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Patrycja

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Everything posted by Patrycja

  1. "What about David Coverdale?" HA! It's endearing how Dave's completely unconvincing as the navelgazing tool going solo in his new enlightened state. He just doesn't seem to have that kind of air about him at all. Glad they're together, but hoping for some TCV side projects as well . I've been watching their Sonic Highways series (about half way through) and am very much enjoying the musical journey. Interesting idea well done.
  2. Listen to an excerpt of Robert's contribution, "The Blanket of Night" (Elbow), on his Facebook: https://www.facebook.com/robertplant/
  3. Speaking of Tinariwen, they've also released a snippet on their Facebook about their part in The Long Road: https://www.facebook.com/tinariwenmusic/?fref=ts
  4. Some more info about Ayman Hirh and his family whose plight Kindness has recounted above and recorded for the forthcoming album: Powerful Street Art Mural Documents Family's Escape From Syria Ayman Hirh fled Damascus with his wife and two young sons in 2011. 03/01/2016 10:59 am ET Lee Moran Trends Editor, The Huffington Post A striking street art mural in England documents a family's escape from war-torn Syria. The poignant portrait of Ayman Hirh, who fled Damascus with his wife and two young sons in late 2011, was painted by London-based graffiti artist PANG on a wall in Camden in northern London. Hirh decided to leave his country after a crackdown on demonstrators in which nine of his friends were killed, reports the British Red Cross. He added his own hand-written and thought-provoking message just below his portrait in PANG's piece. "I was a successful businessman, selling marble and granite across Syria and living with my wife and two sons in the Jobar district of Syria's capital Damascus," he inked on the wall. British Red Cross/Andy Oliver/GoffPhotos.Com Ayman Hirh stands in front of the striking mural that he created with London street artist PANG "Every night before we go to sleep, we remember our home. I love my flat in Damascus more than Buckingham Palace," he added. The British Red Cross commissioned the artwork in a bid to raise the public's awareness about the plight of refugees. The U.K. is planning to take in 20,000 more Syrian refugees by the end of 2020. Eleven million people have been displaced by war in Syria and 4 million have left the country since 2011. Hirh arrived in England with his family on Jan. 1, 2012, and now lives in Edinburgh, Scotland, where he's studying English and business part-time at Edinburgh College. It was "great to meet PANG and share my story," Hirh said in a statement. "I hope that my experience will encourage people to think about the reasons people like me are forced to leave home before they judge us," he added. British Red Cross/Andy Oliver/GoffPhotos.Com Ayman Hirh hand writes out his poignant messages on PANG's street mural in north London. PANG said it was "an honor" to be asked to create the artwork. "I hope that it spreads the message that refugees are all individuals, like you and me, who have no choice other than to seek sanctuary in the country that they arrive." Hirh's story has also inspired a song called "The Retelling" by the British musician Adam Bainbridge, known by his stage name, Kindness. It appears on an album coordinated by the British Red Cross called "The Long Road." Released on Friday, the album highlights migrants and refugees' experiences in the U.K. -- and also features music by rock star Robert Plant, hip-hop artist Scroobius Pip, and bands like Sierra Leone's Refugee All Stars and Tinariwen. The British Red Cross is also asking famous artists, celebrities and members of the public to design postcards portraying the themes of home, hope or humanity. They will then be auctioned online, with all proceeds going to the organization's Syria Crisis Appeal. The deadline for submissions is March 7. http://www.huffingtonpost.com/entry/street-art-refugees-london_us_56d57e29e4b0871f60eca190 I really like that postcard design idea and that everyone can participate.
  5. HA! Have you tried it?! Sounds like great fun, BUT only if it doesn't have to be preceded by a naked roll around in the snow. Now a streak across the snow to the sauna in the dead of night maybe... Compared to the last time I posted here, it's a balmy -1C with some 'wintry mix' setting in later this morning. Far too warm for any Finnish shenanigans
  6. A couple of shows have been booked for August: Meersburg Schlossplatz, Meersburg, Germany (2-8-2016): 02.12.2016 LED ZEPPELIN SINGER ROBERT PLANT IS IN SUMMER IN MEERSBURG BE SINGLE GERMANY CONCERT! Led Zeppelin singer Robert Plant are in the summer in Meersburg his only concert in Germany! All good things come in threes: Meersburg Open Air was first expanded this summer to a total of three concert days. Besides Sarah Connor (3:08.) And Rea Garvey (04:08.) Will be his only concert in Germany in the summer of 2016 on the Palace Square, the legendary Led Zeppelin singer Robert Plant (02:08.). Robert Plant gained with the hard rock band Led Zeppelin world fame. From its foundation in 1968 to 1980, he was the lead singer of British rock band with more than 300 million albums sold the most successful groups of hard rock era. Song classics like "Whole Lotta Love", "Black Dog", "Looking For Love" and "Stairway To Heaven" set the benchmark in rock history. After dissolution of the band Robert Plant launched a versatile solo career, during which he was repeatedly awarded prizes, including five Grammys 2009 for collaboration with bluegrass singer Alison Krauss. Next summer, the exceptional singer, who is known for his distinctive vocal style, present in Meersburg alongside his new songs of course unforgettable Led Zeppelin classic. MEERSBURG OPEN AIR - Meersburg, Schlossplatz ROBERT PLANT - The only concert in Germany! Tue, 02 August 2016 | 20:00 | 62, - Euro - TICKETS AVAILABLE http://www.koko.de/de/news/842 Tickets available either via http://www.koko.de/de/event-details/639/robert-plant or http://www.robertplant.com/#road Check out Meersburg Open Air Facebook: https://www.facebook.com/meersburgopenair/ (It's in German). and Wilderness Festival, Cornbury Park, Oxfordshire, UK (runs August 4 -7, 2016): Robert Plant, The Flaming Lips and Crystal Fighters to headline Oxfordshire's Wilderness festival - while Raymond Blanc cooks for punters Tim Hughes, Features and Music Editor / Tuesday 23 February 2016 LED Zeppelin star Robert Plant and American alternative rock band The Flaming Lips have been named as headliners of this year’s Wilderness festival. They join an impressive line-up at the music gathering, held at Cornbury Park, Charlbury, which also includes electro-folk band Crystal Fighters, Grammy-nominate soul-pop singer Lianne La Havas, jazz-house artist Parov Stellar, Oxford’s Glass Animals, and drum and bass DJ Goldie – who performs with the Heritage Orchestra – famous for performing rave and dance classics on classical instruments. Also unveiled for the four-day event, which takes place from August 4-7, are singer-songwriter Matt Corby, Shura, Tourist, Georgia, Rosie Lowe, Elias and the Hackney Colliery Band. As in previous years, there will also be a strong culinary line-up, with banquets catered by Oxford’s Raymond Blanc of double Michelin-starred Le Manoir aux Quat’Saisons at Great Milton, Skye Gyngell and Virgilio Martinez. More intimate chef’s table dinners will be presided over by Christian Puglisi (of Relae, Copenhagen), Robin Gill (The Dairy), Tomos Parry (Kitty Fisher’s) and Lee Westcott (Typing Room). Late night parties will be hosted in the festival’s secluded valley by Andrew Weatherall, Chjcago house maestro Derrick Carter, Jackmaster, PBR Streetgang, last year’s star DJ Tom Middleton, and the aforementioned Goldie. There will also be performances by Rambert, Ronnie Scott’s and the Wilderness Orchestra – who will present a tribute to David Bowie, along with special guests. Vocalist Robert Plant will play the festival with his Sensational Space Shifters on what will be the only UK date on his 2016 tour. He said: “In recent times The Space Shifters and I have found a natural home for our music in beautiful places that often carry their own unique resonance. “I know the Wilderness Festival is one of those places and I’m really looking forward to summoning our madness there.” The Flaming Lips will be performing their seminal album The Soft Bulletin. Sebsatian Pringle, frontman of Crystal Fighters said he was also looking forward to playing the picturesque site: “Wilderness is the quintessential English countryside music festival, done properly,” he said. “There are amazing bands, art, food, drink, comedy and so much more. Crystal Fighters played there in its inaugural year, and you could just tell it was the beginning of something so magical. I have been checking out the poster every year since and the each time the line-up is unquestionably brilliant. Viva Wilderness!” Mr Blanc's banquet was one of the highlights of last year's festival. He said: "Last year I presented two bustling banquets at Wilderness. We had over 800 lively guests, with smiles on their faces and costumes at the ready. "What a fabulous experience and an awesome way to party! Cooking up a flavour: Raymond Blanc OBE "It was a first for me, and I can't wait to come back. It is such a fantastic way to bring together music lovers who celebrate food. "For me, Wilderness is where you can spend time with family and friends, with so much to see, hear and taste. A brilliant way to spend a weekend in Oxfordshire.” More names are still to be announced. Tickets cost from £164+booking fee from ticketmaster.co.uk/wilderness http://www.oxfordmail.co.uk/news/14295347.Robert_Plant_and_The_Flaming_Lips_to_headline_Wilderness_festival____and_look_who_s_doing_the_cooking_/?ref=rss In fact, more names have been announced, and there's a more detailed write-up about the performers and events here: http://www.efestivals.co.uk/news/16/160223a.shtml From the Wilderness Festival site: Robert Plant & the Sensational Space Shifters The Main Stage One of a generation of British kids, drawn without rhyme or reason, to sounds from a far away world. A world of field holler, despair, Levee camp and chain-gang moans; of Saturday night fish-fry and Juke Joint foot stomp. A million miles lay between the brooding pulse of Mississippi Delta life and the sanitized shelter of the timid English boy, circa 1962. 50 years on – drawing from a lifetime of adventures, tracking the dark, beautiful resonator, Plant follows his heart and lifts his voice higher and joyous ever away and beyond. A voice of experience and learning from the sounds of Southside Chicago Electric Blues; of Griot mantras from West Africa; from Louisiana Dance Halls; Greenwich Village Folk hangover; Haight Ashbury indulgences; Moroccan medina breakbeat; the early English radical techno materials, Texas two-step and Bristol dubstep. Before his recent projects in Nashville with Alison Krauss and Band of Joy, Plant worked alongside the very interesting force, “Strange Sensation”, recording the critically acclaimed, multi-Grammy nominated albums – “Dreamland” and “Mighty Rearranger”. From this platform, Sensational Space Shifters has developed. Now together these confederates and conspirators dig deeper and more intensely, always twisting and turning, bringing the past into a brilliant technicolour present. https://www.wildernessfestival.com/product/robert-plant/?location=43390# Wilderness Festival 2016 Programme listing performers and activities: https://www.wildernessfestival.com/2016-programme/ (A Shakespeare play will be performed!) TICKETS: http://www.ticketmaster.co.uk/wilderness Wilderness Festival Facebook: https://www.facebook.com/wildernessfestival/ and YouTube: https://www.youtube.com/user/WildernessHQ The article states that this is their only UK stop (though I wonder whether that just means up to this point? Seems like more dates keep sprinkling the summer tour here and there...).
  7. Somehow I forgot to add extra info about the July 1 show which will be part of the Rock Werchter Festival in Belgium (June 30 - July 3, 2016): Robert Plant will always be known as Led Zeppelin’s frontman. From 1968 until 1980 the British foursome was the ultimate rock band; successful, influential, and loud. In his solo career, Plant has chosen adventure as often as possible. His life mantra: ‘Dig deep and celebrate the past. But beware of nostalgia and keep it fresh’. No sooner said than done. ‘Raising Sand’ (2007), a collaboration with American singer and violinist Alison Krauss, was reckoned to be one of the best country albums of the century, and won six Grammy Awards. With The Sensational Space Shifters, Plant delves into African music, Delta blues and gospel. He also comes up with new interpretations of Zeppelin classics. Standards include ‘Black Dog’, ‘Going to California’ and the eternal crowd-pleaser ‘Whole Lotta Love’. The Sensational Space Shifters have accompanied Plant since 2012 on a pretty much uninterrupted world tour. Various ticket options available here: http://www.rockwerchter.be/en/tickets Extra ticket info: http://www.rockwerchter.be/en/practical-info/tickets Check out the other eclectic acts throughout the festival: http://www.rockwerchter.be/en/line-up
  8. ^ That's awesome! It's self-serving, but I mean it sincerely when I say good luck to the Rangers!
  9. I'm having 'submit reply' issues. The first time was in the 'Stairway lawsuit' thread where I posted two replies but the second (an article) ended up being a copy of the first (response to two posters). Just now I was in the 'classical music thread' and upon pressing the reply button ended up in the 'Rival Sons' thread with nothing posted in the classical one. In both instances a repost was necessary. Just a head's up for people to save their wordier posts lest they lose their thoughts.
  10. Appreciate it, FavouriteTipple, my pleasure . It's fun to get a glimpse of the atmosphere and music. The next best thing to being there (even if the heat we have to imagine).
  11. Decades Later, 'Stairway to Heaven' Still in Dispute Commentary by James G. Sammataro, Daily Business Review February 19, 2016 Randy California always said so. A guitar virtuoso discovered by Jimi Hendrix at age 15, California plucked a distinct guitar line on his band's 1968 instrumental "Taurus" that reminds some of a guitar line from Led Zeppelin's 1971 smash hit "Stairway to Heaven." Until his death in 1997, California refused to sue. He just wanted an artist's fair recognition: a liner credit, a thank you and a significant footnote in rock 'n' roll lore. Unconstrained by his quaint magnanimity, California's estate sued Led Zeppelin for infringement in 2014. Can the estate climb this stairway to a judgment in its favor? It's a steep climb. The estate's first step was to overcome a seemingly preposterous delay of 43 years before filing suit. They made it thanks to the U.S. Supreme Court's 2014 "Raging Bull" decision in Petralla v. Metro-Goldwyn-Mayer, which eliminated the defense of laches (undue delay) from copyright cases and sanctioned a revolving three-year look back in copyright infringement actions. The estate's next step is to demonstrate it has enough of a case to survive a summary judgment motion. The U.S. Court of Appeals for the Ninth Circuit has set forth an unforgiving substantial similarity test, but the estate appears capable of marshaling some favorable facts. In 1968, a then-unknown Led Zeppelin opened for and shared the bill with California's band, Spirit — a pioneer of the psychedelic rock sound that incorporated delay and distortion effects to bend minds and alter moods. Zeppelin covered Spirit's tune "Fresh Garbage" during their sets. In early interviews, Zeppelin guitarist Jimmy Page stated how Spirit's music moved him "on an emotional level." Further, Zeppelin, long accused of boosting classic blues songs, is no stranger to infringement actions, having settled at least six claims involving "Dazed & Confused," "Babe, I'm Gonna Leave You" and "Whole Lotta Love" (a prejudicial fact unlikely to be presented to a jury but likely to embolden plaintiffs counsel). Summary Judgment Yet compelling evidence of access and copying will not be enough. To prevail, the estate must prove that any copying was quantitatively and qualitatively sufficient to support the legal conclusion that infringement has occurred. Inspired parrotting is one thing; misappropriated piracy is another. The latter requires more than a subjective "I know it when I hear it," but an objective examination of protected and copyrightable elements of expression. The estate, likely aided by a musicologist's expert testimony, must identify specific and independently protectable notes, chord progressions, tone and structure that were pilfered. In order to survive summary judgment, the estate will likely need to prove more than merely a shared A-minor chord and a descending bass line, conspicuously present in earlier works including Zeppelin's "Babe, I'm Gonna Leave You" and George Harrison's "While My Guitar Gently Weeps). If the estate can survive summary judgment, it needs to convince the jury that protected expression was infringed. Given the human element, this is often easier than surviving summary judgment as evidenced by the 2015 "Blurred Lines" jury verdict. There, Marvin Gaye's estate prevailed based on perceived similarities between Robin Thicke and Pharrell William's "Blurred Lines" and Gaye's 1977 hit "Got to Give it Up," despite never proving Gaye owed any of the borrowed elements: a shared baseline and the use of percussions, hand claps, falsetto signing and party sounds). The final step is proving damages. Too bad for California's estate, the lookback is only three years: as of last count in 2008, "Stairway to Heaven" had earned $562 million. Nonetheless, real dollars could still be in play as "Stairway to Heaven" was included on a recent re-release album, a battle of the experts would be likely. The estate's damages expert would testify for a generous share of those album sales on the rationale that Stairway's iconic status drove profits not merely for that single song but for the entire re-released album, Zeppelin merchandise and perhaps any gold that glittered down upon Zeppelin subsequent to Heart's stirring rendition of Stairway at the band's Kennedy Center Honors. For counterarguments, Zeppelin's damages experts would advocate for modest damages based on a handful of musical notes constituting a small fraction of the song's popular virtues, which include Robert Plant's lyrics, the song's other layered tidbits and Zeppelin's enduring success. Because this is the first meaningful copyright claim over a work thought to be legally dead until resuscitated by the "Raging Bull" decision, many in the music industry will be watching this case scheduled for a May trial, wondering if a new day will dawn for those who stand long. James G. Sammataro is an entertainment lawyer, managing partner of Stroock & Stroock & Lavan's Miami office and the author of "Film and Multimedia and The Law." http://www.dailybusinessreview.com/id=1202749946973/Decades-Later-Stairway-to-Heaven-Still-in-Dispute?slreturn=20160118180247 It doesn't matter whether Spirit's music moved Jimmy on an 'emotional level' or that Zep lifted songs from others in their tunes. These may be used to influence perceptions, but they don't have anything to do with this specific case concerning STH. "The estate, likely aided by a musicologist's expert testimony, must identify specific and independently protectable notes, chord progressions, tone and structure that were pilfered. In order to survive summary judgment, the estate will likely need to prove more than merely a shared A-minor chord and a descending bass line, conspicuously present in earlier works including Zeppelin's "Babe, I'm Gonna Leave You" and George Harrison's "While My Guitar Gently Weeps)." And there's the rub. They have to prove that 'Taurus' note sequences are 'independently protectable' and this is specious given that so many other songs that preceded it have them, too (and Zep lawyers could argue, influenced the creation of 'Taurus' as well. Too bad they can't ask Randy California...). As TheGreatOne noted, the huge time span that has passed also works against the plaintiffs, as does the fact that Randy California never sued. Given these points, this suit should be exposed for exactly what it is - an attempt at a money grab based on weak evidence. A familiar tactic, but based on familiar notes not 'protectable' or exclusive to any of the songs that have them. That STH reached a pinnacle speaks to the ingenuity of what could be done with this note sequence.
  12. Thanks for the suggestions, I will. There's a video posted a couple of times in this thread that chronicles that progression going back to classical music compositions, I just don't have the time to peruse and find it at the moment. But it speaks to your point and that of several others who have given examples of similarities not only with this particular note sequence, but others as well, none of which drew law suits. Even Randy California himself didn't sue, but he thought he ought to have been given some form of recognition, which, with all due respect, I still disagree with given that sequence's repeated appearance in music history. When Lady Gaga's "Born This Way" was released, fans immediately pointed to Madonna's "Express Yourself" - LG's was FAR more similar to Madge's, so much so that Madonna incorporated "Born This Way" seamlessly into "Express Yourself" when she performed it live. Imitation is the sincerest form of flattery, she said, tongue firmly in cheek. She was above suing, even though this was blatant. On the opposite end of the scale, you have a few notes in sequence appearing throughout many compositions, easy to display, and even though Randy flattered himself with credit, sorry, these were around for a long time already, even if 'Taurus' was one of the places he heard it. I'm not sure Spirit will get the attention they maybe think they will get, certainly not the coin. People tend to put down such attempts at money grabs. If 'Taurus' a rather monotonous tune gets more airplay, they should just send a fruit basket with a thank-you note. There's no comparison in it to the greatness that is "Stairway to Heaven". Here's the thing, too. Jimmy may have heard it from Randy and went, hey that's interesting, and gone off and worked on whatever his imagination dictated, or said to himself, hey that reminds me of... and went off composing. But lawsuits don't legislate what's in someone's heart; the fact remains that even if it sounds similar to a layman's ears, it's not nearly enough to sue for credit. More similar songs have lost in court.
  13. Here's an article with some examples of how fore-edge paintings are revealed: Secret Fore-Edge Paintings Revealed in Early 19th Century Books at the University of Iowa by Christopher Jobson on September 2, 2013 Autumn by Robert Mudie / Special Collections & University Archives at the University of Iowa Autumn by Robert Mudie / Special Collections & University Archives at the University of Iowa Winter by Robert Mudie / Special Collections & University Archives at the University of Iowa Winter by Robert Mudie / Special Collections & University Archives at the University of Iowa Spring by Robert Mudie / Special Collections & University Archives at the University of Iowa Spring by Robert Mudie / Special Collections & University Archives at the University of Iowa Summer by Robert Mudie / Special Collections & University Archives at the University of Iowa Summer by Robert Mudie / Special Collections & University Archives at the University of Iowa A few days ago Colleen Theisen who helps with outreach and instruction at the Special Collections & University Archives at the University of Iowa shared an amazing gif she made that demonstrates something called fore-edge painting on the edge of a 1837 book called Autumn by Robert Mudie. Fore-edge painting, which is believed to date back as early as the 1650s, is a way of hiding a painting on the edge of a book so that it can only be seen when the pages are fanned out. There are even books that have double fore-edge paintings, where a different image can be seen by flipping the book over and fanning the pages in the opposite direction. When I realized the book Theisen shared was only one of a series about the seasons, I got in touch and she agreed to photograph the other three so we could share them with you here. Above are photos of Spring,Summer, Autumn and Winter which were donated to the University of Iowa by Charlotte Smith. How much fun are these? Keep an eye on the University of Iowa’s special collections Tumblr as they unearth more artificats from the archives. UPDATE: Because this post is getting so much attention, here are some more amazing fore-edge paintings found on YouTube. http://www.thisiscolossal.com/2013/09/fore-edge-book-paintings/
  14. Back to books for a moment, here are some examples of those with beautiful fore-edge paintings: Fore Edge Painting - An Introduction by Anne C. Bromer From the earliest period when books began to be printed and accumulated, artists and bookbinders embellished their covers with designs and illustrations. The painting of book edges developed later, but few readers have ever seen these decorations. They are an obscure art form, hidden beneath a surface of gold. When revealed, there is only wonderment! It is as if you discovered magic on a book before you even read its opening lines. The story of how this idea began and the extraordinary collection of these edge paintings at The Boston Public Library follows. When you hold the covers of a book in your hands, you will see three edges and a spine. The top edge and bottom edge are obviously named, but the edge at which you open the book has an unfamiliar title. It is referred to as the FORE-EDGE. Originally this edge of the book was titled in ink for the purpose of identification. Then the old books were stacked one on top of the other with the edge facing outwards in order to read its title. In the beginning, there was no effort to beautify the fore-edge. Diana with a Handmaid By the sixteenth century, a Venetian artist, Cesare Vecellio, devised a way to enhance the beauty of a book by painting on its edges. The images, mostly portraits, were easily viewed when the covers of the book were closed. A century later in England, Samuel Mearne, a bookbinder to the royal family, developed the art of the “disappearing painting” on the fore-edge of a book. “Imagine a flight of stairs, each step representing a leaf of the book. On the tread would be the painting and on the flat surface would be gold. A book painted and gilt in this way must be furled back before the picture can be seen.” (Kenneth Hobson, 1949). This is how a fore-edge painting works. When the book is closed, you do not see the image because the gilding hides the painting. But, when you fan the pages to show the painting at its best and hold them between your fingers or in a display press, the colorful picture appears as if by magic. Harvest Landscape In the late eighteenth and early nineteenth centuries, fore-edge painting reached its height in England. The famous bookbinding firm, which is always referred to with “the territorial suffix” Edwards of Halifax, was responsible for this surge of interest. Artists were employed to paint landscape scenes with country estates on the fore-edges of books, which were then handsomely bound in painted vellum covers or in exotic leather bindings. Most fore-edge painters working for binding firms did not sign their work, which explains why it is difficult to pinpoint and date the hidden paintings. A few binders did leave their marks. Taylor & Hessey, working in the early nineteenth century, stamped their name on the edge of the binding. The binder/painter from Liverpool working at the end of the century, John Fazakerly, combined colorful decorations with gold embossing on the edges of his bindings, which in themselves are works of art and easily identifiable. In the early twentieth century, Miss C. B. Currie painted and signed her fore-edges, which are often found on bindings with painted ivory insets by Miss Currie. These are the exceptions, as most paintings are recognized only by their design. The “Dover” painter and the “Thistle” painter, for example, are twentieth century fore-edge artists whose paintings are presented unsigned. Through observation and study, we are able to learn the style of each. Le Petit Triagnon Hidden paintings hold broader interest today and include more subjects than the early landscape and architectural scenes. Some of the themes depicted on fore-edge paintings are outdoor sports, such as fox hunting and angling, and indoor sports, such as chess and billiards. Biblical tableaus, historic sea battles, views of American cities, exotic depictions of “the Orient,” and even erotic scenes are shown beneath the gold. In the twentieth century, the single fore-edge painting was expanded to include double fore-edges, an astounding feat of craftsmanship, where two different paintings can be viewed by fanning the pages in first one direction and then the opposite. Neither painting interferes with your view of the other. Another technique is to use all three edges of the book – top, bottom, and fore-edge – to paint a continuous picture, which surrounds the book. In recent times, miniature books less three inches in height have been used as palettes to paint a fore-edge. The smallest of these are the three volumes produced in 1929, 1930, and 1932 by the Kingsport Press in Tennessee. In a fore-edge space of less than one inch, the portraits of Abraham Lincoln, Calvin Coolidge, and George Washington are painted to accompany the text related to each of the presidents. The collection of fore-edge paintings of The Boston Public Library is outstanding; one of the finest in the country. The nucleus of 258 books was first given to the Library by Albert H Wiggin in 1951. Since that time it has been a hidden treasure of the Library. This virtual exhibition is the first time the books have been publicly viewed. These magical paintings have come to light and are now able to be shared through this exhibition to be enjoyed by everyone. References cited: Hanson, T.W. “Edwards of Halifax,” A Family of Book-Sellers, Collectors and Book-Binders. 1912. Hobson, Kenneth. “On Fore-Edge Painting of Books”. In The Folio. 1949. Weber, Carl J. Fore-Edge Painting, A Historical Survey of a Curious Art in Book Decoration. 1966. This online collection was made possible through a generous gift from Anne and David Bromer. http://foreedge.bpl.org/node/923
  15. A glimmer of hope... Why ‘Stairway to Heaven’ Lawsuit Poses ‘Uphill Battle’ for Plaintiff By Tim Kenneally on February 15, 2016 @ 2:53 pm “I think it’s less than 50 percent” that Michael Skidmore will prevail in copyright infringement case against Led Zeppelin, entertainment attorney offers The man suing Led Zeppelin for copyright infringement over their iconic song “Stairway to Heaven” is going to have a tough time proving his case in court, according to one legal expert. Entertainment attorney James Sammataro, managing partner of Stroock & Stroock & Lavan’s Miami office, told TheWrap that Michael Skidmore will face “an uphill battle” and “a steep hurdle” as he tries to prove that the classic 1971 tune infringes on the 1968 Spirit song “Taurus.” Led Zeppelin is being sued by Skidmore, trustee of the Randy Craig Wolfe Trust, who claims that “Stairway” infringes on the earlier song. (Randy Craig Wolfe was the birth name of Spirit frontman and “Taurus” author Randy California, who died in 1997.) Sammataro told TheWrap, “I definitely think there’s a hint of familiarity [between the two songs] to a layman’s ears.” And Zeppelin opened for Spirit on one of the former’s early tours, meaning that there was a decent chance that Jimmy Page and his bandmates had heard “Taurus.” But, Sammataro told TheWrap, that doesn’t necessarily tilt the case in Skidmore’s favor. Sammataro cautioned that it isn’t a matter of proving whether the two songs are similar, but rather how similar they are. “You can copy. Not all copying or parrotry is piracy,” Sammataro said. “You have to take enough [to constitute infringement]. … Is it just that they borrowed a couple of chords and it sounds alike? Did they borrow a progression that sounds similar? Or is this really a wholesale quantitative lifting that’s going to give rise to a claim?” Venue is another factor working against Skidmore. While the suit was initially filed in Pennsylvania, it has since been transferred to California, specifically to a U.S. District Court in Los Angeles — where, Sammataro said, the threshold for establishing grounds for an infringement case is higher than average. “It’s a studio-friendly jurisdiction,” Sammataro said. “As a consequence, when there’s had to be a benefit of the doubt, courts have typically erred on the side of big businesses.” Sammataro is skeptical that the case will make it past the summary judgment phase. Much of that will depend on whether Skidmore’s music expert can pinpoint precise and substantial similarities. “That will be key,” Sammataro said. “If that all gels together, then I’d say they have more than a puncher’s chance.” Sammataro doubts that the parties will settle in this case. For one thing, the iconic status of the song, possibly Zeppelin’s most famous, will up the stakes for Page and his bandmates. “There may be a little bit of, ‘I need to protect my integrity and credibility on this one,'” the attorney said. The financial stakes are also high — as of 2008, the song had generated an estimated $562 million in revenue. The sheer dollar volume itself could make it difficult to reach a settlement, according to Sammataro. So how much money could be involved if the lawsuit goes forward? According to Sammataro, infringement cases of this nature typically have a three-year statute of limitations period, meaning potential damages would go back to three years before the filing of the complaint. While “Stairway to Heaven” surely isn’t selling like it did in the ’70s, the album containing the track, unofficially titled “Led Zeppelin IV,” was reissued in 2014. And the song is still a prominent presence on classic-rock radio stations’ playlists. Skidmore’s legal team will also probably argue that the popularity of the song generated peripheral revenues — say, by boosting the group’s profile overall and leading to increased album sales for the rest of its catalog. “Would I be shocked if they came up with a damages model that was north of $50 million? No,” Sammataro said. Which doesn’t mean that they’d get that, by a long shot. As Sammataro noted, if he were to be presented with a 10-figure settlement amount, “I would say, ‘See you at trial.'” However, he said, he’d “maybe start listening at $2.5 million.” And the chances of Skidmore prevailing in the case are still against him, according to Sammataro. While the attorney believes that “ultimately this is a case that comes down to experts,” he added, “I still think its an uphill battle. I think it’s less than 50 percent. I just don’t know where on that less-than-50-percent spectrum.” Presumably, that will depend not just on whether the songs remain the same, but just how much the same a jury determines them to be. http://www.thewrap.com/why-stairway-to-heaven-lawsuit-poses-uphill-battle-for-plaintiff/ I really hope that Zep's lawyers have musicologists who can prove definitively that that sequence of notes has appeared in many songs and melodies even before 'Taurus'. I was thinking it's too bad Randy California passed away because he can't be asked about where he heard it from (and maybe check his record collection for influences), but that isn't necessary even if a temporal relationship between Spirit and Zep existed, even if Jimmy potentially heard 'Taurus'. None of that matters as much as proving that a ) Jimmy heard that sequence of notes in several other compositions that were created and recorded before 'Taurus' and b ) the musicologists showing the differences between 'Taurus' and STH. Hopefully there's no settlement of any sort; even though it may be a tactic to just make this all go away, it can be perceived as a tacit admission of influence. It would be a shame for a song of such iconic stature to be tarnished in this way. But it's not only about appearances; this is not a just suit and should be proven as such conclusively.
  16. I agree about Doc Rivers. He rode that Boston championship and sold swamp land as if it were prime real estate to the Clippers. But now I think he's getting exposed. If the Clippers don't make noise in the playoffs this year, I think Blake is traded in the off-season which will only be a buffer move to protect Doc. There are some great coaches available - Thibodeau, the skinny Van Gundy, Blatt, the guy who was bizarrely fired by the Kings and replaced by the increasingly fraying Karl - but then again, more positions will be vying for them, including Kings, Knicks, and maybe Clippers (possibly Wolves - less lucrative market, but good young core) and I think Raps if we don't get out of the first round. It'll be an interesting post-season and beyond.
  17. HA! Yes well it was 'nippy' in that 'keep calm and carry on' sort of way. I was meeting someone so I had to get out there, but other times I like to go for walks just to experience what different weather feels like. Plus keep in mind that it's relative to what one's used to. -1C is BBQ weather here . We've done outdoor hot tubs at -20C (the worst was the soaked sprint across the deck to get inside). It WAS cold but when the wind was calm, it was actually sort of pleasant if you walked briskly and blinked quickly so your eyeballs didn't get all cold and dry lol. Anyway, the cold snap has passed and we're back to normal -6ish temperatures. Thanks, Kiwi!
  18. The Todos Santos Music Festival–Peter Buck’s Philanthropic Rock-Fest Jan 26th, 2016 in Music The fifth annual Todos Santos Music Festival culminated last weekend in southern Baja, and thankfully we were there to witness this feel-good rock-fest in all its glory. TSMF is the post-REM philanthropic project of Peter Buck (and his wife, Chloe Johnson) that was begun by the couple to help support local charities/efforts in their new-home beach community of Todos Santos. This year’s TSMF raised money for the Palapa Society. Run over the course of two weekends (1/14-16 and 1-21-23), the TSMF format is to shuffle the lineup each of the three nights of the respective weekends, and have the spotlighted bands supported by a revolving door of spectacular supporters and cross-pollinators from other bands (see below). We unfortunately missed the first weekend of TSMF, which featured (for the first time) Jeff Tweedy (Wilco). With the assistance of Wilco’s Pat Sansone and John Stirrat (separately performing as The Autumn Defense), Buck and a host of other TSFM luminaries, Tweedy managed to play 44 different songs (no repeaters*) over the three nights of TSMF’s first weekend. Tweedy’s sets naturally included Wilco, Uncle Tupelo, Golden Smog and solo songs, but also homages to the late, great David Bowie (All The Young Dudes) and covers of Neil Young (Everybody Knows This Is Nowhere) and Bob Dylan (Simple Twist of Fate). The first weekend also featured, among others, the Old 97’s, Mark Eitzel and a host of Buck’s hand-picked supporting friends (the multi-talented lads John Paul Jones (you may have heard, Led Zeppelin), Josh Kantor, Kev’n Kinney (Drivin’ N Cryin’), Scott McCaughey (Minus 5, Baseball Project), Mike Mills (REM), Chuck Prophet (Green on Red), Steve Wynn (Dream Syndicate, Baseball Project) and Joseph Arthur, and lasses Linda Pitmon (Baseball Project, Minus 5), Corin Tucker (Sleater-Kinney) and Chloe Johnson (with the Jayhawks). In short, the line-ups’ bands are supported by a ridiculousness of rock riches. Having never before attended TSMF, our intro couldn’t have been any better. We came over a rise in the desert on Thursday afternoon and dropped in to the patchwork beach community along the Baja coast and shortly thereafter walked into the hosting Hotel California to find the fantastic Lefort-fave Chuck Prophet sound-checking with Kev’n Kinney. Beauty to our ears. As the show kicked off that night, we first caught the unannounced Baseball Project (McCaughey, Wynn, Pitmon as supported by Mike Mills and Buck) singing their winsome odes to baseball’s wallopers and weirdos (lots of ’em Atlanta Braves). Next up was the most pleasant surprise of the festival for us: Kev’n Kinney. While we were aware of Kinney’s much-lauded band Drivin’ N Cryin’, we had lost track of Kinney (who has gone on to release critically-acclaimed albums, both solo and with Golden Palominos). The much-loved Kinney would be joined throughout the festival by various stalwart supporters (Prophet, Mills, Buck, Pitmon, Jayhawks’ fiddler, etc.) during his sets, but it was his songwriting (Trail of Seasons and A Good Country Mile in particular) and emotive delivery that carried the nights. Kinney started off a tad tinny vocally, but gathered strength throughout the first night’s set and especially vocally, winning over the crowd with his anthem Straight to Hell and closing out his set with an emphatically long-held high note. Next up was Joseph Arthur, one of our faves, who was a bit off his game this night but still enjoyable. Arthur was followed by one of the best live performers extant, Chuck Prophet. Though without his Mission Express and Stephanie Finch, Prophet nonetheless gave his usual superb and crowd-pleasing set featuring songs Wish Me Luck, You Did! (backed by Kinney), The Museum of Broken Dreams, and Willie Mays Is Up At Bat (with its euphoria-inducing crowd-singalong). The Jayhawks were up next and gave one of the best sets of the night, aided and abetted by Gary Louris’s sinewy vocals, dexterous playing by the band and the harmonies of members and guests. As to the latter, the always-grinning Mike Mills was the MVP of Thursday night, jumping up on stage throughout the night to add bass and jubilantly-emphatic vocals to the various sets, but especially during the Jayhawks’ performance and during their closing homage to David Bowie via his Starman. The Starman had to have been smiling down on the uplifting performance. Not to be outdone, the Drive-By Truckers were up next. The DBTs never fail to impress and especially this evening. Patterson Hood and Mike Cooley traded off on crowd-favorite songs (Lookout Mountain, Three Dimes Down and Sink Hole stood out, as usual) and new songs and won us over completely with their never-say-die rocking and big-hearted ways. Admirably assisted by their other outstanding band members, Hood and Cooley play with unbridled verve, and Hood simply has one of the biggest souls in the business. Hood introduced an apropos new song (What It Means[?]) confronting racial injustice in America and throughout the night interacted empathically with the crowd, regaling with stories and repartee (“you folks should build a wall around this beautiful place to keep Donald Trump and his ilk out!“). They closed out their set with a rousing version of Bowie’s Heroes as sung (appropriately) by Hood. First-time TSMF participants, Death Cab for Cutie, closed out the night with a mesmerizing set of new and old songs that showcased the strength of their songwriting (old and new) but also their new-found, post-Walla energy, with newcomers Dave Depper (guitar) and Zac Rae (keys) adding immensely to one of the best rhythm sections in rock ‘n roll, Nick Harmer and Jason McGerr. And of course Ben Gibbard seized the festival’s proximity to California to lambaste Californians in song (Grapevine Fires, among them). All in good fun, Ben, all in good fun. DCFC would add their own “obscure” Bowie cover, Valentine’s Day. While DCFC would close out the first night with aplomb, their best was still to come (their sound not being completely dialed in the first night). The second night of TSMF at the Hotel California was (thankfully) more of the same (re-ordered, as is its wont), and with the addition of The Minus 5. One of the best, albeit-too-brief, sets on Friday was put on by Chuck Prophet who opened and had his ardent followers (and new fans) fully-engaged and singing/laughing along to his every word. You never fail to walk away from a Prophet-able performance fully-entertained. Next up were The Minus 5 and friends who gave a raving set that started off slowly with a cover of Glenn Frey’s/Jackson Browne’s Take It Easy (thankfully the first and last Eagles-related material of TSMF), but accelerated from there. They capped off their set with riveting, careening performances of Medicine Show and Days of Wine and Roses (the latter in tribute to revered Rolling Stone writer-in-attendance David Fricke). Kev’n Kinney then regaled with another sterling set featuring his memorable songs Summertime Days and the evocative A Good Country Mile. On the latter we noticed plenty of tear-streaked faces in the crowd, and then Kinney himself got a bit misty and glass-eyed, which made the moment that much more affecting (and after which Kinney received a large bear-hug from Mike Mills). It’s moments like these that shed true light on the humans up on stage giving their songs and audience their all, and it was heartily appreciated. Afterwards, Mills and Peter Buck assisted Joseph Arthur on his short set, which closed strongly. The Jayhawks again gave the crowd a superb performance of their well-wrought old and new songs. Death Cab for Cutie then gave the performance of the night, if not the entire festival. DCFC seemed to be on a mission to impress (both the audience and their fellow musicians). Mission accomplished! DCFC were en fuego from note one, putting out a rhythmic, walloping wall-of-sound (which was perfect this night) that propelled their songs to such great heights. Only on the heart-wrenching Black Sun did the band back off the beat and let emotion take its toll. They were quickly back to blasting business and wowed to the end with their chemistry and drive. Drive-By Truckers closed with yet another electrifying set, the highlight of which was Hood’s World of Hurt on which he encouraged the crowd to fully appreciate the full moon above and how great it is to be alive. The DBT’s ended the night with a scorching finale on which they gave their all and gradually left the stage, one-by-one until it was over. It was indeed great to be alive. The final night of TSMF is always held in the Todos Santos Town Square for free so that all of the citizenry (and, apparently, others from Cabo San Lucas and elsewhere) can join in the music enjoyment. It was another impressive night of music, with Prophet’s opening set again being a highlight. Steve Wynn’sset was also enthralling, with Prophet and all the Minus 5 members and others slamming on Dream Syndicate’s Medicine Show and closing with a powerful, rocking take on Wynn’s Amphetamine. Other highlights of the last night included Drive-By Truckers’ (with Prophet, Buck, others) set-closing cover of Jim Carroll’s season-perfect People Who Died, and two REM covers ((Don’t Go Back To) Rockville by Steve Wynn and crew, with Mike Mills taking a capable turn as Michael Stipe, and our own REM-favorite, Fall On Me, by DCFC). La Santa Cecilia (with the assistance of John Paul Jones) also added setting-perfect musical color and accent to the evening. It was an entertaining closing night to a truly memorable music festival, and we can’t wait to return. *Other artists should take note and follow suit–you’ve all got a treasure trove of material, so don’t sell yourselves short by playing the same songs all three nights! Just sayin’. To get a feel for TSMF, check out the fan videos below, and go HERE to the TSMF Facebook page to see more video vignettes. Mike Mills, Peter Buck, Scott McCaughey, Steve Wynn, Linda Pitmon, and Patterson Hood performing REM’s (Don’t Go Back To) Rockville: Drive-By Truckers, John Paul Jones, Chuck Prophet, and Scott McCaughey performing People Who Died: http://www.thelefortreport.com/blog/2016-01/the-todos-santos-music-festival-peter-bucks-philanthropic-rock-fest/
  19. Peter Buck's Paradise: Inside R.E.M. Guitarist's Cozy Mexican Fest John Paul Jones, Corin Tucker, Jeff Tweedy and more join Buck at latest Todos Santos Music Festival BY DAVID FRICKE January 29, 2016 "I've played a million festivals," says R.E.M.'s Peter Buck. "I want this to represent more of who I am."Vivian Johnson "That PA was in my closet at 3:30," Peter Buck says, pointing at a pair of speakers in the open-air courtyard at La Morena, a bar on the main street of Todos Santos, a small town at the southern tip of Baja California, Mexico. "The one they brought in had cobwebs," the former R.E.M. guitarist goes on, swirling a glass of wine in one hand as dusk falls overhead. "I don't think it had been used in 20 years." It is 5 p.m. on January 20th, the kickoff hour for the second weekend of the best little rock festival in the world: Todos Santos Music Festival, now in its fifth year in this sun-kissed Pacific Coast cluster of small hotels, restaurants and craft shops. Buck, 59, staged the first edition in January 2012, only a few months after he and his sidekicks in R.E.M., bassist Mike Mills and singer Michael Stipe, announced their retirement as a band in 2011. Buck and his wife, Chloe Johnson, are the chief organizers. The guitarist didn't go far to retrieve that PA; he and Johnson have a house a block's walk from La Morena. As for the music at this happy-hour acoustic session: "It's gonna be whoever wants to get up and do whatever," Buck says casually, brushing back the long, silver hair that keeps falling over his mirrored sunglasses. That is exactly what happens for the next two hours as musicians who will play across the weekend — including Mills, guitarist Scott McCaughey, singer-songwriters Steve Wynn and Chuck Prophet, members of the Jayhawks and, in an unexpected appearance, Led Zeppelin bassist John Paul Jones — step up to the small forest of mics to swap songs and instruments, in shifting, improvised combinations. The Todos Santos Music Festival is basically a feast of friends, drawn from Buck's deep pool of close pals, studio collaborators and touring buddies, some going back to R.E.M.'s early-Eighties birth in Athens, Georgia. This year, the January 14th–16th weekend featured Wilco frontman Jeff Tweedy — Buck produced an album for Tweedy's old band, Uncle Tupelo — and Filthy Friends, Buck's new band with Corin Tucker of Sleater-Kinney. The January 20th–23rd run is also packed with associations. Drive-By Truckers were founded in Athens; the Jayhawks are about to release a new album, co-produced by Buck; and Jones arranged the strings on R.E.M.'s 1992 album, Automatic for the People. Death Cab for Cutie, playing their first concerts in Mexico, stage a mini-R.E.M. reunion one night, performing that band's "Fall on Me" with Buck on ravishing 12-string jangle and Mills singing at his side. The musicians play three main shows across both weekend — for free, with all proceeds going to the Palapa Society of Todos Santos, a charity specializing in education initiatives for the community. There are two marathon evenings under the stars at the Hotel California, also on the main drag, then a big, free concert in the town plaza. Jones, in particular, is a genial and generous wingman, playing mandolin and lap steel with virtually the entire cast each night; they, in turn, are thrilled to have their songs graced by a Zeppelin legend. The crowds are practically family as well: 700 people each night at Hotel California, where there are reserved tables and nominal general admission; and about 4,000 people in the finale at the plaza, most of them Mexicans from the town and surrounding area. Jeff Tweedy at opening night of the 2016 Todos Santos Music Festival Vivian Johnson "I've played a million festivals — all super uptight, guys with clipboards going, 'Do you have the right pass?'" Buck notes. "I want this to represent more of who I am. These are my friends. I like the fact that the bands sit in with each other. We'll go long some nights. Big deal — you pay the help more." At La Morena, Buck's desired vibe is in full effect: Gary Louris of the Jayhawks performs the first of the weekend's many David Bowie covers, "Starman"; McCaughey honors the late Mott the Hoople drummer Dale Griffin with that band's "I Wish I Was Your Mother"; and Wynn turns the stomping menace of "Medicine Show, which he originally recorded in 1984 with his band the Dream Syndicate, into bluegrass noir with Jones on mandolin. A long dinner break is followed by another acoustic hootenanny in the bar at the Todos Santos Inn, loosely led by Buck's longtime friend Kev'n Kinney of the Georgia band Drivin N Cryin. "Tell me, is there a better festival you've ever been to?" Buck asks me, blunt and proud, at several points: at soundchecks, between his guest spots on guitar at Hotel California; backstage at the plaza show. Kinney puts it another way, on the 20th, as he wraps up the night at the Todos Santos Inn, conducting the whole room in the final chorus of the Replacements' "Here Comes a Regular." "We're all regulars in Todos Santos!" Kinney shouts at the end, to affirming applause. The second weekend of the best little rock festival in the world is underway. From Rock Star to Stage Hand "The first festival was three weekends, and each weekend was a band I played in — the Minus 5, the Baseball Project and Robyn Hitchcock," Buck says one afternoon at La Morena, recalling the 2012 birth of his Todos Santos festival over a tall glass of orange juice and the clamor of soundchecks across the street at Hotel California. "The idea was no one likes to tour in January. So I sold it to everybody with 'Come down, let's hang out, eat tacos, get drunk and play.'" "It was really informal," confirms Wynn, who is in the Baseball Project, a group that plays original songs about America's national pasttime. "We each had our weekend, three nights, four hours a night. We filled the sets up with whatever we could do. We were a tequila bar band." Buck wasn't planning to sell tickets, but "a simple announcement," as he puts it, on R.E.M.'s website drew a flood of requests. To avoid the snarl of work permits, Buck arranged to donate any money to charity. "We ended up bringing in $40,000," which went to the Palapa Society, Buck says. "I also spent $40,000. But the whole point was to do it." Buck, who is based in Portland, Oregon, vacationed in Todos Santos for several years before buying a house in 2008. "I'm not living some exotic life here," he contends. "I drive a nine-year-old car. I bought a nice three-bedroom house at the bottom of the market." The guitarist has other roots in the town. His wife's grandparents spent holidays here in the Eighties, staying in a trailer. When R.E.M. announced their dissolution in September 2011, Mills and Stipe gave a handful of interviews. Buck did none, retreating to Todos Santos. "He wanted to be away from everything," says McCaughey, Buck's cohort in several bands, including the Minus 5, and an R.E.M. sideman on tours and records from the mid-Nineties until the band's end. McCaughey was with Buck in Todos Santos when R.E.M issued their breakup statement. One day, the two were "sitting in the Hotel California, having margaritas," McCaughey recalls, "and Peter said, 'I bet they'd give us free drinks if we just played covers.' That is literally how this whole thing started." Filthy Friends, featuring Corin Tucker and Peter Buck, at the 2016 Todos Santos Music FestivalVivian Johnson Erick Ochoa, the 37-year-old president of the Palapa Society, says the inaugural Todos Santos festival "changed everything for us." Started in 2003 to help children in the region seeking higher education, the charity was able to "double the amount of students we were sending to school" just with the $40,000 Buck raised in 2012. Buck also got "really involved" with the Palapa Society, visiting the local school and meeting students. Even a modest contribution pays big dividends for the organization; for only $250 (U.S.), Palapa can pay a year's tuition for a student at a Mexican public university. As Buck tells the R.E.M. fans at the Hotel California shows, during a charity auction of artwork created by the musicians, "A lot of you have had $250 dinners you don't even remember." Buck nearly didn't make it past the second Todos Santos festival in 2013, which featured the Posies, Alejandro Escovedo and most of the first year's alumni. "Peter has an overall concept of how the money works," McCaughey says, "but Chloe was doing a lot of the nuts and bolts, wrangling musicians. The second year, she didn't have any fun. It was too draining." For the 2014 edition, which included reunions of Wynn's Dream Syndicate and Kinney's Drivin N Cryin and a new tradition, a local-band showcase, Buck found limited sponsorship and logistical assistance from the Cabo Agency, a tour and travel agency. "Now Chloe can have a good time," McCaughey says, while Buck runs the music with a casual flair. "Even last year, he was showing up an hour before the show, going, 'This is who will play tonight, in this order.' It's pure fun for him. And the musicians look at it like a paid vacation — with all their friends." Buck estimates that it now costs $180,000 a year to mount his Todos Santos festival. To ensure that all proceeds go to the Palapa Society, "I write a check at the end of the year, around $100,000," he confesses. "It makes my accountant nervous." Buck is seeking additional sponsorship that allows the festival to break even each year without growing too far beyond its current intimacy and musical camraderie. "I would like to believe this could become self-sustaining. If I back out, it's over. "I went from making millions of dollars playing rock music to losing thousands of dollars being a bad stage manager," Buck says with an edgy laugh before ambling over to the soundcheck at Hotel California. "But I would like to keep it like this. I want musicians to go, 'That was great.'" Then he cites an example from last year: founding guitarists Patterson Hood and Mike Cooley of Drive-By Truckers. "Mike is not the most loquacious guy on earth," Buck notes. "But he was sitting on the plane with Patterson on the way home, going, 'Coolest gig I ever did.' Then in July, I emailed them: 'Do you guys have any interest in coming back?' One minute later, they wrote back: 'We were just waiting for you to ask.'" Playing All Night Long La Santa Cecelia at Todos Santos 2016Vivian Johnson There is a moment at Hotel California, early in the evening of January 21st, when a huge chunk of the second-weekend bill — including Wynn, McCaughey, Chuck Prophet, John Jackson of the Jayhawks and Mike Mills — is lined up on stage, helping Kev'n Kinney through his Drivin N Cryin anthem "Straight to Hell." Buck is up there too on bass, making one of his many sit-in appearances. There are no degrees of separation in that spread. Everyone on either side of Buck has a direct, enduring connection to him through friendship, recording and gigging. "It's like his version of Branson, Missouri," Wynn cracks, referring to the American capital of country-star theme parks. "There is a sense of community but a nice sense of competition," Wynn adds. "Everybody comes down here wanting to show what they can do — show that you belong and what's unique about what you do. You're in close quarters. That strips away any veneer and mystique pretty fast." The highlights come early on the 21st — Prophet's country-blues covers of Bowie's "Queen Bitch" and Chuck Berry's "Tulane" and the stark neo-hip-hop of "You Did," Prophet's cult hit from the HBO vampire series True Blood — then fly thick and fast. The Jayhawks debut the plaintive elegance of "Quiet Corners and Empty Spaces" from the new record they've made with Buck, while Drive-By Truckers play a Southern-gothic fireball from their next LP — "What It Means," Hood raging against the epidemic of police shootings through howling guitars and Dylan-'66 organ. "When you say it wasn't racial/When you shot him in the back," Hood sings, pressing his voice to the edge of sanity, "Well I guess that means you ain't black." On the 22nd, McCaughey draws Mills, Hood and Dave Depper of Death Cab for Cutie to the mics for a tribute to the late Glenn Frey, the Eagles' "Take It Easy." Buck joins Wynn for a Dream Syndicate sequence, threading the spectral thump of "When You Smile" from that group's 1982 debut, The Days of Wine and Roses, with modal-Byrds soloing. And there is an R.E.M. reunion you never expected to see — with a weird touch of Zeppelin — after hours at the Todos Santos Inn: Kinney making a fan's case for the late John Denver as he sings "Leaving on a Jet Plane" with Mills on harmonies and Buck playing John Paul Jones' mandolin. The free show in the town square starts early (5 p.m.), goes late (well after midnight) and runs the gamut from the gnarly — Joseph Arthur throttling the Velvet Underground's "Heroin" with looping-guitar effects and Buck on drums — to the sublime: another R.E.M. flashback as Mills takes his signature lead in "(Don't Go Back to) Rockville" with a Minus 5 that has Buck on 12-string guitar and Hood on extra vocals, deepening the Georgia connections. "If you know the song, please sing along," Mills tells the crowd. "Between the tequila and the desert air, my voice is shot." He gets plenty of help and no complaints. Drive-By Truckers get two huge cheers, one of them after Hood suggests that if Donald Trump "ever becomes president of the United States, maybe Mexico should build a wall to keep that asshole out!" The other comes when the Truckers race through their cover of Jim Carroll's "People Who Died," with Jones bringing the Zeppelin on lap steel. To the locals, the Mexican-American band La Santa Cecilia may actually be the biggest draw of the night — Todos Santos festival veterans with a buoyant line in reggae-inflected rock en Español and a flirty vocal powerhouse in singer Marisol Hernandez. Jones, inevitably, joins them on mandolin. Death Cab for Cutie's "Fall on Me" with Buck and Mills has already gone viral by the time that band closes the show and the festival entourage has rolled to the Todos Santos Inn for another hootenanny. In our conversation at La Morena, Buck is cautious about promising to mount a sixth Todos Santos Music Festival next year. "Part of the deal, I always felt, was that every penny from ticket sales, merchandise and donations goes to charity, with none taken off the top," he says. "We have to make up the costs with sponsorship, and as yet that hasn't happened." He admits that one reason for doing the interview is "to let people know how cool this is. "I'm not trying to reach the kids in Cabo doing jello shots," Buck states firmly. "If it gets too big, it gets spoiled. I can keep doing it. But it depends on the day I discover I'm spending more time trouble-shooting than I am enjoying it." Any doubts have evaporated, at least for this year, when Buck hits the Todos Santos Inn on the last night. He takes a turn at the mike, singing a new original song that goes with the clamor at the bar — "Let's Get Fucked Up." And Buck can't resist asking, once again, before closing time, "Isn't this the best festival you've ever been to? Seriously?" The best answer: See it for yourself. http://www.rollingstone.com/music/news/peter-bucks-paradise-inside-r-e-m-guitarists-cozy-mexican-fest-20160129?page=6
  20. A final compilation of photos from various shows in which Jonesy took part throughout the festival along with a couple of great reviews. January 16: From Patterson Hood Facebook JPJ & Jeff Tweedy January 19: Steve Wynn, JPJ & Linda Pitmon Steve Wynn, Josh Kantor & JPJ The one and only Josh Kantor, JPJ & Chuck Prophet JPJ & Kevn Kinney Josh Kantor & JPJ January 23, Todos Santos Plaza: The Baseball Project & JPJ The Baseball Project & JPJ Mike Mills & JPJ Death Cab for Cutie & JPJ Death Cab for Cutie & JPJ La Santa Cecilia & JPJ ^ From Todos Santos Music Festival Facebook courtesy of R.E.M. Costa Rica Fans and Jason Munoz pikore.com/humberto_howard http://www.pikore.com/m/1170608318169601248_46981908 pikore.com/humberto_howard http://www.pikore.com/m/1170607928350987474_46981908 Photo: Kelly DeFilippis From Drive-By Truckers Facebook
  21. Patrycja

    Boleskine

    You know, that's a good idea, TOWTF. I was on a steering committee that sought RFPs for a new theatre that had to incorporate a historical structure, and there were so many creative ideas proposed, including using just a facade (which, unless this is rebuilt exactly, is probably all they could use). If there's the will, it could be a B&B / guest house or an artist retreat / historical centre of both Boleskine and the area. I'd just like for it to be transformed into something constructive and commemorative rather than it being razed and forgotten should nothing else or something completely different replace it.
  22. Patrycja

    Boleskine

    Thanks for your insights once again, as well as for the video and photo, FavouriteTipple. Once I saw that photo the reality of the extent of the damage set it. Doubt any of it is salvageable. Besides, left in this state would probably attract certain types and create its own branch of lurid tales in time. Too bad that common sense was left in the house along with the stove on; not to rub salt in, but what were they thinking leaving the house like that?! Amazing. I imagine that liability/cost/insurance/planning assessments and options will take a while to determine. I wonder whether the local government would have any involvement in possible restoration (though highly unlikely just from the look of the damage) or perhaps Boleskine just doesn't register as any more important than any number of older structures. The Crowley ties are just as likely to keep some folks away as they attract others. Such a shame for Boleskine to be in this state, but I am curious about what, if anything, happens with it.
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