Stumbled across this particular combination of images while (still) searching for something else.
Stumbled across this particular combination of images while (still) searching for something else.
“Do chicks dig it?”
“They love it. Love to run their fingers through my soft, silky hair.”
Awww. And there’s that moment in the first one where Peter reaches back and pats Micky on the arm. Doesn’t look too displeased with all the attention.
Digging through the archives tonight, looking for something else. Sending this out to the hair-fetishists. Enjoy!
I don’t understand this movie, but I find it hilarious how Peter’s scenes looks like he is in an entirely different movie altogether.
One of several that showed recently; apparently the Peter solo portions of a Two Man Band (Peter & James Lee Stanley) appearance in 1998. This one is I’ll Spend My Life With You, with some banter up-front. (How tall is Mike’s mic?)
Here are the others:
Apparently they forgave him doing a TV tour of San Francisco while wearing an Orioles jacket.
Please, please tell me that they sang the National Anthem. In 3-part harmony. And one of them threw the first pitch.
I’ve been meaning to ask this for years! In the episode, “Art for Monkees Sake” at 8:47 in Mike says, “Aw, nobody but a fool would paint in the basement.” But the words don’t quite match up— anyone know what he really says?
According to the Monkees Film & TV Vault, the original word was “idiot.” I would imagine that the line was changed because it was too harsh and out of character—not only insulting to Peter, but unkind coming from Mike.
A new religious statue in the town of Davidson, N.C., is unlike anything you might see in church.
The statue depicts Jesus as a vagrant sleeping on a park bench. St. Alban’s Episcopal Church installed the homeless Jesus statue on its property in the middle of an upscale neighborhood filled with well-kept townhomes.
Jesus is huddled under a blanket with his face and hands obscured; only the crucifixion wounds on his uncovered feet give him away.
The reaction was immediate. Some loved it; some didn’t.
"One woman from the neighborhood actually called police the first time she drove by," says David Boraks, editor of DavidsonNews.net. "She thought it was an actual homeless person."
That’s right. Somebody called the cops on Jesus.
Just like IRL!
"Man. I’ll never wash my hair again in my whole life."
"Man. I’ll never wash my shoulder again in my whole life."
Micky on My Three Sons. Gagh.
“Bom, bom-bom, BAP”
When Brian Wilson first heard Hal Blaine’s drumbeat coming out of his car radio, he was so awestruck that he had to pull over and listen. That drum part was apparently an accident — Blaine told an interviewer for the Wall Street Journal in 2011 “I was supposed to play more of a boom-chicky-boom beat, but my stick got stuck and it came out boom, boom-boom chick. I just made sure to make the same mistake every few bars” — if so, it may well have been the most serendipitous accident in popular music history.
Harvey Philip Spector, the producer of the single, had been one of America’s most important record producers for years. A New Yorker who moved to LA as a child, while at high school in the 50s he had been part of the music scene that also included Bruce Johnston, Sandy Nelson, and most of the rest of the people who made up the early-60s LA music community. But while they had stayed in California and made their own amateurish yet fascinating music, Spector had taken a different career path altogether.
After his first band, The Teddy Bears, split up shortly after their 1958 number one hit To Know Him Is To Love Him (a song written around the epitaph on the tombstone of Spector’s father, who had killed himself in 1949), Spector had moved back to New York to work with Jerry Leiber and Mike Stoller. There, Spector’s approach to music changed forever.
Leiber and Stoller had originally started as blues songwriters, writing for people like Big Mama Thornton, and they had been one of the most reliable hitmaking teams of the 1950s, writing a huge number of hits for the Coasters, Elvis Presley, and others. But by the early 1960s, they were moving away from their R&B roots, into a new kind of music that combined the emotional power of the blues with the sweetness of traditional pop orchestration. This melodramatic soul music, sung by performers like Ben E King and The Drifters, was almost a kind of pop-Wagner; songs like Spanish Harlem, which Spector co-wrote with Leiber, or Stand By Me, which was recorded at the same session, attended by Spector, had an intensity and a thickness of sound that was unlike anything else around.
Spector had returned to LA and set up, with his business partner Lester Sill, Philles Records, which quickly became solely owned and run by the Phil half of its portmanteau name, and over the next few years he gathered around him a group of trusted lieutenants. Arranger Jack Nitzsche, production assistant Sonny Bono, engineer Larry Levine, and the group of musicians later known as the Wrecking Crew, all became regular collaborators, as Spector experimented on hit records by the Crystals, Darlene Love, the Blossoms and more, slowly building up his “Wall of Sound” while becoming known as the “Tycoon of Teen” for his hitmaking ability.
Much of the Spector sound is, in fact, attributable to these people, and to the studio, Gold Star, in which Spector worked. Gold Star had a reverb that tended to blend sounds together, while making them sound larger, and Nitzsche worked with that, crafting arrangements which had different instruments doubling parts, so in the finished record it would be almost impossible to pick out what was a guitar, a piano, a trumpet — it was just pure music, shorn of individuality, and as huge as the outsized teenage emotions the interchangeable vocalists on the records sang about.
The vocalist on Be My Baby, though, was the most distinctive of them, Veronica “Ronnie” Bennett, later to be Spector’s wife. Her huge, brassy, New York voice was a far cry from the more controlled vocals of Darlene Love, and there was a raw pleading to her vocals as she strained to be heard over what was the culmination of the Wall Of Sound in its final form.
It had all been leading to this. The song — written by the husband/wife songwriting duo Jeff Barry and Ellie Greenwich, one of the Brill Building teams Spector had got to know in New York, with a contribution from Spector himself — is almost redundant. The bridge (“So won’t you say you love me…”) is wonderful, but the rest of the song is built around cliched patterns, and the lyrics (“for every kiss you give me, I’ll give you three”) are banal verging on the meaningless.
It doesn’t matter, though. It really doesn’t matter. It’s all about the sound. Spector, Nitzsche, the Wrecking Crew and the rest had managed to make a record that sounded like Wagner for thirteen-year-olds, the perfect sonic distillation of an aching adolescent longing. The words don’t make sense? Of course they don’t make sense. Life doesn’t make sense when you’re a teenage ball of hormonal longing, and when you’re in that state this record grabs onto you and never lets you go.
Brian Wilson was so inspired by that first hearing that he spent much of the next few years trying to replicate, and better, the sound he heard coming over that mono AM radio. But fifty years later, he admitted “I’ve stopped trying. It’s the greatest record ever produced. No one will ever top that one. ”
Be My Baby
Composers: Jeff Barry, Phil Spector, and Ellie Greenwich
Line-up: Ronnie Bennett, Nedra Talley, Estelle Bennett, (vocals — note that some sources claim that Talley and Estelle Bennett, despite being the other two members of the Ronettes along with Ronnie Bennett, were not on this track), plus backing vocals possibly including some or all of Ellie Greenwich, Nino Tempo, Bobby Sheen, Sonny Bono, Cher, Darlene Love, Fanita James, and Gracia Nitzsche. Instrumentalists included Don Randi (piano), Louis Blackburn (trombone), Steve Douglas (saxophone), Jay Migliori (saxophone), Leon Russell (keyboards), Hal Blaine (drums), Frank Capp (percussion), Al de Lory (keyboards), Bill Pitman (guitar), Ray Pohlman (bass), and Tommy Tedesco (guitar).
Original release: Be My Baby/Tedesco And Pitman , the Ronettes, Philles single 116
Currently available on: Be My Baby: The Very Best Of The Ronettes Sony Music CD
Yay! Andrew’s back!
(Ooops. Delete mental image of Andrew doing the pose from Peter’s Back… Because friends shouldn’t do that to friends. Sorry.)
I’ve been trying for the last month to stick to a low GI/low glycemic load diet. I’ve been doing OK in half-arsed way, but it’s very difficult. When you have no cooking skills, and sensory issues mean you have a *VERY* limited range of tolerable foods, further restrictions are hellish. To make matters worse, no two sources seem to even agree on which foods are high or low GI/GL.
I suppose this is one of those “invisible disability” things, isn’t it?
(Incidentally, I’m not dieting to lose weight, but because I seem to be developing insulin sensitivity and don’t want to get diabetes. I’m all for people being whatever size they want, and would be happy staying this weight if I can prevent the health problems.)
Diabetes sucks; I wish you all the best success avoiding it. As for the glycemic puzzle, as I understand it, a lot has to do with water content and common sense. Watermelon has a very high glycemic number, but almost no glycemic load because it’s mostly water. But when you’re done crunching the numbers, the general rules still work: unprocessed food is better than processed, veggies are better than fruits, which in turn are better than the fun stuff. If I hear my endocrinologist say “whole grains and lean protein one more time, I might scream, but if I’d eaten more whole grains and lean protein in the first place, I might have never needed an endocrinologist. Hugs!
Odd, I don’t remember signing up to follow either Miracle Whip or Oreos. They certainly don’t follow me.
No. No it doesn’t. And that’s why we love it.
(Original photo from goodtimemusic, this is just my edit!)