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OT: OH NOES! RIP Little Richard :-(
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GM
May 9, 2020, 12:01:28 PM5/9/20
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Kids, very sad that a true American Original has passed...
“Oh, you gonna make me scream like a white girl!...” - Little Richard to a 2012 audience
John Lennon: “He used to read from the Bible backstage (at the Star Club in Hamburg, 1962; LR was the opening act for The Beatles) and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”
John Waters [from a Guardian article about interviewing LR for Playboy]: "In his autobiography he recalls his early life, in which he travelled with a minstrel show, sold snake oil in Doctor Hudson's Medicine Show and performed in drag as Princess Lavonne, and he recalls early childhood anecdotes, such as the time he gave an old lady neighbour a bowel movement in a fancy box for her birthday...The bizarre lifestyle you'd fantasised for Little Richard is small potatoes compared with the truth. His onetime drug addictions and alcoholism, his hilarious threesome with Buddy Holly and his longtime white stripper girlfriend Lee Angel (with a "50-inch bust"), and his obsessions with voyeurism ("Richard the Watcher") and masturbation ("six or seven times a day") are all topped off with truly staggering photographs of his many fashion statements..."
https://www.rollingstone.com/music/music-news/little-richard-dead-48505/
Little Richard, Founding Father of Rock Who Broke Musical Barriers, Dead at 87
Pianist-singer behind “Tutti Frutti,” “Good Golly Miss Molly” and “Long Tall Sally” set the template that a generation of musicians would follow
"Little Richard, a founding father of rock and roll whose fervent shrieks, flamboyant garb, and joyful, gender-bending persona embodied the spirit and sound of that new art form, died Saturday. He was 87. The musician’s son, Danny Jones Penniman, confirmed the pioneer’s death to Rolling Stone, adding that the cause of death was cancer.
Starting with “Tutti Frutti” in 1956, Little Richard cut a series of unstoppable hits – “Long Tall Sally” and “Rip It Up” that same year, “Lucille” in 1957, and “Good Golly Miss Molly” in 1958 – driven by his simple, pumping piano, gospel-influenced vocal exclamations and sexually charged (often gibberish) lyrics. “I heard Little Richard and Jerry Lee Lewis, and that was it,” Elton John told Rolling Stone in 1973. “I didn’t ever want to be anything else. I’m more of a Little Richard stylist than a Jerry Lee Lewis, I think. Jerry Lee is a very intricate piano player and very skillful, but Little Richard is more of a pounder.”
Although he never hit the top 10 again after 1958, Little Richard’s influence was massive. The Beatles recorded several of his songs, including “Long Tall Sally,” and Paul McCartney’s singing on those tracks – and the Beatles’ own “I’m Down” – paid tribute to Little Richard’s shredded-throat style. His songs became part of the rock and roll canon, covered over the decades by everyone from the Everly Brothers, the Kinks, and Creedence Clearwater Revival to Elvis Costello and the Scorpions. “Elvis popularized [rock and roll],” Steven Van Zandt tweeted after the news broke. “Chuck Berry was the storyteller. Richard was the archetype.”
Little Richard’s stage persona – his pompadours, androgynous makeup and glass-bead shirts – also set the standard for rock and roll showmanship; Prince, to cite one obvious example, owed a sizable debt to the musician. “Prince is the Little Richard of his generation,” Richard told Joan Rivers in 1989 before looking at the camera and addressing Prince. “I was wearing purple before you was wearing it!”
Born Richard Wayne Penniman on December 5th, 1932, in Macon, Georgia, he was one of 12 children and grew up around uncles who were preachers. “I was born in the slums. My daddy sold whiskey, bootleg whiskey,” he told Rolling Stone in 1970. Although he sang in a nearby church, his father Bud wasn’t supportive of his son’s music and accused him of being gay, resulting in Penniman leaving home at 13 and moving in with a white family in Macon. But music stayed with him: One of his boyhood friends was Otis Redding, and Penniman heard R&B, blues and country while working at a concession stand at the Macon City Auditorium.
After performing at the Tick Tock Club in Macon and winning a local talent show, Penniman landed his first record deal, with RCA, in 1951. (He became “Little Richard” when he about 15 years old, when the R&B and blues worlds were filled with acts like Little Esther and Little Milton; he had also grown tired with people mispronouncing his last name as “Penny-man.”) He learned his distinctive piano style from Esquerita, a South Carolina singer and pianist who also wore his hair in a high black pompadour.
For the next five years, Little Richard’s career advanced only fitfully; fairly tame, conventional singles he cut for RCA and other labels didn’t chart. “When I first came along, I never heard any rock & roll,” he told Rolling Stone in 1990. “When I started singing [rock & roll], I sang it a long time before I presented it to the public because I was afraid they wouldn’t like it. I never heard nobody do it, and I was scared.”
By 1956, he was washing dishes at the Greyhound bus station in Macon (a job he had first taken a few years earlier after his father was murdered and Little Richard had to support his family). By then, only one track he’d cut, “Little Richard’s Boogie,” hinted at the musical tornado to come. “I put that little thing in it,” he told Rolling Stone in 1970 of the way he tweaked with his gospel roots. “I always did have that thing, but I didn’t know what to do with the thing I had.”
During this low point, he sent a tape with a rough version of a bawdy novelty song called “Tutti Frutti” to Specialty Records in Chicago. He came up with the song’s famed chorus — “a wop bob alu bob a wop bam boom” — while bored washing dishes. (He also wrote “Long Tall Sally” and “Good Golly Miss Molly” while working that same job.)
By coincidence, label owner and producer Art Rupe was in search of a lead singer for some tracks he wanted to cut in New Orleans, and Penniman’s howling delivery fit the bill. In September 1955, the musician cut a lyrically cleaned-up version of “Tutti Frutti,” which became his first hit, peaking at 17 on the pop chart. “’Tutti Frutti really started the races being together,” he told Rolling Stone in 1990. “From the git-go, my music was accepted by whites.”
Its followup, “Long Tall Sally,” hit Number Six, becoming his the highest-placing hit of his career. For just over a year, the musician released one relentless and arresting smash after another. From “Long Tall Sally” to “Slippin’ and Slidin,’” Little Richard’s hits – a glorious mix of boogie, gospel, and jump blues, produced by Robert “Bumps” Blackwell — sounded like he never stood still. With his trademark pompadour and makeup (which he once said he started wearing so that he would be less “threatening” while playing white clubs), he was instantly on the level of Elvis Presley, Jerry Lee Lewis and other early rock icons, complete with rabid fans and mobbed concerts. “That’s what the kids in America were excited about,” he told Rolling Stone in 1970. “They don’t want the falsehood — they want the truth.”
As with Presley, Lewis and other contemporaries, Penniman also was cast in early rock and roll movies like Don’t Knock the Rock (1956) and The Girl Can’t Help It (1957). In a sign of how segregated the music business and radio were at the time, though, Pat Boone’s milquetoast covers of “Tutti Frutti” and “Long Tall Sally,” both also released in 1956, charted as well if not higher than Richard’s own versions. (“Boone’s “Tutti Frutti” hit Number 12, surpassing Little Richard’s by nine slots.) Penniman later told Rolling Stone that he made sure to sing “Long Tall Sally” faster than “Tutti Frutti” so that Boone couldn’t copy him as much.
But then the hits stopped, by his own choice. After what he interpreted as signs – a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation – Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real.
His gospel music career floundering, Little Richard returned to secular rock in 1964. Although none of the albums and singles he cut over the next decade for a variety of labels sold well, he was welcomed back by a new generation of rockers like the Rolling Stones and Bob Dylan (who used to play Little Richard songs on the piano when he was a kid). When Little Richard played the Star-Club in Hamburg in the early Sixties, the opening act was none other than the Beatles. “We used to stand backstage at Hamburg’s Star-Club and watch Little Richard play,” John Lennon said later. “He used to read from the Bible backstage and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”
By the 1970s, Little Richard was making a respectable living on the rock oldies circuit, immortalized in a searing, sweaty performance in the 1973 documentary Let the Good Times Roll. During this time, he also became addicted to marijuana and cocaine while, at the same time, returning to his gospel roots.
Little Richard also dismantled sexual stereotypes in rock & roll, even if he confused many of his fans along the way. During his teen years and into his early rock stardom, his stereotypical flamboyant personality made some speculate about his sexuality, even if he never publicly came out. But that flamboyance didn’t derail his career. In the 1984 biography The Life and Times of Little Richard (written with his cooperation), he denounced homosexuality as “contagious … It’s not something you’re born with.” (Eleven years later, he said in an interview with Penthouse that he had been “gay all my life.”)
Later in life, he described himself as “omnisexual,” attracted to both men and women. But during an interview with the Christian-tied Three Angels Broadcasting Group in 2017, he suddenly denounced gay and trans lifestyles: “God, Jesus, He made men, men, he made women, women, you know? And you’ve got to live the way God wants you to live. So much unnatural affection. So much of people just doing everything and don’t think about God.”
Yet none of that seemed to damage his mystique or legend. In the 1980s, he appeared in movies like Down and Out in Beverly Hills and in TV shows like Full House and Miami Vice. In 1986, he was one of the 10 original inductees into the Rock and Roll Hall of Fame, and in 1993, he was awarded a Lifetime Achievement Award at the Grammys. His last known recording was in 2010, when he cut a song for a tribute album to gospel singer Dottie Rambo.
In the years before his death, Little Richard, who was by then based in Nashville, still performed periodically. Onstage, though, the physicality of old was gone: Thanks to hip replacement surgery in 2009, he could only perform sitting down at his piano. But his rock and roll spirit never left him. “I’m sorry I can’t do it like it’s supposed to be done,” he told one audience in 2012. After the audience screamed back in encouragement, he said – with a very Little Richard squeal — “Oh, you gonna make me scream like a white girl!...”
</>
“Oh, you gonna make me scream like a white girl!...” - Little Richard to a 2012 audience
John Lennon: “He used to read from the Bible backstage (at the Star Club in Hamburg, 1962; LR was the opening act for The Beatles) and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”
John Waters [from a Guardian article about interviewing LR for Playboy]: "In his autobiography he recalls his early life, in which he travelled with a minstrel show, sold snake oil in Doctor Hudson's Medicine Show and performed in drag as Princess Lavonne, and he recalls early childhood anecdotes, such as the time he gave an old lady neighbour a bowel movement in a fancy box for her birthday...The bizarre lifestyle you'd fantasised for Little Richard is small potatoes compared with the truth. His onetime drug addictions and alcoholism, his hilarious threesome with Buddy Holly and his longtime white stripper girlfriend Lee Angel (with a "50-inch bust"), and his obsessions with voyeurism ("Richard the Watcher") and masturbation ("six or seven times a day") are all topped off with truly staggering photographs of his many fashion statements..."
https://www.rollingstone.com/music/music-news/little-richard-dead-48505/
Little Richard, Founding Father of Rock Who Broke Musical Barriers, Dead at 87
Pianist-singer behind “Tutti Frutti,” “Good Golly Miss Molly” and “Long Tall Sally” set the template that a generation of musicians would follow
"Little Richard, a founding father of rock and roll whose fervent shrieks, flamboyant garb, and joyful, gender-bending persona embodied the spirit and sound of that new art form, died Saturday. He was 87. The musician’s son, Danny Jones Penniman, confirmed the pioneer’s death to Rolling Stone, adding that the cause of death was cancer.
Starting with “Tutti Frutti” in 1956, Little Richard cut a series of unstoppable hits – “Long Tall Sally” and “Rip It Up” that same year, “Lucille” in 1957, and “Good Golly Miss Molly” in 1958 – driven by his simple, pumping piano, gospel-influenced vocal exclamations and sexually charged (often gibberish) lyrics. “I heard Little Richard and Jerry Lee Lewis, and that was it,” Elton John told Rolling Stone in 1973. “I didn’t ever want to be anything else. I’m more of a Little Richard stylist than a Jerry Lee Lewis, I think. Jerry Lee is a very intricate piano player and very skillful, but Little Richard is more of a pounder.”
Although he never hit the top 10 again after 1958, Little Richard’s influence was massive. The Beatles recorded several of his songs, including “Long Tall Sally,” and Paul McCartney’s singing on those tracks – and the Beatles’ own “I’m Down” – paid tribute to Little Richard’s shredded-throat style. His songs became part of the rock and roll canon, covered over the decades by everyone from the Everly Brothers, the Kinks, and Creedence Clearwater Revival to Elvis Costello and the Scorpions. “Elvis popularized [rock and roll],” Steven Van Zandt tweeted after the news broke. “Chuck Berry was the storyteller. Richard was the archetype.”
Little Richard’s stage persona – his pompadours, androgynous makeup and glass-bead shirts – also set the standard for rock and roll showmanship; Prince, to cite one obvious example, owed a sizable debt to the musician. “Prince is the Little Richard of his generation,” Richard told Joan Rivers in 1989 before looking at the camera and addressing Prince. “I was wearing purple before you was wearing it!”
Born Richard Wayne Penniman on December 5th, 1932, in Macon, Georgia, he was one of 12 children and grew up around uncles who were preachers. “I was born in the slums. My daddy sold whiskey, bootleg whiskey,” he told Rolling Stone in 1970. Although he sang in a nearby church, his father Bud wasn’t supportive of his son’s music and accused him of being gay, resulting in Penniman leaving home at 13 and moving in with a white family in Macon. But music stayed with him: One of his boyhood friends was Otis Redding, and Penniman heard R&B, blues and country while working at a concession stand at the Macon City Auditorium.
After performing at the Tick Tock Club in Macon and winning a local talent show, Penniman landed his first record deal, with RCA, in 1951. (He became “Little Richard” when he about 15 years old, when the R&B and blues worlds were filled with acts like Little Esther and Little Milton; he had also grown tired with people mispronouncing his last name as “Penny-man.”) He learned his distinctive piano style from Esquerita, a South Carolina singer and pianist who also wore his hair in a high black pompadour.
For the next five years, Little Richard’s career advanced only fitfully; fairly tame, conventional singles he cut for RCA and other labels didn’t chart. “When I first came along, I never heard any rock & roll,” he told Rolling Stone in 1990. “When I started singing [rock & roll], I sang it a long time before I presented it to the public because I was afraid they wouldn’t like it. I never heard nobody do it, and I was scared.”
By 1956, he was washing dishes at the Greyhound bus station in Macon (a job he had first taken a few years earlier after his father was murdered and Little Richard had to support his family). By then, only one track he’d cut, “Little Richard’s Boogie,” hinted at the musical tornado to come. “I put that little thing in it,” he told Rolling Stone in 1970 of the way he tweaked with his gospel roots. “I always did have that thing, but I didn’t know what to do with the thing I had.”
During this low point, he sent a tape with a rough version of a bawdy novelty song called “Tutti Frutti” to Specialty Records in Chicago. He came up with the song’s famed chorus — “a wop bob alu bob a wop bam boom” — while bored washing dishes. (He also wrote “Long Tall Sally” and “Good Golly Miss Molly” while working that same job.)
By coincidence, label owner and producer Art Rupe was in search of a lead singer for some tracks he wanted to cut in New Orleans, and Penniman’s howling delivery fit the bill. In September 1955, the musician cut a lyrically cleaned-up version of “Tutti Frutti,” which became his first hit, peaking at 17 on the pop chart. “’Tutti Frutti really started the races being together,” he told Rolling Stone in 1990. “From the git-go, my music was accepted by whites.”
Its followup, “Long Tall Sally,” hit Number Six, becoming his the highest-placing hit of his career. For just over a year, the musician released one relentless and arresting smash after another. From “Long Tall Sally” to “Slippin’ and Slidin,’” Little Richard’s hits – a glorious mix of boogie, gospel, and jump blues, produced by Robert “Bumps” Blackwell — sounded like he never stood still. With his trademark pompadour and makeup (which he once said he started wearing so that he would be less “threatening” while playing white clubs), he was instantly on the level of Elvis Presley, Jerry Lee Lewis and other early rock icons, complete with rabid fans and mobbed concerts. “That’s what the kids in America were excited about,” he told Rolling Stone in 1970. “They don’t want the falsehood — they want the truth.”
As with Presley, Lewis and other contemporaries, Penniman also was cast in early rock and roll movies like Don’t Knock the Rock (1956) and The Girl Can’t Help It (1957). In a sign of how segregated the music business and radio were at the time, though, Pat Boone’s milquetoast covers of “Tutti Frutti” and “Long Tall Sally,” both also released in 1956, charted as well if not higher than Richard’s own versions. (“Boone’s “Tutti Frutti” hit Number 12, surpassing Little Richard’s by nine slots.) Penniman later told Rolling Stone that he made sure to sing “Long Tall Sally” faster than “Tutti Frutti” so that Boone couldn’t copy him as much.
But then the hits stopped, by his own choice. After what he interpreted as signs – a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation – Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real.
His gospel music career floundering, Little Richard returned to secular rock in 1964. Although none of the albums and singles he cut over the next decade for a variety of labels sold well, he was welcomed back by a new generation of rockers like the Rolling Stones and Bob Dylan (who used to play Little Richard songs on the piano when he was a kid). When Little Richard played the Star-Club in Hamburg in the early Sixties, the opening act was none other than the Beatles. “We used to stand backstage at Hamburg’s Star-Club and watch Little Richard play,” John Lennon said later. “He used to read from the Bible backstage and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”
By the 1970s, Little Richard was making a respectable living on the rock oldies circuit, immortalized in a searing, sweaty performance in the 1973 documentary Let the Good Times Roll. During this time, he also became addicted to marijuana and cocaine while, at the same time, returning to his gospel roots.
Little Richard also dismantled sexual stereotypes in rock & roll, even if he confused many of his fans along the way. During his teen years and into his early rock stardom, his stereotypical flamboyant personality made some speculate about his sexuality, even if he never publicly came out. But that flamboyance didn’t derail his career. In the 1984 biography The Life and Times of Little Richard (written with his cooperation), he denounced homosexuality as “contagious … It’s not something you’re born with.” (Eleven years later, he said in an interview with Penthouse that he had been “gay all my life.”)
Later in life, he described himself as “omnisexual,” attracted to both men and women. But during an interview with the Christian-tied Three Angels Broadcasting Group in 2017, he suddenly denounced gay and trans lifestyles: “God, Jesus, He made men, men, he made women, women, you know? And you’ve got to live the way God wants you to live. So much unnatural affection. So much of people just doing everything and don’t think about God.”
Yet none of that seemed to damage his mystique or legend. In the 1980s, he appeared in movies like Down and Out in Beverly Hills and in TV shows like Full House and Miami Vice. In 1986, he was one of the 10 original inductees into the Rock and Roll Hall of Fame, and in 1993, he was awarded a Lifetime Achievement Award at the Grammys. His last known recording was in 2010, when he cut a song for a tribute album to gospel singer Dottie Rambo.
In the years before his death, Little Richard, who was by then based in Nashville, still performed periodically. Onstage, though, the physicality of old was gone: Thanks to hip replacement surgery in 2009, he could only perform sitting down at his piano. But his rock and roll spirit never left him. “I’m sorry I can’t do it like it’s supposed to be done,” he told one audience in 2012. After the audience screamed back in encouragement, he said – with a very Little Richard squeal — “Oh, you gonna make me scream like a white girl!...”
</>
Cindy Hamilton
May 9, 2020, 12:13:09 PM5/9/20
to
On Saturday, May 9, 2020 at 12:01:28 PM UTC-4, GM wrote:
> Kids, very sad that a true American Original has passed...
Sad-ish. He was 87 and died of cancer.
> Kids, very sad that a true American Original has passed...
Cindy Hamilton
itsjoan...@webtv.net
May 9, 2020, 2:15:39 PM5/9/20
to
Help It" on YouTube.
leno...@yahoo.com
May 9, 2020, 3:01:35 PM5/9/20
to
I saw him in an outdoor concert maybe 10 years ago.
I was also lucky enough to see the rare 1969 concert movie "Keep on Rockin' (Toronto Pop)" in the late 1970s. (It was directed by D.A. Pennebaker. Jerry Lee Lewis also performs!) In the very good 1994 book "Hollywood Rock" by Marshall Crenshaw, the movie is listed under "Sweet Toronto."
L.R. had six other entries in that book. One was the 1957 "Mister Rock and Roll." (It's a fictional story, starring Alan Freed.) There are 12 performers, but the only other ones whose names I recognized were the Moonglows, Lionel Hampton, Frankie Lymon and the Teenagers, LaVern Baker, and Chuck Berry. One song was "Barcelona Rock."
From Michael Shore's 1987 "Music Video: A Consumer's Guide," about the 1985 documentary "Rock and Roll: The Early Days":
"...one point the tape stresses is the way white, establishment middle America virulently decried rock 'n' roll on one hand, and on the other did all it could to co-opt black R&B hits with appallingly innocuous cover versions by sanctioned Caucasian artists. I mean, you haven't been really sickened until you've seen Pat Boone, his tie loosened to signal 'naughtiness,' desecrating 'Tutti-Frutti' with his namby-pamby uptight reading."
Lenona.
Nellie
May 9, 2020, 3:10:40 PM5/9/20
to
We saw Little Richard live at Lake Tahoe.
This was early 70s
There was a sign saying “Do not go home
with Richard or any of his band mates”
Nellie
This was early 70s
There was a sign saying “Do not go home
with Richard or any of his band mates”
Nellie
Nellie
May 9, 2020, 3:23:19 PM5/9/20
to
said was “do not accept a ride with
Richard or his bandmates”
Nellie
Dave Smith
May 9, 2020, 3:44:52 PM5/9/20
to
Bruce
May 9, 2020, 4:19:55 PM5/9/20
to
On Sat, 9 May 2020 09:13:05 -0700 (PDT), Cindy Hamilton
<angelica...@yahoo.com> wrote:
>On Saturday, May 9, 2020 at 12:01:28 PM UTC-4, GM wrote:
>> Kids, very sad that a true American Original has passed...
>
>Sad-ish.
As in "not really sad, just a tiny bit"?
<angelica...@yahoo.com> wrote:
>On Saturday, May 9, 2020 at 12:01:28 PM UTC-4, GM wrote:
>> Kids, very sad that a true American Original has passed...
>
>Sad-ish.
I find his music too simplistic, which makes sense because it's from
the very early days of R&R. At least, he wasn't schmalzy, like Elvis.
And many old artists mention him as a big influence.
John Kuthe
May 9, 2020, 4:48:03 PM5/9/20
to
Punk came around in the late 1970's because once again Rock-n-Roll got to full of itself and turned into the moldy oldy Classic Rock. Three chords and attitude, you look up Rock-n-Roll in a dictionary and you see a pic of The Ramones! No solos, just one Big Ramone every song! I know, I was THERE! More than you will ever know!
John Kuthe...
Nellie
May 9, 2020, 4:50:36 PM5/9/20
to
Dave Smith - hide quoted text -
It didn’t specify, but probably both.
I believe drugs were the issue.
Nellie
I believe drugs were the issue.
Nellie
Dave Smith
May 9, 2020, 5:56:15 PM5/9/20
to
progression, the 1st, the 4th and the minor 7th, or the tonic, the sub
dominate and the dominate 7th. If it is a minor key it is the same three
chords but they throw in the relative minor of the tonic. Punk is
basically the same. They are just basic chords, played by amateur
musicians to entertain the people that want to be disenfranchised.
GM
May 9, 2020, 7:22:51 PM5/9/20
to
Funny article:
https://www.theguardian.com/music/2010/nov/28/john-waters-met-little-richard
When John Waters met Little Richard
'In 1987, the iconic filmmaker John Waters was sent by Playboy magazine to interview his all-time hero – Little Richard. It was a surreal, almost religious experience for John who had been a lifelong fan of the godfather of rock'n'roll. So why did it almost end in a fistfight...?'
Hilarious:
John Waters discusses Frank Tashlin's The Girl Can't Help It (1956)
https://www.youtube.com/watch?v=-n3vyvEPgOw
</>
Hank Rogers
May 9, 2020, 8:22:43 PM5/9/20
to
bullshit and he should have used blackface makeup. Back then,
artists had to pander to race, and at that time, black was
beautiful. Boone missed the boat, it only lasted a decade.
GM
May 9, 2020, 8:29:37 PM5/9/20
to
--
Best
Greg
Bruce
May 9, 2020, 8:44:24 PM5/9/20
to
On Sat, 9 May 2020 17:29:34 -0700 (PDT), GM
<gregorymorr...@gmail.com> wrote:
>Hank Rogers wrote:
>
>> I agree! Pat Boone should have dropped the damn honkey bible
>> bullshit and he should have used blackface makeup. Back then,
>> artists had to pander to race, and at that time, black was
>> beautiful. Boone missed the boat, it only lasted a decade.
>
>
>They still do blackface in Holland, it is part of their culture...see my response to you in the "Kimchi" thread about Bwucie being "negro"...
I'm not from Holland.
<gregorymorr...@gmail.com> wrote:
>Hank Rogers wrote:
>
>> I agree! Pat Boone should have dropped the damn honkey bible
>> bullshit and he should have used blackface makeup. Back then,
>> artists had to pander to race, and at that time, black was
>> beautiful. Boone missed the boat, it only lasted a decade.
>
>
>They still do blackface in Holland, it is part of their culture...see my response to you in the "Kimchi" thread about Bwucie being "negro"...
Hank Rogers
May 9, 2020, 8:45:41 PM5/9/20
to
were there when hendrix shot up the smack for the last time... When
Janis croaked. Everywhere you were, sorrow followed.
You were there last winter when you scheduled your suicide too.
But you are alive and all those others you were with are dead.
DEAD DEAD DEAD Yumans.
Kuth dead, but alive, but not really. DEAD inside.
DEAD
graham
May 9, 2020, 8:50:46 PM5/9/20
to
Bruce
May 9, 2020, 8:53:20 PM5/9/20
to
notbob
May 9, 2020, 8:59:30 PM5/9/20
to
On 2020-05-10, Hank Rogers <Nos...@invalid.com> wrote:
> I agree! Pat Boone should have dropped the damn honkey bible
> bullshit and he should have used blackface makeup. Back then,
> artists had to pander to race, and at that time, black was
> beautiful. Boone missed the boat, it only lasted a decade.
What was really hilarious was when Pat Boone came out as a 'metal
> I agree! Pat Boone should have dropped the damn honkey bible
> bullshit and he should have used blackface makeup. Back then,
> artists had to pander to race, and at that time, black was
> beautiful. Boone missed the boat, it only lasted a decade.
rocker' (Pat was dead serious), on the Johnny Carson show.
I think it was during the 'big hair' days of metal rock. He was
wearing all black leather (including blk leather vest) with no shirt.
One of his funnier incarnations! ;)
nb
Cindy Hamilton
May 10, 2020, 6:33:00 AM5/10/20
to
On Saturday, May 9, 2020 at 4:19:55 PM UTC-4, Bruce wrote:
> On Sat, 9 May 2020 09:13:05 -0700 (PDT), Cindy Hamilton
> <angelica...@yahoo.com> wrote:
>
> >On Saturday, May 9, 2020 at 12:01:28 PM UTC-4, GM wrote:
> >> Kids, very sad that a true American Original has passed...
> >
> >Sad-ish.
>
> As in "not really sad, just a tiny bit"?
Sad for us. Perhaps not sad for him. He was 87 years old and had bone
> On Sat, 9 May 2020 09:13:05 -0700 (PDT), Cindy Hamilton
> <angelica...@yahoo.com> wrote:
>
> >On Saturday, May 9, 2020 at 12:01:28 PM UTC-4, GM wrote:
> >> Kids, very sad that a true American Original has passed...
> >
> >Sad-ish.
>
> As in "not really sad, just a tiny bit"?
cancer. Death might have been a welcome release.
Cindy Hamilton
Gary
May 10, 2020, 11:24:26 AM5/10/20
to
Dave Smith wrote:
> Oh do tell Dr. Musicology. Most rock is either a three chord
> progression, the 1st, the 4th and the minor 7th, or the tonic, the sub
> dominate and the dominate 7th. If it is a minor key it is the same three
> chords but they throw in the relative minor of the tonic.
Good grief, Dave. This was my big laugh of the day. You are
> Oh do tell Dr. Musicology. Most rock is either a three chord
> progression, the 1st, the 4th and the minor 7th, or the tonic, the sub
> dominate and the dominate 7th. If it is a minor key it is the same three
> chords but they throw in the relative minor of the tonic.
obviously no musican. What you said came straight from a
class of "Music Theory 201," textbook.
(Music Theory 101 is about classical music}
Rock music is just rock music that sounds good. No need to
analyze it to death like that.
> Punk is basically the same. They are just basic chords,
> played by amateur musicians to entertain the people that
> want to be disenfranchised.
Cindy Hamilton
May 10, 2020, 11:34:00 AM5/10/20
to
On Sunday, May 10, 2020 at 11:24:26 AM UTC-4, Gary wrote:
> Dave Smith wrote:
> > Oh do tell Dr. Musicology. Most rock is either a three chord
> > progression, the 1st, the 4th and the minor 7th, or the tonic, the sub
> > dominate and the dominate 7th. If it is a minor key it is the same three
> > chords but they throw in the relative minor of the tonic.
>
> Good grief, Dave. This was my big laugh of the day. You are
> obviously no musican. What you said came straight from a
> class of "Music Theory 201," textbook.
> (Music Theory 101 is about classical music}
>
> Rock music is just rock music that sounds good. No need to
> analyze it to death like that.
No need, but it can be useful, especially if you want to play it.
> Dave Smith wrote:
> > Oh do tell Dr. Musicology. Most rock is either a three chord
> > progression, the 1st, the 4th and the minor 7th, or the tonic, the sub
> > dominate and the dominate 7th. If it is a minor key it is the same three
> > chords but they throw in the relative minor of the tonic.
>
> Good grief, Dave. This was my big laugh of the day. You are
> obviously no musican. What you said came straight from a
> class of "Music Theory 201," textbook.
> (Music Theory 101 is about classical music}
>
> Rock music is just rock music that sounds good. No need to
> analyze it to death like that.
The list of great rock bands with classically trained musicians
is pretty long.
Cindy Hamilton
dsi1
May 10, 2020, 12:51:16 PM5/10/20
to
https://www.youtube.com/watch?v=GA4kKqYv0QE
Gary
May 10, 2020, 1:31:15 PM5/10/20
to
dsi1 wrote:
> My guess is that the younger generation would agree with you.
Time for another shot in your guess game, Steve.
> My guess is that the younger generation would agree with you.
Damn dsi1 is going to turn us all into alcoholics. :)
Dave Smith
May 10, 2020, 1:34:07 PM5/10/20
to
On 2020-05-10 11:23 a.m., Gary wrote:
> Dave Smith wrote:
>> Oh do tell Dr. Musicology. Most rock is either a three chord
>> progression, the 1st, the 4th and the minor 7th, or the tonic, the sub
>> dominate and the dominate 7th. If it is a minor key it is the same three
>> chords but they throw in the relative minor of the tonic.
>
> Good grief, Dave. This was my big laugh of the day. You are
> obviously no musican. What you said came straight from a
> class of "Music Theory 201," textbook.
> (Music Theory 101 is about classical music}
Really??? Just because you are as ignorant of music theory as Kuthe
> Dave Smith wrote:
>> Oh do tell Dr. Musicology. Most rock is either a three chord
>> progression, the 1st, the 4th and the minor 7th, or the tonic, the sub
>> dominate and the dominate 7th. If it is a minor key it is the same three
>> chords but they throw in the relative minor of the tonic.
>
> Good grief, Dave. This was my big laugh of the day. You are
> obviously no musican. What you said came straight from a
> class of "Music Theory 201," textbook.
> (Music Theory 101 is about classical music}
doesn't mean that I didn't know that. I have previously posted about
taking music lessons and teaching myself music theory.
>
> Rock music is just rock music that sounds good. No need to
> analyze it to death like that.
Circle of Fifths.
https://www.youtube.com/watch?v=d1aJ6HixSe0
>> Punk is basically the same. They are just basic chords,
>> played by amateur musicians to entertain the people that
>> want to be disenfranchised.
Funk tends to use more advanced chords.
> LOL. Settle down, dude. :-D
pretend knowledge of music and displayed his total ignorance. You
actually managed to make him look relative smart.
dsi1
May 10, 2020, 1:52:34 PM5/10/20
to
Mr. Wertz has been trying to change my posting style for around a decade. My guess is that's got to be some kind of record. If he does it for another decade, I might relent and never use it again. My guess is that the phrase will make him go stark raving bonkers. I don't see this as necessarily a bad thing though.
https://groups.google.com/d/msg/rec.food.cooking/BowXwz8jWzc/yUoionHL0p8J
graham
May 10, 2020, 2:14:58 PM5/10/20
to
On 2020-05-10 11:34 a.m., Dave Smith wrote:
> On 2020-05-10 11:23 a.m., Gary wrote:
>> Dave Smith wrote:
>>> Oh do tell Dr. Musicology. Most rock is either a three chord
>>> progression, the 1st, the 4th and the minor 7th, or the tonic, the sub
>>> dominate and the dominate 7th. If it is a minor key it is the same three
>>> chords but they throw in the relative minor of the tonic.
>>
>> Good grief, Dave. This was my big laugh of the day. You are
>> obviously no musican. What you said came straight from a
>> class of "Music Theory 201," textbook.
>> (Music Theory 101 is about classical music}
>
> Really??? Just because you are as ignorant of music theory as Kuthe
> doesn't mean that I didn't know that. I have previously posted about
> taking music lessons and teaching myself music theory.
>
>>
>> Rock music is just rock music that sounds good. No need to
>> analyze it to death like that.
>
> It is not analyzed to death. It it is pretty basic theory. Look up The
> Circle of Fifths.
>
What put's me off about most pop, C&W, reggae etc, is the same,
> On 2020-05-10 11:23 a.m., Gary wrote:
>> Dave Smith wrote:
>>> Oh do tell Dr. Musicology. Most rock is either a three chord
>>> progression, the 1st, the 4th and the minor 7th, or the tonic, the sub
>>> dominate and the dominate 7th. If it is a minor key it is the same three
>>> chords but they throw in the relative minor of the tonic.
>>
>> Good grief, Dave. This was my big laugh of the day. You are
>> obviously no musican. What you said came straight from a
>> class of "Music Theory 201," textbook.
>> (Music Theory 101 is about classical music}
>
> Really??? Just because you are as ignorant of music theory as Kuthe
> doesn't mean that I didn't know that. I have previously posted about
> taking music lessons and teaching myself music theory.
>
>>
>> Rock music is just rock music that sounds good. No need to
>> analyze it to death like that.
>
> It is not analyzed to death. It it is pretty basic theory. Look up The
> Circle of Fifths.
>
monotonous rhythm present in all genres.
Gary
May 10, 2020, 2:49:21 PM5/10/20
to
younger
than let someone butcher my body and live in a nightmare world
for
a few years longer.
The older you get, you might even beat one thing but for what?
It's still a downside slide into more and more health issues.
Living very long really doesn't appeal to me much.
graham
May 10, 2020, 2:58:42 PM5/10/20
to
A: "Someone who is 99!"
Gary
May 10, 2020, 3:22:16 PM5/10/20
to
music theory too but the bottom line of creating your own music
is to learn with or without instructions. Learn to play what your
mind imagines.
That very first paragraph that you wrote at the top of this
message was the most ridiculous thing I've ever read. You sir are
no musician other than maybe reading music that others created.
Dave Smith
May 10, 2020, 5:12:33 PM5/10/20
to
Kuthe was full of shit. Rock, country and blues are all basically three
chords songs using the same progressions. Punk is no different. You
accused me of having lifted out of Music 201, but you didn't prove me
wrong.
dsi1
May 10, 2020, 8:31:55 PM5/10/20
to
"Chuck, Chuck! It's Marvin! Your cousin, Marvin Berry! You know that new sound you were looking for? Well listen to THIS!"
https://www.youtube.com/watch?v=HW367HtrXE0
Gary
May 11, 2020, 6:58:26 AM5/11/20
to
Dave Smith wrote:
> I never claimed to be musically creative. I simply pointed out that
> Kuthe was full of shit. Rock, country and blues are all basically three
> chords songs using the same progressions. Punk is no different.
Davers, if you had described it that way I would have agreed.
> I never claimed to be musically creative. I simply pointed out that
> Kuthe was full of shit. Rock, country and blues are all basically three
> chords songs using the same progressions. Punk is no different.
It was your original wording that was odd to me. Never heard
anyone say it like you did:
-------------------------------------------------------------
Most rock is either a three chord
progression, the 1st, the 4th and the minor 7th, or the tonic,
the sub
dominate and the dominate 7th. If it is a minor key it is the
same three
chords but they throw in the relative minor of the tonic. Punk is
progression, the 1st, the 4th and the minor 7th, or the tonic,
the sub
dominate and the dominate 7th. If it is a minor key it is the
same three
basically the same.
--------------------------------------------------------------
> You
> accused me of having lifted out of Music 201, but you didn't prove me
> wrong.
of Music Theory class or just a quote from Wikipedia.
col...@gmail.com
May 11, 2020, 7:24:30 AM5/11/20
to
I like the song Diablo Canyon by the Outlaws.
Dave Smith
May 11, 2020, 9:57:06 AM5/11/20
to
that you did not prove me wrong.
Gary
May 11, 2020, 11:23:04 AM5/11/20
to
not how
musicians think.
OK...I'll do it again. The weird part
> >t he 1st, the 4th and the minor 7th, or the tonic,
> > the sub
> > dominate and the dominate 7th. If it is a minor key it is the
> > same three
> > chords but they throw in the relative minor of the tonic.
<SPLAT!> and also <spit>
> > dominate and the dominate 7th. If it is a minor key it is the
> > same three
> > chords but they throw in the relative minor of the tonic.
Life doesn't have to be so hard.
Dave Smith
May 11, 2020, 11:53:37 AM5/11/20
to
joking and didn't really know what you were talking about.
Cindy Hamilton
May 11, 2020, 1:41:36 PM5/11/20
to
Cindy Hamilton
Leo
May 11, 2020, 11:01:55 PM5/11/20
to
On 2020 May 10, , Gary wrote
(in article <5EB84C59...@att.net>):
> Living very long really doesn't appeal to me much.
If not suicidal, you’d be amazed at how one looks forward to sunup during
the sunset years. I’d give most people that thought.
wop bop a loo bop, a wop bam boom. RIP
leo
(in article <5EB84C59...@att.net>):
> Living very long really doesn't appeal to me much.
the sunset years. I’d give most people that thought.
wop bop a loo bop, a wop bam boom. RIP
leo
Sheldon Martin
May 12, 2020, 12:31:31 PM5/12/20
to
On 2020 May 10, , Gary wrote:
>
>Living very long really doesn't appeal to me much.
I take it you are not living a happy and productive life.
>
>Living very long really doesn't appeal to me much.
A day doesn't pass that I don't complete an enjoyable task.
Being 41ºF and sunny first thing this morning I repaired my country
mailbox post that was askew from the snow plows and I remounted my
mailbox... the board atop the post it sits on had split. Rather than
cut and attach a new board I hammered a couple of steel angles flat
and screwed them to the bottom of the board across the split, better
than new. Next I need to buy new house numbers and attach them to the
wooden post to replace the old faded plastic ones. While working by
the road some neighbors driving by stopped and complimented me on my
mowing. It rained all yesterday or I would have done more mowing... I
truly don't mind mowing, it makes me happy when I look at the result
of all my labor. Mowing from my tractor cab I'm out of the wind and
can even turn on the heat but I didn't this time, on a sunny day the
cab warms up so that I often need to open a window, it's only in
winter that I turn on the heat while plowing snow... and naturally I
turn on the radio too.
You asked to see both tractors, my wife mows too:
https://postimg.cc/gallery/Bns3rr3
Bruce
May 12, 2020, 2:16:20 PM5/12/20
to
0 new messages