9/15/13

saloon door hingen...544 ....bathroom....leaded glass....

9/14/13

9/13/13

what was old is new ..again

via transafixion

http://transafixion.com/2013/09/13/george-carlin-channelling-about-syria/

9/12/13

Lebrew Jones' father, a jazz legend. Part of a Times Herald-Record investigative project about a 1989 Manhattan wrongful murder conviction: "I Didn't That Murder" Lebrew
Hall and the Death of Micki Hall.

A day after his release from prison, Lebrew Jones, a man who spent 22 years behind bars for a murder that he, the victim's mother and a growing number of experts insist he didn't commit, accompanied Christine Young, the former Times Herald-Record reporter responsible for Lebrew's early parole, to her son's drum concert at Alto Music in Middletown.

Lebrew's father, Rufus Speedy Jones, was a legendary jazz drummer who played with Maynard Ferguson, Duke Ellington, Count Basie and James Brown.

Drum Instructor Larry Lubkert surprised everyone by featuring Jones as a special guest, and invited him to "show his stuff" onstage for the first time in over 2 decades....

Rufus "Speedy" Jones was an American Jazz Drummer from Charleston, South Carolina

Starting out on trumpet, Rufus switched to drums at the age of 13. He got an early start in 1954 with Lionel Hampton before being drafted. While stationed at Fort Jackson, Rufus played in a quintet every Saturday night at the black United Service Organization clubhouse in Columbia. He later played with Henry "Red" Allen, and Maynard Ferguson's Orchestra (1959–1963). He led his own quintet during 1963-1964 (producing a Cameo LP, his only album as a leader). Jones gained fame for his flamboyant work with Count Basie in the mid-1960s and backed that up with Duke Ellington in the latter half of the decade. He notably also appeared with James Brown.

Rufus' son, Lebrew Jones was sentenced in 1989 to 22 years to life for the murder of Michaelanne Hall, a young New York City prostitute. He was released on parole on November 19, 2009 after significant doubts were raised about his guilt..

read;
The Lebrew Jones Case

http://www.thr-investigations.com/lebrewjones/

The Ludwig "Take Five" Drum Kit.... best selling Jazz single of all time

One of the few hit songs with a lengthy drum solo played on radio still to this day is Brubeck's "Take Five".

These be the drums used for the most classy of jazz sounding drums. just perfect.

See our video of this set here: http://www.youtube.com/watch?v=sUvLssNMitc This Ludwig Legacy offering of ours is a set that Steve designed as a tribute to the career of the great Joe Morello. Joe recorded "Take Five" 50 years ago and that recording caused the drumming world to sit up and take notice. Joe's had a wonderful career and has influenced countless numbers of drummers all over the world, and we're proud to pay tribute to that career with this special set. We'll do no more than 25 sets in this special configuration and each set will have an internal paper tag from Steve Maxwell Vintage and Custom Drums indicating that this is our Joe Morello tribute kit and will include the serial number of the set and it will be signed by Steve. You can order one of these sets right now. 9x13, 16x16, 14x22 in Joe's favorite silver sparkle and complete with 5x14 brass shell Supraphonic 400 that he favored so much all for $3275. Our rail consolette tom holder is used, as well as vintage Ludwig cymbal arm, floor tom legs and spurs, as well as the large classic lugs. (We can also get you a hardware pack with 2 flat based cymbal stands, lightweight HH and SD stands, and Speed King pedal as an add-on option at $400 to complete the set)

We have Joe's original Brubeck era 60s kit here in our museum as you can see in the main photo. We wanted to keep our tribute kit as close as possible to Joe's original 60s era Ludwig set. Our tribute kit will consist of the following:

- 9x13, 16x16, 14x22 in classic silver sparkle

- 5x14 chrome over brass Supraphonic snare drum

- Legacy 3 ply shells

- Large classic lugs on toms and bass drum

- Vintage 9.5mm floor tom leg brackets

- Vintage 9.5mm mounted tom bracket.

- Our Maxwell vintage rail consolette tom holder

- Vintage 9.5mm ride cymbal arm bracket. Cymbal arm included.

- Vintage disappearing spurs

- White coated medium weight Ludwig heads on toms

- White coated medium Ludwig BD batter head and smooth white BD resonant head with vintage Ludwig "script" logo.

Information about the Ludwig Legacy shells:

Tradition, Craftsmanship, and Visionary Excellence; these are the values at the center of Ludwig’s classic legacy. With these values comes a commitment as true as the care and pride that goes into each drum, hand-crafted at Ludwig’s manufacturing facility in the North Carolina foothills. It is with this ethic in mind that Ludwig celebrates the return of a true American classic.

Combining the benefits of today’s most advanced drum making processes, with the know-how that comes with making drums for nearly a century, Ludwig’s new Legacy Classic Series drums revive the distinctive sound of the world’s most famous drums. These custom-built, American-made percussion instruments are based on a modern re-think of the legendary, reinforced 3-ply Ludwig drum shells that set the standard for popular music throughout the 20th Century.

Incorporating the many of the same methods used through-out its long and illustrious history, Ludwig’s exclusive Legacy Classic shells are made in-house from the choicest cuts of hand-selected North American hardwoods. At its core is a single 1/8” ply of premium Poplar for unyielding warmth and resonance. Inner and outer plies of 1/16” premium-grade North American Maple are then cross-laminated to the core to reproduce that magical balance of power and clarity for the modern era. This proven design is then augmented with 1/4” single-ply Maple reinforcement hoops, and rounded, classiccut bearing edges for thundering lows and pronounced cut in any musical situation.

But Legacy Classic is not merely a blast from the past. These drums take full advantage of state-of-the-art manufacturing, careful quality control, and a host of upgrades and innovations that only a company with Ludwig’s experience and expertise can offer. For the discriminating professional, serious part-time player, and vintage and contemporary collector alike, Legacy Classic is truly the best of today, yesterday and tomorrow.

continue geeking out here....http://www.maxwelldrums.com/ludwig-morello-take-five-tribute-1316225-p-5473.html

and the whole thing.....

and the studio long version....

Great Songs: 'Take Five' and the Career of Jazz Legend Dave Brubeck

“Every once in a while it’s good to shake things up.” Dave Brubeck

Last week, jazz legend Dave Brubeck (1920-2012) passed away. His best remembered song is "Take Five," written by saxophonist Paul Desmond and performed by The Dave Brubeck Quartet on their 1959 album Time Out. It is famous for its distinctive catchy saxophone melody, imaginative, jolting drum solo and use of the unusual quintuple (5/4) time, from which its name is derived. Brubeck said he took Desmond’s two musical themes and helped turn the melody into the standard it is today. The album—and the single—sold millions of copies. “Take Five” is the best-selling jazz single of all time.

PREMIER VINTAGE EARLY '70's 3-PLY 26" BASS KIT - 26/13/14/16

2013 US SUMO OPEN - 13th Annual

2013 US SUMO OPEN - 13th Annual

photo: Dustin Snipes

Sunday, September 15, 2013　 3 - 6 pm (Gates open at 2 pm)
Japanese American Cultural & Community Center (Little Tokyo)
244 South San Pedro Street
Los Angeles, CA 90012

The 13th annual US SUMO OPEN will shake your world! Watch 40 elite sumo wrestlers from around the planet, competing in a REAL showdown in Little Tokyo! The US SUMO OPEN is the premiere annual sumo event in North America. Since the inaugural US SUMO OPEN in 2001, more than 300 world-class sumo wrestlers from 25 countries have vied for the title.

Since he first entered the competition in 2007, three-time World Sumo Champion, Byamba has won gold every year, with a cumulative record of 59 wins and only 1 loss! Can he defend his title, winning the championship for 7 years in a row?!

In addition to the giants like Byamba, you'll see sumo wrestlers of all sizes, in both men's and women's divisions! Yes, in international competition, there are weight and gender divisions, as sumo makes a push to be in the Olympic Games.

Taiko drummers will perform on site. Enjoy delicious food, and drink Sapporo Beer and Hakutsuru Sake, while watching the matches. All the action takes place at JACCC in the heart of Little Tokyo.

photos: Chuck Green

FEATURED ATHLETES:
These are just SOME of the 50 top athletes expected to compete:

Byambajav Ulambayar
6'1", 346 lbs
Mongolia
Three-time World Champion
Japanese Pro Sumo (5 years)

Kelly Gneiting
6'0", 420 lbs
USA - AZ
World Sumo Competitor (10x)
US Sumo Champion (5x)

Sharran Alexander
6'0", 442 lbs
United Kingdom
UK Sumo Champion
GWR Heaviest Female Athlete

Ramy Abd El Aty Lbrahim Belal
6'0", 253 lbs
Egypt
Afirican Sumo Champion

Trent Sabo
5'8", 198 lbs
USA - ID
'04 Sumo World Cup gold
'08 World Sumo Champion bronze

Erdenebileg Alagdaa
6'0", 184 lbs
Mongolia
US Sumo Open gold (4x)
Mongolian wrestling Champion

Foteh Mukhtorov
5'11", 298 lbs
Tajikistan
US Sumo Open bronze (2x)

Siosifa Isamau
6'1", 330 lbs
Tonga
US Sumo Open bronze (2x)

go sam....go

A DANGEROUS AND EVIL PIANO PIECE

POSTED BY SAM SWEET

On September 9, 1963, a small classroom-size crowd of abstract artists, Off Broadway actors, and miscellaneous beatniks gathered at the Pocket Theatre—a former vaudeville house on Third Avenue and Thirteenth Street—to witness the début of a seventy-year-old piece of mysterious piano music. Though Erik Satie’s “Vexations” (1893) consisted of only a half sheet of notation, its recital had previously been deemed impossible, as the French composer had suggested at the top of his original manuscript that the motif be repeated eight hundred and forty times. Even before repetition, the piano line is unnerving: mild but menacing, exquisite but skewed, modest but exacting. Above the music, Satie included an author’s note, as much a warning as direction: “It would be advisable to prepare oneself beforehand, in the deepest silence, by serious immobilities.”

The American composer John Cage was the first to insist that staging “Vexations” was not only possible but essential. No one knew what exactly would occur, which is part of what enticed Cage, who had a lust for unknown outcomes. The performance commenced at 6P.M. that Monday and continued to the following day’s lunch hour. Cage played in twenty-minute shifts with a group of eleven pianists he dubbed “The Pocket Theatre Piano Relay Team.” They included the dancer Viola Farber; John Cale, soon to be a co-founder of the Velvet Underground; and the experimental composers David Tudor, Christian Wolff, and David Del Tredici. To complete the full eight hundred and forty repetitions of “Vexations” took eighteen hours and forty minutes. The New York Times sent its own relay team of critics to cover the event in its entirety, while the Guinness Book of World Records dispatched an official to certify this as “The Longest Piano Piece in History.” In the aftermath, some onlookers were bemused; others were agitated. Cage was elated. “I had changed and the world had changed,” he later said.

In the years that followed its début, “Vexations” outgrew its status as a curiosity. It became a rite of passage. As performances flourished, its legend intensified. Each generation produced a new crop of ambitious and inquisitive young pianists eager to scale this esoteric Mt. Everest. Recitals were part endurance trial, part vision quest. And whether explicitly or implicitly, each successive reading paid tribute to Cage and Satie, the twin protagonists of impish illumination through music.

The “Vexations” tradition spread rapidly in the years after the Pocket Theatre performance. First to London, where a young pianist named Richard Toop completed the first solo rendition in a twenty-four-hour marathon in 1967. After that, ceremonial renditions of the pieces were organized at conservatories and art schools from South Dakota to Wales, California, Stockholm, and Warsaw. The experience was always slightly different, depending on the room and the attitude of its players. The durations also varied. Performances were as short as fourteen hours and as long as twenty-four, as each player provided a personal interpretation of Satie’s original tempo directive: “très lent,” or “very slowly.”

Consistent among both witnesses and performers are reports of the piece’s mystical effects. Pianists say there is something about Satie’s fiendish notation that makes the brief line impossible to memorize. Even after hundreds of repetitions, players are forced to sight-read from the beginning, as if learning for the first time. Witnesses have reported a similar effect. Listeners that subject themselves to the unnerving melody for several hours still find themselves incapable of humming it.

A lifelong Paris resident, Satie spent his twenties in the bohemian enclave of Montmartre, where he mingled with Debussy, Ravel, and Picasso. Though he manage to publish several short piano pieces, his maniacal eccentricities eventually alienated him from the cultural establishment of Paris. By his early thirties, he had retreated to the unfashionable suburb of Arcueil, where he eked out a living playing piano in cabarets. Through his association with Debussy and Ravel (as well as subsequent collaborations with younger Surrealists like Jean Cocteau, Man Ray, and René Clair), Satie achieved some renown in his later years, but he died alone at age fifty-nine, of cirrhosis. In his twenty-seven years in Arcueil, no visitor ever set foot in his apartment.

The existence of “Vexations” was unknown until 1949, when an associate of Satie brought it to Cage's attention. Though Satie died in 1925, Cage had adopted the Frenchman as his personal forefather. They shared an aversion to the classics and a deep distrust of convention. Cage inherited Satie’s fascination with time as a musical structure, and his abiding faith in illogicality. “Vexations” appeared in his life like a hidden gift that the older eccentric had left behind for his future son to find.

Satie had an infamously insatiable appetite for parodies, puns, and absurdities of all kinds, many of which were recorded in notebooks for his own amusement. Though some dismissed “Vexations” as a private punch line, its singularly peculiar effect has led many historians to speculate about its origins. Some say it is a caricature of the painstaking exercises to which Satie was subjected at the Conservatoire de Paris. Others claim it was Satie’s way of lampooning Richard Wagner, a superstar whose grandiosity and melodrama disgusted the French Dadaist.

Another theory posits “Vexations” as the product of romantic despondence. It was written in the wake of Satie’s split with Suzanne Valadon, a beautiful French painter who wore on her blouse a corsage of carrots and kept a pet goat in her studio. Satie was smitten. Their six-month affair was the sole romantic relationship of his life. “For me there is nothing but icy loneliness which makes my head go empty and fills my heart with sadness,” he wrote when Valadon dumped him for a wealthy banker. That icy loneliness runs through “Vexations.” Its repetitions marry lovelorn melancholy and irresolvable anxiety. It could qualify as the avant-garde’s original breakup ballad.

Those who sit for all eight hundred and forty repetitions tend to agree on a common sequence of reactive stages: fascination morphs into agitation, which gradually morphs into all-encompassing agony. But listeners who withstand that phase enter a state of deep tranquility. “Vexations” veterans often say that reëntry into the natural world is thrilling because they are able to hear sound as if for the very first time. Of course, not everyone gets there. An Australian pianist named Peter Evans abandoned a 1970 solo performance after five hundred and ninety-five repetitions because he claimed he was being overtaken by evil thoughts and noticed strange creatures emerging from the sheet music. “People who play it do so at their own peril,” he said afterward.

The former Pocket Theatre storefront at 100 Third Avenue is currently boarded up, having endured several decades of transformation, from experimental theatre to gay peep show to art-house cinema. Most recently it was a sports bar. Today there are no scheduled performances of “Vexations” to celebrate its fiftieth anniversary, but a new concert is never far off. In December of 2012, a prodigious Monacan pianist named Nicolas Horvath gave a performance in Tokyo that lasted thirty-five hours. It was his eighth solo presentation of “Vexations.” “No food or drink for three days before the Vexations,” he explained to his fans in the comments section of his YouTube channel, where he posts six- and nine-hour segments of his marathon performances. Responding to a newcomer, he said, “28 hours is pretty nice indeed but alone it is very hard. Pain starts past 6 hours; Madness starts past 12 hours; Hell starts past 20 hours!”

Cage intended “Vexations” as an experiment in Zen enlightenment and an affront to conventional musical values. What Satie originally intended, we’ll never know. Were they alive, they might be horrified to find that this once-unthinkable ceremony has been reduced to a vehicle for tests of triathlon-like machismo. On the other hand, knowing Satie and Cage, it’s hard to imagine they wouldn’t be tickled by the unusual and unanticipated prosperity of a musical riddle that was never supposed to be solved.

Score: Erik Satie’s “Vexations” (1893). Poster: Living Room Series “Vexations” Poster.

http://www.newyorker.com/online/blogs/culture/2013/09/vexations-a-dangerous-and-evil-piano-piece.html

9/10/13

deaf music, language and cochlear implants

9/9/13

A Mercedes V12 Engine Built with Hand-Forged Components of Bone, Wood, Fossils and 50 Other MaterialsAugust 28, 2013

A Mercedes V12 Engine Built with Hand Forged Components of Bone, Wood, Fossils and 50 Other Materials sculpture Morocco cars

Here on Colossal we’ve seen an entire 1969 Mustang Coupe made from paper, and a stunning stop motion timelapse of a rebuilt Triumph Spitfire, but this new sculptural piece by artist Eric van Hove might take the cake for labor-intensive automotive art. After receiving a Cda-Projects Grant the artist headed to Morroco to create V12 Laraki, an excruciatingly detailed Mercedes V12 engine built from 53 materials that were hand-forged from 35 master craftsmen from various regions in Morocco.

Nine months in the making,V12 Laraki began when van Hove dismantled a mercedes engine and then set about creating faithful reproductions of every single component, some 465 parts and 660 bolts made of casted copper. Contracting with artists around Morocco the engine was made with white cedar wood, high Atlas red cedar wood, walnut wood, lemon wood, orange wood, ebony wood of Macassar, mahogany wood, thuya wood, Moroccan beech wood, pink apricot wood, mother of pearl, yellow copper, nickel plated copper, red copper, forged iron, recycled aluminum, nickel silver, silver, tin, cow bone, goat bone, malachite of Midelt, agate, green onyx, tigers eye, Taroudant stone, sand stone, red marble of Agadir, black marble of Ouarzazate, white marble of Béni Mellal, pink granite of Tafraoute, goatskin, cowskin, lambskin, resin, cow horn, rams horn, ammonite fossils of the Paleozoic from Erfoud, Ourika clay, geometric terra cotta with vitreous enamel (zellige), green enamel of Tamgrout, paint, cotton, argan oil, cork, henna, rumex. In case you were interested.

While the engine is of course not meant to be functional, the piece acts as an incredible testament to Moroccan craft, as well as a fascinating amalgam of natural resources and materials found in the region. You can learn more about the project on the artistswebsite and over on Facebook.

9/8/13

eyes

9/7/13

tom curren 1994 indonesia... surfboard design takes a turn...

http://www.surfline.com/surf-news/the-quiet-revolution-curren-in-indo-circa-94_101288/

john prine emmylou harris

From the album This One's For Him: A Tribute To Guy Clark (2011).

FEATURING:

listen
http://www.allmusic.com/album/this-ones-for-him-a-tribute-to-guy-clark-mw0002280493

john prine

Published on May 14, 2013
From 2001.
Set list compliments of Dennis K.
John Prine- Sessions At West 54th (Full Concert)
1. Spanish Pipedream
2. Six O'Clock News
3. Souvenirs
4. Far from Me
5. All the Best
6. Milwaukee Here I Come (with Iris DeMent)
7. (We're Not) The Jet Set (with Iris DeMent)
8. Let's Invite Them Over Again (with Iris DeMent)
9. When Two Worlds Collide (with Iris DeMent)10. In Spite of Ourselves (with Iris DeMent)
11. Sam Stone
12. Lake Marie
13. Hello in There

9/6/13

Space Trailer: NASA Architect Now Makes Mini Mobile Homes

So you live in a small condo where every square foot counts – but imagine the premium on space of actual outer space habitats.Combining his childhood love of houseboats and adult work on habitat modules for NASA and the International Space Station, one architect has applied all of his learning and yearning to a unique space-saving (and space-age) trailer right here on Earth.

After years figuring out how to make comfortable and compact living quarters in which astronauts were to eat, sleep, bathe and relax – their tiny floating home away from home – the eventual creator of theCricket Trailer refocused his efforts on something more useful to everyday earthlings: a made-to-order, modular, miniature trailer home.

The most decked-out version available to buy includes a a kitchen, eating, sleeping and lounge spaces as well as a hand shower, toilet, flexible awning, heating furnace and air conditioning – all somehow stored within a 15′ by 6.5′ trailer box with an (optional) pop-up, tent-like top.

One size does not fit all – people can purchase a simple shell with wheel well storage compartments and a sloped floor for drainage, then build out the rest on their own if they wish.

The next standard model up comes with a kitchen cabinet, hinged countertop, table, couch, refrigerator and stainless steel sink with hot running water, but lacks waste management as well as temperature control (making it good for camping, but perhaps not enough for long-term on-the-road lifestyles).

Visually, it looks like a postmodern sculptural tribute to classic cross-country living trailers. The design borrows from archetypes of portable campers with which the public is familiar, but breaks from the norm and deforms as needed to accommodate additional space-saving strategies and, some might say, an overall more space-aged look.

http://dornob.com/space-trailer-nasa-architect-now-makes-mini-mobile-homes/#axzz2e7UYvN2O

leica

9/5/13

taken from Limpencraft.com

http://www.limpencraft.com

text on small papers with orange pith in background