do a session at a tiny garage studio in Brunswick, Tenn., owned by Jim Stewart. Moman and Stewart hit it off, and decided to join forces to start what would become Satellite, and eventually, Stax Records.

"I found that old theater (on McLemore), and the rent was only $50 a month. Went back and told Jim Stewart that and we rented it and built it out. That was the start of Stax. The rest is what happened."

What happened has been the subject of some controversy and debate over the years. Certainly, Moman played a pivotal role in Stax's development. He was the one who recorded the label's initial hits by Carla Thomas, Rufus Thomas and William Bell; helped develop "Last Night," the song that would become The Mar-Keys' smash; and was the one who was musically predisposed to turning Stax from a white country music company into a black R&B label in the first place.

But a rancorous split with Stewart and his sister and co-owner, Estelle Axton, in 1962 brought all that to an abrupt end. As music historians Rob Bowman and Peter Guralnick have detailed, recriminations flew: Moman said he'd been cheated out of profits and ownership, while Axton and Stewart suggested Moman was seeking credits and money he didn't deserve.

More than four decades later, anger about his ouster at Stax still lingers in Moman's voice.

"Sometimes you can get hurt bad enough that you don't forget it," he says. "What happened to me at Stax caused me to lose my house. I lost everything that I had. I remember that year ... for Thanksgiving, my wife and child, all we had was a box of corn flakes and some milk. You don't forget those kinds of things."

Eventually, Moman threatened to sue Stax and negotiated a few thousand dollars in settlement. It was enough -- along with the help of a couple of partners -- to start up a new place at 827 Thomas called American Sound Studios.

For a couple of years, Moman struggled, producing the odd track, but mostly made his living playing guitar on sessions down in Muscle Shoals (for the likes of Aretha Franklin and Wilson Pickett, among others) and co-writing songs -- often with Dan Penn -- like the immortal "Dark End of the Street" and "Do Right Woman, Do Right Man."

In 1965, things got rolling at American, with the arrival of local teen garage band The Gentrys, who cut a million-selling smash called "Keep on Dancing."

"They were just kids, and I wasn't much more" says Moman. "But that got me started to the point where I could afford to hire a secretary."

The secretary Moman hired, Sandy Posey, would be his next protégé, and she would go on to record the Top 20 Grammy-nominated hit "Born A Woman." "After that, people started calling me to produce records," says Moman.

The studio hit its stride when Moman wooed members of the staff bands at Hi Records and Phillips to form the American Studios group: guitarist Reggie Young, drummer Gene Chrisman, pianist Bobby Wood, organist Bobby Emmons and bassists Mike Leech and Tommy Cogbill. That unit, mostly with Moman at the helm, would help sire a succession of hits for artists like the Box Tops ("The Letter"), Dusty Springfield ("Son of a Preacher Man"), Neil Diamond ("Sweet Caroline), B.J. Thomas ("Hooked on a Feeling"), Bobby Womack ("Fly Me To The Moon") and, most famously, Elvis Presley ("Suspicious Minds").

"We were working night and day," Bobby Wood recalls of the period. "Sometimes we'd be doing Elvis at night and somebody like Neil Diamond during the day. I remember B.J. Thomas was in for his second album after 'Hooked on a Feeling,' and I didn't know he'd already had a No. 1 record. That's how hard we were working -- we didn't even listen to the radio."

Between 1967 and 1972, American would cut 122 chart records -- a still unmatched achievement. And yet, despite those gaudy numbers, few people seemed to give Moman or the band its due. He was particularly irked after the band was completely passed over for some local music awards in the early-'70s.

"The thing is, Chips wasn't one to come out and say, 'Well I need my recognition.' He wouldn't do that," says his friend and longtime Memphis music industry vet Herb O'Mell. "Those guys were not self promoters in any way and never tried to be. Whereas -- and I'm not saying anything bad -- the Stax people, they promoted themselves. The American people wrote their songs, made their records and went on to the next thing."

But Moman was particularly sensitive to slights, both real and perceived, after his experience with Stax. A lack of recognition within Memphis -- from the press, from fellow musicians, from the city fathers -- for what he and American had contributed musically and economically almost overshadowed his success.

"I've heard him say that many times," says Reggie Young. "And really, if you looked at it, here we were, and we've cut a hundred-something chart records, but yet there would be a mediocre Hi record or a Stax record that would get the press. In our little circle we'd come up with all kind of scenarios as to why we're not in the paper on Sunday or whatever. I guess they had better PR than we did."

The lack of attention -- and a gradual downturn in session work -- was enough of an issue that Moman was thinking of leaving town. "I figured if Memphis don't think no more of us than that, we can do what we do anywhere," says Moman.

Although Moman says City Council members pleaded with him to stay -- he was putting money into the city coffers, after all -- in 1972 he closed up shop in Memphis and headed to Atlanta to start a new studio, taking most of the American band with him.

His tenure in Atlanta was short-lived, however. After encountering problems with the new record label he'd set up, Moman decided to get out of the music business entirely.

"I was planning to go to Australia and become a bush pilot. But I decided to visit some friends in Nashville before I left," says Moman. "While I was there, I wrote a hit song for B.J. Thomas ("[Hey Won't You Play] Another Somebody Done Somebody Wrong Song") that became record of the year. So I stayed."

Moman would spend the next dozen years in Nashville, where he would dominate the country field -- writing hits and producing albums by Willie Nelson, Waylon Jennings, Tammy Wynette and Ronnie Millsap.

Despite his success in Music City, in 1985, Moman was lured back to Memphis. Then-Mayor Dick Hackett and First Tennessee bank chairman Ron Terry, eager to re-energize a Memphis music industry that had been stagnant since the demise of Stax in 1975, offered Moman a studio site and financial incentives to return to town.

"I had a lot of people telling me not to do it," Moman says. "But it was kind of an honor to have them ask me to come back. And so I did. But things didn't go well."

At first, Moman was hailed as a potential savior of the city's music. He quickly recorded the high-profile Class of '55 album featuring Jerry Lee Lewis, Johnny Cash, Carl Perkins and Roy Orbison.

But then an album with Ringo Starr, in particular, was plagued by problems. After The Commercial Appeal ran a column mildly disparaging Starr (saying the "aging Beatle is yesterday's news"), Moman staged a bizarre protest in front of the newspaper's offices. Despite doing some recording, Starr eventually abandoned the project and sued Moman to stop the album's release.

In the end, Moman decided, "Fixing the music business in town wasn't going to happen overnight, like everyone wanted it to," and he returned to Nashville, where he resumed his success for another decade before heading off to semi-retirement in Georgia.

Moman's reclusive nature and lingering bitterness about Memphis have come with a price: His achievements, and those of the American band, have been marginalized in the city's musical history.

In the last two decades, Moman and the American band have repeatedly been passed over for industry awards and honors -- in fact, their only institutional recognition came last year in Nashville, where the band was among the inaugural inductees to the Musicians Hall of Fame and Museum.

Like the original Stax studio, the building housing American was demolished in 1990; today, in its place is a parking lot. There's no plaque or marker to note what was once there.

Herb O'Mell says part of the problem is that no one has served as custodian of American's legacy. "The people from Stax and Sun, they remained here, and they became the officers and took over the (Grammys) and all the award things, and they just kinda left Chips and American out," says O'Mell. "There's nobody here saying 'American, American, American,' the way Deanie Parker has done for Stax or Knox Phillips has done for Sun. That is, unless you talk to someone like Marty Lacker."

Lacker, a longtime music industry veteran, Elvis confidante -- he helped bring Presley to American in 1969 -- and friend of Moman's, has, for the past year, been campaigning privately with both the Rock and Roll Hall of Fame and The Recording Academy, the group that governs the Grammys, to get Moman and the American band some long-overdue recognition.

It's a task made more difficult by the fact that Moman and American weren't identified with a single label or style, as were other house bands that have been honored, such as Stax's Booker T. & the MGs or Motown's Funk Brothers.

"Chips says he doesn't give a damn now if they do anything. But I know deep down inside he does," Lacker says. "Especially, with the local Grammy chapter -- it's nothing but politics there. Most of the (American band) guys are from here. They don't have anything against Memphis. It's just that nobody has said, 'Y'all did good.'"

Memphis Grammy chapter executive director Jon Hornyak says Moman and the American band have been on the list for the chapter's bi-annual Recording Academy Honors the past two times. Other sources confirm that their names have previously been submitted to the national Grammy body for consideration for Trustee's and Lifetime Achievement awards -- but, so far, nothing has happened.

"There are a lot of great people out there, and some get more attention than others, and it's not always clear why," says Hornyak. "I don't think a lot of people are aware of the things Chips had accomplished and all the things that he had his fingers in."

Whether anyone ever recognizes it, Moman says his greatest joy comes from what he and the American band achieved. "We still get together and play once a year. And every once in a while we'll book a session and everyone comes, and we're like we always were," says Moman. "They're like my family. We've stayed together 40 years. That's my proudest accomplishment."

As for the fate of his and the American band's legacy, Moman says he doesn't really expect anything to change.

"And I got no hard feelings about it. ... Well, I can't say that," he admits. "Obviously, I do. I don't know what it is with us and Memphis, or why it's turned out this way. But if you happen to find the answer, I'd appreciate you letting me know."

Masterpieces of the Prado Museum in Google Earth

The Prado Museum's Masterpieces in ultra high resolution.

DOLLY PARTON + BOY GEORGE [DUET]: Your Kisses Are Charity

ジョニー・Ｂ (ELVIS JOHNNY B. GOODE Karaoke-pon)

Stomu Yamashta - Beauty (1977 AUDIO: BUT WHEN YOU FIND SY ANYWHERE YOU POST IT...IT'S KINDA MELLOW]

From the album "Go Too" (1977).

★ 刑事ヨロシク: LION SLEEPS TONIGHT [JAP. PUNKY STAGE PRODUCTION]★

☆1982 TBS TV　刑事ヨロシク　主題歌：朝倉紀幸＆GANG [ライオンは起きている]
★出演者：ビートたけし　岸本加世子　梅宮辰夫　ケーシー高峰　本間優二　三好鉄生　藤田弓子　川上麻衣子　菅井きん　及川ヒロオ　安岡力也　戸川純　秋野暢子　山田邦子　斉藤洋介　奈美悦子　高山佳子　風見りつ子　たかだみゆき　風祭ゆき　大林真由美　加藤直美　西田由美

★虚無僧グループ：矢沢しげる　トニー吉沢　ミッキー岡野　金崎翔一　ジャンボ杉田

★協力：東京ロカビリークラブ　ミスタースリムカンパニー

この胸のときめきを （opening～ジョニーB・グッド）

JAP. SCHOOLGIRL FIELDTRIP MOVIE WITH JOHNNY B. GOODE SOUNDTRACK OPENING

Black Sabbath: Killing Yourself to Live [California Jam Speedway 1974]

Black Sabbath Performing Killing Your Self To Live At California Jam Speedway 1974

BLACK WIDOW - Sacrifice [live 1970 (expurgated extract)]

The last 20 minutes from the show are not suitable for YouTube - you'll really have to buy the DVD. This short extract includes parts of Clive's flute solo - immediately after that begins the "naughty" part which I can't show here - sorry!

Slade in Flame "The Undertakers"

Clip from SLADE's "Flame" movie, this is probably where spinal tap got the idea from, or at least the same story, which obviously came from Screamin' Lord Sutch's stage act.

Here's Noddy (Stoker) singing with rival band The Undertakers doing a Screaming Lord Such thing..."Flame" allthough made in the early 70's was really a document of the realities of mid 60's band life. Check out their manager who is soooo Don Arden.

Small Fakers Tribute Band [Carnaby Street Plaque Unveiling: Don Arden ACCEPTS with Speech]

8th sept from carnaby street at unveiling of a plaque to Don Arden and the Small Faces

Alan Price - O Lucky Man! [eponymous film]

Cut from the start of the classic film of the same name

Liza with a Z - Bye Bye Blackbird

Ol' Dirty Bastard - Shimmy Shimmy Ya / Brooklyn Zoo [Live **RARE**]

RIP Ol'Dirty you're missed everyday....

Ringo Starr - Drowning In The Sea Of Love [1977]

Clip original de la chanson "Drowning In The Sea Of Love", parue en 1977 sur l'album "Ringo The 4th"