THE 60'S SONG!

Total Page:16

File Type:pdf, Size:1020Kb

THE 60'S SONG! 8 0 FEDERAL BUREAU OF INVESTIGATION FREEDOM OF INFORMATION/PRIVACY ACTS SECTION COVER SHEET SUBJECT: LOUIE, LOUIE _ THE 60&#39;s SONG!_ I U J DESCRIPTION OF FOLLOWING FILE MATERIAL [Quiz lama92/7&2.05 S0103 . , . .. X "! N0 DUPLICATION§ FEE xxxxxx . FOR THIS PAGE x X>*>m*&#39;>* XXXXXXXXXXXXXXXXXXX EXXXXXXXXXXXXXXXXXX Memorgdum I &#39; Te. &#39;» T0 I DIRECTOR, FBI , DATE! 2/17/64 ATTENTION: FBI LABORATORY %>-/>1FRQM AC , TAMPA 45-New! P! 92. " 443153 ._;_? $vBJB<-&#39;r= umcnownSUBJECT; , PHONOGRAPH" DISTRIBUTED & .- B IMAXon- MUSIC, -2 _nyc,,4;, , r : 1&#39;AmPA_-;u¢,aw.-¬,~_.?»!mam! _ T Transmitted herewith are the following items for examination by he FBI Laboratory: &#39; ff . --- . 3. hyriis of "Louie Louie" as published by Limax Music. i Ca; _ Record "Louie Louie" under obscene cover!. -fkeported obscene lyrics for "Louie Louie." Under yo Lip: IF ggscene cover!.~ r _ from Sarasota G School, advisingth cap popular withtn=U high school students, and he has been furnished lyrics for the song n which aree determinedvery obscene. g , thatthis record is xi!~, &#39; popular, is a best seller in the area, and is played by the local Q radio stations. He said the record is a calypso-type song, and the . words are hard to recognize. However, with a copy of the obscene w- ~_ to refer to, it sounds like the lyrics are identical with the I enclosed obscene lyrics. , Radioism Station * WKXY, furnishedwhat Limax Music Companyclaims to;u4D ide the theactual l rics of the lyric¬iZfsong, w ich e isnclosureong do #1seemnot , However, be totheJ __same. REc_23M ,9: Enclosures wére!furnished,to SA by Q __.,_ am-é£.11<n,;¢>-&#39;. ,§!glgN¬LQS4WE,-,.El:111» "£w"%92"""" Wm &#39; Twp? P-PI-&#39;_? F-&#39;,f1r:w@»g6. ML M3"*»s&#39;7 ~" ~ L--~ _ _l__ -_ ________..&#39;-&#39; _,. __ _ " "* -*~ . ;r&#39;v.j|__w-W.- _.. ____ _ -; , ,1?-;j _----~- . __. ~.~. __~,V.. v _ """ , ._____.- __.~.~-- /90 W5ve?» ¢/ oz I &#39; . Q U" 1 TP 145-New . K/&#39;.92 _»92 Laboratory is requested to determine if enclosed ;92--_. ~ :"92 record, "Louie Louie", can be considered obscene for purposes of prosecution under ITOM statute_ O . .. Q _:._.1, -1».-, ._ &#39;-__.. _._ »: _ 2 ;; y. V _ _< V -_,., I ,_.._u. __- . __ . - _ _, ;-_ , ... , ... - _ . ,1 . ,__... _, .. &#39; The three-enclosures may be retained by the Laboratory or destroyed, if, after examinetiony it appehrs they wi1l_be or __- ~e no further use. _.~" Q ._..r;,-.. - . ~ 1 <5-r- -,. &#39;92 " - ~: ~. *3-;1 4 I 36.. ix r J 0 :- 5, _ , 92 7 I I ! . * q - >- . ... .4 - gz;;_4.-;_- »_ _ .7 1&#39;. -&#39;_ §-"5- 92<<&#39;. 1. &#39;v~ -aw .- I r I .- - 1 »:_ -vs -4 I v- ~ 0 ~ , &#39; . ~ ».v " 92 c r-- - 1. 92 92 - .< ..>-- u~_._&#39;92 -_-.-&#39;2&#39;"! 5, " &#39; &#39; 4 _ 2 _ ._.. .._. __.4- .- 35¢» REP 2/8/64 /._. _./&#39; Director, rs! 9¢/_/ UHKHGIN ." If-» &#39;*&#39;~ -".-?&#39;2&#39;:&#39;»&#39;§&#39;~&#39;>§-,f-~.92_;;f_. "Inn! L001 &#39;> _~ at.- _:=¥&#39;"_j_ 5. &#39; I-IRA! f. &#39; . --r-_gotrm Q4. &#39; -=.-.w- - -- .1 -~_»&#39;-_.&#39;_- -, ISWL-f-.. j-Z ._ 31 >5 , a.f~"r-¬:- &#39;.:".1 . - _. 1-; . r I--..,.. .1.--,- .r &#39; G;1:_ .5-&#39;1... K: ._» &#39; -gttiee J11! . ~. ....>____. _ ,92- ...» . .,-_ - ,_ ._ .~ _»» " . 1 -. &#39;,~&#39;/:4 1:--._. - -. » . ...*-<.,- T}- -11 &#39;-.. ,. .1 -92_- .92 -1 ~->. &#39;;_ .__.. 4- -u X :1 Y C. " .>.&#39;."-I",~&#39; 4 :~ _~_,--.&#39;-_&#39;4 1., -=~&#39;-.<=. 1 :._6»&#39;_&#39;. ~ __ M2 ta lbould letaniao or Sarasota I131: School 57 D _ nun Z.._. n;~-&#39;2". &#39;_ - }92gi:.,.>:=- 1 ,- I- 92 4 were bsrotérb Jo udvisod "A-tar i . -P |!§ In . -£3 ::*- su;;;m_sxn nun: on nan no Tqvcl Trotter wémxzm f _ _ , -Q-_ ._. _._~ 7._._.-._.__ ~__._..._... __ - ___. - . .. &#39; ~- , I0: further intonation, an III roloaae dated 2/18/84 ,._ -- .-___.._,_,_ _ @;_4;,_~&#39;,"%; 4,. ,_g_-an . -w_|~ .tzgicatod that the "._00Wl&#39;I.l¢nt&#39; U80 dropped lavqatlgattom it had / 1 . _n conducting 92 . Lara,-ccnp1a!.nts I that aivcpular met-and-roll . -»a.3 _--.,-,,_. ~ .-_4 . &#39; racordhasobscamlyrtca. &#39; . 1/ :_ = »s_+<_;_<~~:&#39;*-4*-,_4-~ _~ » -:55 L ~ - - _ 92 _ .&#39; Q 1 &#39; - - . &#39; - - " &#39;!.ié&#39;=. 92 z " Letter to 8&0, &#39;I&#39;ampa-V~~ ~-" 1 &#39; H;-_»?-,.1»: .< s==;-5&#39;.-ta:_- RE: UNSUB~ PEONOGBAPI! B800!!!! "DWI! l_0Utl"&#39; ., -4-., n r-1 Rm. 4 -si 5 **Inv¢atr¢ai1.i:: ; &#39;11, hi ,,j=Oo_amm1ca_t!.0na Quanta V &#39; 1.»__ ;%¢~&#39;»:- ,1,-1._",...___. r =~_:~&#39;~=1&#39;:.j&#39;v .-__». =&#39;-=&#39;~&#39;.&#39;-v>-&#39;7-1-*1&#39;v_ "v -.-1 &#39;5-, a. ~-"-=:~.2,- &#39;: ..924__ 5, __-; -:~,-&#39; M»;.; -1",--...~ ":- . ~ fiiiif " &#39; :!,&#39;?==-~- -e.@.!l_f".&#39;- ~--_--.*."&#39;=--.--.-=,f~:&#39;r*=:-*-r"- -_»,,;_- -:#.:&#39;_"?"r...< :- &#39; I >1 "-c: *~-=.>- ~-__~;- -» = - ~&#39;Y"*---ii »~ -",~--t".$1=:s:&#39;> ~*f&#39; -~ yarmaatal nu -;~_-,1,-_=,. tlgatloaa tacaua<_,.-.»,~¢___-,.=,,-» ilk! ~.~=.-;;&#39;>-».__-.. 3011 1 ,~¢ ~-.-.. ...1"=r+-".i"*=*~ 1 4--"~,-.~ &#39;; VF: :.&#39;:,--.-&#39;-1;--:,---$<- T .*~.&#39;-.33 0! -.92!.f&#39;-i"*§.T&#39;.the 2121.-:~. Iara . -;:, » - *1: v. :4: ,&#39; -1; 1&#39;15,-;_,¢ ..~I ~ - * "1-~ 3&0" ~ A, - - 1&#39;M W é .~¢::&#39;~:-- __.&#39;,;;;-:@¢*~:.~:-" ,1 .-_ &#39;1 :-. x ;.-,~-~-.?__-,._-,- .-- , »&#39; &#39;19--~:&#39; -&#39; -5&#39;-§;::._-~_ g";;;-.- ~-we; ;_ .&#39;_- 1&#39;v_.»_" _,-.__ ,¢._-: J -.- 4 ,~_¢ -1 I -K 4 V311?! _ 4°1<l &#39;;_.&#39;-- " 5- _. .. .». &#39;. .. ;.. _» .%g._,,??92**9!,,!i!.~1=a&#39;;-?<_= .A .;~=~.. ;_ p ad= 7. - 4 <1--~.&#39; at1=._.__;s¢.- .=-r~"&#39;.»=~--,--*.. - kg; 1->.-45-r. -, -;*= ~ ~e:- -j ,3 &#39;1&#39; ~ . - : ," 2 ";-1 *§- ; -__ --&#39; =~ 5;; * 1 , - ~A>3, *1 1;" K?_ ~Q1: &#39;~&#39;E#i 3,.~,~¢ " 5 ~__>,_,_:A" _v£&#39;:0~g " --/2~.A __&#39;5%__?§§E¬§1¬¬£&#39;-_;.:,=&92§:x;92-;;?§g%1;f I" -.=.-*1-..:;92 . L , a 1 ; &#39; &#39;mnuag _ 3; :;-,».;},_;:.I :_:.§=;._.rA A &#39; - -= T .1 ,5 >~s§ Qa ,,.,_ 1. _ ;._~-_ .-»,.,______ _ _, -M . a __ ¢§#$,s1i§q@1¢ _. .__ . ____ .__4 . M4 Mtg 5" ._ *;avanu» a_ :_._ _y :*_-:&#39;_-,- " Wu . Wlntaa. &#39;A - _;~..~_&#39;- &#39; - " § &#39;-_an _ ,, .r;_~ &#39; >r$._ 0" Q?! 1 r H2- ::?:;=;¢:,-.>. -2" Pu -- ,. _ ._ > ._ -;- _ |~-2 . - norm - -~ " -~ -$&#39;__i ,.1=;~.1b1;~ ,1, § I 1-~92*-&#39;-~__ Tc Q g Mr A .,. ~~¢ --._4;-2 x_.~41 er»-:¢92- v 1- I&#39;--1_."», their 1llY0l~ M, .-_ - .1 - . __ t it: _ In-1ea_.~ H ~__&#39; -&#39;1-ft -=»¢»~:;.1¥¬.9==w~>&#39; 29*: aha"; 1&#39;91-T&#39;UI&#39;| ~ . Z if MohrBe l -e Casper ej- 1 Callahan " D%r;du&hc@~¢%;2zi , éva Ga > R0 Sulhvun Tavel Trotter &#39;_ M Tele. Room Holmes _ e 4 A ?/ 92 M fv I 1 I A_ 1 m-132 , - 9292 l I vnsnxncron--tam mzceun covznnnznr aglaurnn xuvzsncnnm at an >.-:1 <5 lass oascm: conngcguc 1. a . um COUPLAIIITS AT I rerun: ~ noc:-an-non neon us g nu: m: um: connnlnrsLABZI. av CHARGED tut xxncsm antun tn mum an 0 A ~ nzcu dluuAS ucoam» l ~ , azncnn rm nu: 1 9.11 aim: was - rs am. nmzsncmons izcoia nu nu comnucmons xznamznrs am: c cc» ngg nu: nczmzrest nc: scams: msens nu. wgz zucun v m. 1.:Inu to gm uummn: ncuzs ea 0 ggzmmm mo my 92 92 non sum:um: 15 ll! 1 Lxsrplxnc - to m: nzco *&#39; 2/12&#39;--amt: /VIM!/C ~*""a"" - "a/P -- - ""&#39;J"&#39; ,5-gwé/w ___,_.-F? i i -. ~ no&#39;r voommn ._.»&#39; I70 . Mm 4 1954 -.- 92 &#39;- , , -. .~,.. .f_ L -3 I Q t Dl&#39;» ; ac; .&#39;. Iii???- a $£Q$1i%éiH. ~ 57 B5 I964 csGDL Ric O. n . ;* UNITED sums cow INMENT &#39; :. _~ Memoraium &#39;* vl TO: /AQLECTOR _a r , FBI DATES 3/4/64 ___mm =1 c,"1?mpA45-s4!>! sunjzcrz UNKNOWN SUBJEC1; g w -+3. 92 B PHONOGRAPH" nmx$1.211!IDUIE"MUSIC, RECORD STRIBUTEDDI mrc. ITOM ._-aw n --~£5-&#39; 9r: - :41- ReTPlet 2/17/64 and Bulet 2/28/64. Please note Miami incorrectly carried as office of origin, " 1*-92u Tampa letter oi reference. _ _ §@¢ There is nothing oi pertinent interest to Iinmi in this .§_f case. Miami disregard. .,.. Gll Bureau 1 - Miami Into! bvc &#39; , n 7 92- Q 3%./21.42;2/ I2 MAR6 I964 ages _ __ ,$-P.; -I I31 V, X .92 6 La n 72 MAR1;193Z , _i "T i, .~&#39; - " = &#39; 1;. ,- &#39; _¢l:__&#39; 4 I-Anonngoli &#39; &#39; &#39; &#39; nzozmu. aunuu or nuvzsnenuou &#39; - WASHINGTON, 0. c._ % 92 T~= rm, Tampa 45-Ia!! °*"~= larch 4, 1964 *3 &#39; 1"&#39; 41 / 1 =2. 1: T3; _. - .. ¢- 41- . , . .- ......- . , _.-_,...._,_-.!~_~ .._._, 3,. _,._; _., .. 4 .-. -; I "&#39;92f .. -- W1 .
Recommended publications
  • Louie Louie Investigation Demonstrates, the FBI Felt That Such Matters Were Theirs to Judge Even After Several Other Government Agencies Had Given Their Clearance
    Herrick 1 Aidan Herrick Matthew Lasar History 190U December 18, 2014 Rock, Race, and Payola: The FBI and The Kingsmen’s “Louie Louie” In the spring of 1964, the Federal Bureau of Investigation launched one of its most infamous cases. After receiving numerous reports on a potentially dangerous item that had circulated prolifically around the United States, FBI offices from California to Florida began launching their own investigations into this threat. Much like a virus, the FBI had seen this enemy before, but it took a new form every time it reappeared. Their foe? Rock n’ roll. The new strain? None other than “Louie Louie,” as performed by The Kingsmen. Though clearly a silly waste of time to modern audiences that are used to Top 40 songs that border on pornographic, in 1964 Louie Louie and music like it had a reputation for stirring up trouble. If the FBI could find anything obscene about it, such a discovery could launch another rock ‘n’ roll witch hunt like the one rock had experienced during the Payola scandal five years prior. If a dirty utterance were to be found, the FBI would have another feather in its cap, proving their self-proclaimed position as a moral bulwark against enemies of American virtue. Should a single piece of foul language be present anywhere in the two minute and forty-seven second recording, what more would be necessary to a white society scared of a black uprising to prove that all this “jungle music” was corrupting their kids? In a Rube Goldberg-esque political mess, the FBI opened this investigation not so much because of the song itself, but because of a general paranoid atmosphere in the United States about race, sex and rock.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • The Night Belongs to Phoenix Jones: an Original Story by National Book Award-Winner Charles Johnson
    The Magazine of Humanities Washington SPRING/SUMMER 2016 The Night Belongs to Phoenix Jones: An original story by National Book Award-winner Charles Johnson. ALSO INSIDE Religion and Human Rights | Meet the New State Poet Laureate | A History of Washington Music PROFILE Washington State Poet Laureate Tod Marshall by David Haldeman ........................... 4–9 FICTION “The Night Belongs to Phoenix Jones” by Charles Johnson ..................................10–15 INSIDE EDITORIAL “A History of Washington Music in 10 Songs” by Amanda Wilde .......................16–18 5 QUESTIONS with David E Smith by David Haldeman ............................................. 19–21 READING HABITS with Jamie Ford ....................................................................22–24 NEWS & NOTES .............................................................................................. 26 CALENDAR ..................................................................................................... 28 ABOUT HUMANITIES WASHINGTON .........................................................26–27 From the Executive Director OUR BRAINS ARE WIRED to see patterns, to generate a complete picture out of fragments of information. Every day we IT’S DIVISION encounter hundreds—and in larger cities thousands—of strangers; simply too many to stop and evaluate the risks and rewards of SEASON interacting with each. So we look for patterns—our survival instinct causes us to create mental shortcuts based on superficialities like appearance, geography, gender, and race. Sometimes we’re right, Politicians and the media love but often we’re wrong. to divide us, but we have a way During this election season in particular, I’ve watched with dismay the tendency for politicians to capitalize on this human tendency to fight back: our stories. and use it to manipulate voters. To stoke a fear of “the other”— whether it is someone with a different skin color, country of birth, religious background, or bathroom preference—to By Julie Ziegler win office.
    [Show full text]
  • June 2, 2018 FOLMC Record Auction Artist Title Label Catalog Notes Lot
    June 2, 2018 FOLMC Record Auction Artist Title Label Catalog Notes Lot 1 Steely Dan Steely Dan's Greatest Hits MCA MCA2-6008 Lou Reed Rock and Roll Diary 67-80 Arista A2L 8603 Lot 2 Peter Gabriel So Geffen GHS 24088 A-ha Hunting High and Low Warner Bros 25300 John Waite Mask of Smiles EMI ST17164 Includes Poster Lot 3 Stray Cats Built For Speed EMI ST-17070 Shrink Steve Winwood Back in the High Life Island 25448-1 Lot 4 The Righteous Brothers Souled Out Verve V6-5031 Blue Label, Silver Print, T-Neck The Righteous Brothers Go Ahead and Cry Verve V6-5004 Blue Label, Silver Print, Deep Groove, T-Neck Lot 5 Talking Heads True Stories Sire 25512-1 Shrink, Hype Sticker Queen Queen Electra 75064 Shrink, Monarch Label Lot 6 Andy Summers & Robert Fripp I Advanced Masked A & M SP4913 Shrink, Hype Sticker Sting Nothing Like the Sun A & M SP6402 Shrink, 2 LP, Hype Sticker Lot 7 Creedence Clearwater Revival Cosmo's Factory Fantasy 8402 Blue Label Jimi Hendrix Experience Smash Hits Reprise 2025 Lot 8 ZZ Top Rio Grande Mud London XPS 612 Promo Sticker, Blue Label Boxed Rolling Stones Beggars Banquet London PS539 Gatefold Lot 9 Leon Russell Leon Russell Shelter SHE1001 Superman Logo Scott Fagan South Atlantic Blues Atco SD33-267 Lot 10 Gabor Szabo Rambler CTI Records 6035 Gatefold, RVG Pat Martino Strings! Prestige 7547 Preview Copy Lot 11 Pink Floyd The Wall Columbia PC236183 Gatefold Roger Waters Radio K.A.O.S Columbia FC40795 Lot 12 Led Zeppelin Led Zeppelin Atlantic SD8216 RAII Gold Record Award Sticker The Kinks Sleepwalker Arista AL4106 Lot 13 Deep Purple Made in Japan Warner Bros 2WS 2701 Gatefold, 2 LP Eric Clapton History of Eric Clapton Atco SD2-603 Gatefold, 2 LP Lot 14 Miles Davis Bitches Brew Columbia GP26 Gatefold, 2 LP Lot 15 R.E.M.
    [Show full text]
  • PAUL REVERE & the Raiders: Pop/Garage Band &Amp
    PAUL REVERE & THE RAIDERS: POP/GARAGE BAND and “LOUIE LOUIE” By Alan L. Chrisman Paul Revere, leader and keyboardist for American 60’s and 70’s band, Paul Revere & The Raiders just passed away recently. They had several big hits in the 60’s and the 70’s, such as “Kicks”, “Hungry”, “Just Like Me” “Him or Me-What’s it Gonna Be?” and “Indian Reservation”. They were known for their American Revolution costumes and pop songs, but would later be considered a garage band by the punk era. Their image and sound was created an American reaction to The Beatles and The British Invasion in the mid-60’s and they wrote and played some very catchy and popular hits. Paul Revere (his real middle name) founded the band, when he met lead vocalist, Mark Lindsay, in 1958, who was delivering buns to Revere’s restaurant in Idaho. Revere was drafted into the military, but as a conscientious objector, worked in a mental institution for a year and a half. They formed a band called The Downbeats and had a few regional hits and toured, at one point, with Leon Russell on piano. They got signed to Columbia Records because they had an early hit with the later garage band classic, “Louie Louie” in ’63. The song,”Louie Louie” has its own fascinating history: Originally written by Richard Berry in 1955, it was a minor R&B hit for him. Berry was the uncredited lead vocal on “Riot in Cell Block #9” by The Robbins who later turned into The Coasters.
    [Show full text]
  • EDITORIAL BLITZ! Numéro 17
    EDITORIALEDITORIAL BLITZ!BLITZ! numéronuméro 1717 La transition entre les années 2015 et 2016 a été marquée par deux décès majeurs dans le monde de la musique moderne et populaire que nous aimons : Ian « Lemmy » Frazer Kilmister, fondateur de Motörhead, et David Bowie, artiste aux talents multiples, ont pris le grand départ pour l’au-delà. Nous avons décidé de consacrer notre dossier à Motörhead, projet musical dont nous admirons la constance affichée pendant quarante ans, et qu’il serait très réducteur d’affubler de la seule étiquette heavy metal. Quant à David Bowie, l’influence qu’il a exercée sur beaucoup d’artistes que nous aimons, parmi lesquels Ian Curtis, le rend forcément incontournable dans un très prochain numéro de BLITZ! Fort heureusement, le présent numéro de votre webzine n’est pas qu’une rubrique nécrologique : vous y trouverez aussi des interviews et des articles consacrés à des artistes bien vivants, dont les têtes fourmillent de projets. Bonne lecture et merci pour votre fidélité ! Général Hiver BLITZ! numéro 17 – 1er trimestre 2016 1 TELEX – BLITZ! numéro 17 – Par le Général Hiver Le label français Unknown Pleasures propose une compilation hommage au duo new-yorkais Suicide, pionner de la musique électronique et incarnation du slogan do it yourself cher aux punks. La setlist rassemble des noms prestigieux : Gabi Delgado s’associe à Adan & Ilse dans une cover très réussie de « Girl ».Les reprises les plus remarquables sont, à notre avis, celles de Distel (qui offre une version funèbre de « Che »), et de Laag, dont le « Rain of Ruin » très new wave nous a ravis, Le morceau « Ghostrider » est quant à lui présent trois fois, la version d’In Death It Ends, quoique réussie, n’a pas l’intensité urbaine de son homologue, proposée par..
    [Show full text]
  • Activities and Attractions
    ACTIVITIES AND ATTRACTIONS Imagine yourself sitting in a park on the Seattle waterfront, a double-tall latte and an almond croissant close at hand. The snowy peaks of the Olympic Mountains are shimmering on the far side of Puget Sound, and the ferryboats are coming and going across Elliott Bay. It's a summer day, and the sun is shining. It just doesn't get much better than this unless, of course, you swap the latte for a microbrew and catch a 9:30pm summer sunset. No wonder people love this town so much! Seattle is a city of views, and the must-see panorama is, of course, the view from the top of the Space Needle. With the 21st century in full swing, this image of the future looks decidedly mid-20th-century modern but still it's hard to resist an expensive elevator ride in any city. You can even take a monorail straight out of The Jetson’s to get there (and pass right through the Frank Gehry-designed Experience Music Project en route). EMP, as the Experience Music Project has come to be known, is one of Seattle's latest architectural oddities. Its swooping, multicolored, metal-skinned bulk rises at the foot of the Space Needle, proof that real 21st-century architecture looks nothing like the vision of the future people dreamed of when the Space Needle was built for the 1962 Seattle World's Fair. EMP is the brainchild of Microsoft cofounder Paul Allen, who built this rock 'n' roll cathedral to house his vast collection of Northwest rock memorabilia.
    [Show full text]
  • The Heart of Rock and Soul by Dave Marsh
    The Heart of Rock and Soul by Dave Marsh 11 LOUIE LOUIE, The Kingsmen Produced by Ken Chase and Jerry Dennon; written by Richard Berry Wand 143 1963 Billboard: #2 Really stupid, really great. Not really dirty, but so what? "Louie Louie" is the most profound and sublime expression of rock and roll's ability to create something from nothing. Built up from a Morse code beat and a "dub duh dub" refrain, with scratchy lead vocal, tacky electric piano, relentless rhythm guitar, and drums that sound like the guy who's playing 'em isn't sure what comes next, "Louie Louie" scales the heights of trash rock to challenge the credentials of all latter-day rockers: If you don't love it, you've missed the point of the whole thing. Naturally, this Parthenon of Pop didn't spring from the head of the Muse. A Muse would probably have slain it on sight, or passed away herself from the shock of something so crude and fine. "Louie Louie" was born in much more prosaic circumstances, as the B side of "You Are My Sunshine," an R&B version of the Jimmie Davis country standard recorded by Richard Berry and the Pharoahs and released on Flip Records in 1956. Berry was a veteran Los Angeles session singer who'd sung lead on the Robins ' "Riot in Cell Block #9," the first big hit for producers Jerry Leiber and Mike Stoller. The Pharoahs were Berry's cohorts of the day, Flip his patron of the moment. "You Are My Sunshine" made only a small buzz but when L.A.
    [Show full text]
  • In Which Yet Another Pompous Blowhard Purports to Possess the True Meaning of Punk Rock
    11 In Which Yet Another Pompous Blowhard Purports to Possess the True Meaning of Punk Rock Lester Bangs All the shit they play on the radio today-it lacks the true meaning of rock, which is sex, subversion, and style. Rock 'n' roll is pagan and primitive and very jungle, and that's how it should be. The moment it stops being those things, it's dead. -Sex Pistols manager Malcolm McClaren (Kohut and Kohut 1994, 18) The kids want misery and death. They want threatening noises because that shakes you out of your apathy. -John Lydon of the Sex Pistols (Kohut and Kohut 1994, 101) Lester Bangs is the most celebrated critic in the history of rock. A wild man and visionary armed with a pugnacious attitude and original writing style, which he claimed was based on the sound and language of rock and roll itself (Bangs 1987, ix), he was an early champion of punk rock. According to Bangs, punk means rock "in its most basic, primitive form," and it has thus been around from the beginnings of rock 'n' roll. Here he expounds upon what he sees as the true meaning of not only punk, but of rock itself, delivering a manifesto for both: the essence is passion. Rock must be first and foremost "a raw wail from the bottom of the guts." Punk rock was hardly invented by the Ramones in Qyeens, NY, in 1974-5, any more than it was by the Sex Pistols in London a year or so later. You have to go back to the New York Dolls.
    [Show full text]
  • U.S. Department of Justice Federal Bureau of Investigation Washington, D.C. 20535 August 24, 2020 MR. JOHN GREENEWALD JR. SUITE
    U.S. Department of Justice Federal Bureau of Investigation Washington, D.C. 20535 August 24, 2020 MR. JOHN GREENEWALD JR. SUITE 1203 27305 WEST LIVE OAK ROAD CASTAIC, CA 91384-4520 FOIPA Request No.: 1374338-000 Subject: List of FBI Pre-Processed Files/Database Dear Mr. Greenewald: This is in response to your Freedom of Information/Privacy Acts (FOIPA) request. The FBI has completed its search for records responsive to your request. Please see the paragraphs below for relevant information specific to your request as well as the enclosed FBI FOIPA Addendum for standard responses applicable to all requests. Material consisting of 192 pages has been reviewed pursuant to Title 5, U.S. Code § 552/552a, and this material is being released to you in its entirety with no excisions of information. Please refer to the enclosed FBI FOIPA Addendum for additional standard responses applicable to your request. “Part 1” of the Addendum includes standard responses that apply to all requests. “Part 2” includes additional standard responses that apply to all requests for records about yourself or any third party individuals. “Part 3” includes general information about FBI records that you may find useful. Also enclosed is our Explanation of Exemptions. For questions regarding our determinations, visit the www.fbi.gov/foia website under “Contact Us.” The FOIPA Request number listed above has been assigned to your request. Please use this number in all correspondence concerning your request. If you are not satisfied with the Federal Bureau of Investigation’s determination in response to this request, you may administratively appeal by writing to the Director, Office of Information Policy (OIP), United States Department of Justice, 441 G Street, NW, 6th Floor, Washington, D.C.
    [Show full text]
  • I Heard That One a Lot, Y'know, When I Was Six, Seven, Eight Years Old. of Course, Every Kid Learns That Pattern and Tries
    “OK! Let’s give it to ’em right now!” screamed Jack Ely of the Kingsmen into this microphone at the start of the guitar solo for “Louie Louie.” With its simple song structure, three-chord attack and forbidden teenage appeal, this single song inspired legions of kids in garages across America to pick up guitars and ROCK. “Louie Louie” has become a touchstone in the evolution of rock’n’roll, and with over 1500 recorded cover versions to date, its influence on teenage culture and the future DIY punk underground can’t be underestimated. Ely’s vocals were so rough and unintelligible that some more puritanical listeners interpreted the lyrics as being obscene and complained. This rumor led several radio stations to ban the song and the FBI even launched an investigation. All of this only fueled the popularity of the song, which rocketed up the charts in late 1963, imprinting this grunge ur-message onto successive generations of youth, by way of the Sonics, Stooges, MC5, New York Dolls, Patti Smith, The Clash, Black Flag, and others, all of whom amplified and rebroadcast its powerful sonic meme with their own recorded versions. NEUMANN U-47 MICROPHONE, CA. 1961 “There was this great record, ‘Louie Louie,’ by a band “I was in seventh grade and ritually would watch Hugh from the Pacific Northwest called The Kingsmen. I bought Downs and Barbara Walters with my mother on the Today their album and it was a great influence on me because Show. The Who did sort of an early lip synch video of they were a real professional band, y’know?” ‘I Can See For Miles’ and then they interviewed Townshend – Wayne Kramer, MC5 and Daltrey.
    [Show full text]
  • <I>MARINERS ALL ACCESS</I>
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses from the College of Journalism and Journalism and Mass Communications, College Mass Communications of 12-2011 MARINERS ALL ACCESS: AN INSIDE LOOK AT THE ROLE OF A PRODUCER AT ROOT SPORTSTM Carrie S. Tachiyama University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/journalismdiss Part of the Journalism Studies Commons Tachiyama, Carrie S., "MARINERS ALL ACCESS: AN INSIDE LOOK AT THE ROLE OF A PRODUCER AT ROOT SPORTSTM" (2011). Theses from the College of Journalism and Mass Communications. 19. https://digitalcommons.unl.edu/journalismdiss/19 This Article is brought to you for free and open access by the Journalism and Mass Communications, College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses from the College of Journalism and Mass Communications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. MARINERS ALL ACCESS: AN INSIDE LOOK AT THE ROLE OF A PRODUCER AT ROOT SPORTSTM By Carrie S. Tachiyama A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: Journalism and Mass Communications Under the Supervision of Professor Jerry Renaud Lincoln, Nebraska December, 2011 MARINERS ALL ACCESS: AN INSIDE LOOK AT THE ROLE OF A PRODUCER AT ROOT SPORTSTM Carrie Tachiyama, M.A. University of Nebraska, 2011 Advisor: Jerry Renaud The experience of producing a full episode and several segments of Mariners All Access provides an in-depth look at the inner workings of a production at a regional sports network.
    [Show full text]