Forwarded from Hankabilly on MySpace:

Tiki Art Exhibition opens by Shaman Lapu Lapu from Tiki Island.
Sun April 15 from 4 pm
“2nd Tiki Art Exhibition” till May 20 2007

This group show of new work inspired by Tiki by
Sam Gambino (usa)
www.samgambino.com
Heather Watts (can)
www.theartdeck.com
Tiki Tony (usa)
www.tikitony.com
Tiki Racer (uk)
www.tikiracer.com
Jasper Fijnvandraat
www.jasperwerk.nl

This thread at Tiki Central is the place to plug a Tiki-related podcast, if you make or know one. I hope this is going to be a good, complete reference list. It’s a great idea, because there are only few podcasts in that niche – but they don’t have to be so far between!

Domenic Priore from Dumb Angel writes:

(It’s all about the ocean, mannnnnnn…… — Dom)

It’s been a while since I contacted everyone about a blog or somethin’ cool, but this time, it’s for real….

Dig, The American Cinematheque at the Egyptian Theater is letting us do our “Beatnik Beach Film Night” this Friday night. We did one last summer at Sponto Gallery in Venice, then in December we brought it to the Roxie Theater in San Francisco. Now, everybody’s been asking us for months to “do this in town” (Venice is a long haul for most of you), so we’re doin’ it up right then, and including a truly great piece of Beat cinema from 1961, “Night Tide” (starring Dennis Hopper and Linda Lawson), plus our slide show of Greater L.A. area Beat coffeehouses and jazz joints of the late ’50s and early ’60s, along with two primordial shorts from the Venice West Cafe back in the day.

If you’ve never been to the Egyptian Theater, it was the immediate predecessor to Grauman’s Chinese Theater on Hollywood Boulevard. When Sid Grauman opened it in 1922, it had the same elaborate Hollywood flair (it’s gone through a nice rennovation in its current incarnation as the American Cinematheque). This is gonna be a fun night, in the right place, with all the right people, yeh… We are working on some special guests; all three filmakers may very well be there for Q&A, at least. The American Cinematheque’s description below says it better than I can (o.k., I helped write some of it). Thanks for plannin’, and makin’ an evening of it this Friday. We’re gonna have a ball… — Domenic Priore

Friday, March 30, 2007: Egyptian Theatre

The Friday, March 30th program is a 7:30 PM screening of NIGHT TIDE, (1961, 84 min.). Director Curtis Harrington’s debut indie feature is a masterpiece, a haunted, poetic hymn to the dark world of the fly-by-night carnival, lonely midways at dawn and the siren call of eon’s-old passion spawned by the devils of the deep blue sea. In a fond nod to Val Lewton and Jacques Tourneur’s CAT PEOPLE, at-loose-ends sailor Johnny Drake (Dennis Hopper) falls in love with sideshow mermaid, Mora (Linda Lawson) who may just somehow be related to the real thing. Shot in and around Santa Monica and Venice Beach in the beat culture’s heyday, the film continues to exert a strong spell, and is brimming with the heady atmosphere of bygone coffee houses, poet hipsters, languid jazz and bongos on the shore. With Luana Anders, Gavin Muir. “…captures an intangible quality of what Santa Monica was like in the early 60s. Quite apart from Los Angeles, it was a quiet residential community. The funfair pier has just the right air of seedy despair about it. Everyone seems to be living ‘just off’ the mainstream.” – Glenn Erickson, DVD Savant Preceded by the shorts: “Venice In The Sixties” (15 min.) directed by Leland Auslender. Originally shot for a television show and never used, this is essentially a full-color look inside the atmosphere of the Venice West coffeehouse, its various sections, activities and people; “The Beat From Within: Reflections of a Beatnik” (10 min.) Produced by Ralph Morin and directed by Tom Koester, this short covers a day in the life of a Venice beatnik in glorious black ‘n’ white.

Plus, following the screening, Authors Domenic Priore and Brian Chidester (Beatsville, Riot on Sunset Strip: Rock ‘n’ Roll’s Last Stand in Hollywood, Dumb Angel #4: All Summer Long) will present a unique one-hour slide show documenting the Beat Generation’s long stretch over the Greater Los Angeles area between 1956 and 1966, via visuals of coffeehouses and jazz joints from the Sunset Strip to Malibu, Venice and Newport Beach. Legendary locations only heard about in books or in liner notes, from the Gas House and nearby Venice West Cafe, to the Unicorn and Shelly’s Manne-Hole in Hollywood, the Lighthouse and Insomniac in Hermosa Beach, then all the way down to Cafe Frankenstein (owned, operated and painted by Burt Shonberg). Arists from John Altoon to Eric “Big Daddy” Nord gave these places a colourful splash, as did the wide variety of Folk singers and poets who performed on their stages.

P.S. Also, a new Dumb Angel blog is at: http://dumbangelmag.blogspot.com/

The graphicdesigner who designed the timeless Endless Summer poster for the Bruce Brown movie from 1965.
Here are more 60s works by him.

This interesting Bulletin came thru this morning on MySpace:

Rock Hall Voting Scandal: Rock Group Actually Won

According to sources knowledgeable about the mysterious ways of the Rock and Roll Hall of Fame Foundation, British Invasion group The Dave Clark Five and not Grandmaster Flash finished fifth in the final voting of the nominating committee and should have been inducted on Monday night.

According to sources, Rolling Stone publisher Jann Wenner, who recently appointed himself chairman of the Foundation after the death of Ahmet Ertegun, ignored the final voting and chose Grandmaster Flash over the DC5 for this year’s ceremony.

“Jann went back to a previous ballot instead of taking the final vote as the last word,” my source insisted. “He used a technicality about the day votes were due in. In reality, The Dave Clark Five got six more votes than Grandmaster Flash. But he felt we couldn’t go another year without a rap act.”

R.E.M., Van Halen, The Ronettes and Patti Smith were the top four vote-getters, with Grandmaster Flash finishing fifth when the votes were counted on the first date ballots were due in to the Rock Hall office.

But when all the ballots were counted a few days later, the DC5 had pulled ahead. Wenner decided to ignore that and stick with the earlier tally.

“We begged Jann to allow all six acts to be inducted. But he insisted that he couldn’t because there wouldn’t be enough time,” my source said. “He wanted to have Aretha Franklin come and perform in memory of Ahmet Ertegun.”

The Ertegun tribute, while very nice, was deemed unnecessary by members of the main committee because the Atlantic Records co-founder will be memorialized in New York on April 17.

“But Jann wanted to do his own tribute. It was insane, especially since he took over Ahmet’s position on the board before Ahmet even had a memorial. Jann simply sent papers around informing everyone that he was now the chairman,” my source said.

The Dave Clark Five ballot tampering, however, stings the most. The group, part of the British Invasion of the ’60s, should have been inducted long ago for their hits like “Glad All Over,” “Bits & Pieces” and “Catch Me If You Can.” Making them wait has turned out to be a huge mistake, as their fortunes have not been great.

In December 2006, sax player Denis Payton succumbed to cancer at age 63. Lead singer Mike Smith has been paralyzed since 2003 after falling off a ladder at his home in Spain.

In August 2005, a terrific fundraising effort for Smith at B.B. King’s in New York was supposed to be the prelude to finally recognizing the group that had several memorable hits in the mid-’60s.

Wenner’s cruel axing of them from the show and the Hall of Fame should be painful to many who are intimately involved with the Hall, like Paul Shaffer, who runs the Hall of Fame band and produced and emceed the Smith tribute.

So what happened here? My sources also say that Wenner’s motivation may have sprung from a controversial speech that was delivered by new administrative head Joel Peresman to the nominating committee last winter.

“He stood up there and told us that we should vote for who we thought would be most commercial, and who be best on the TV show,” a source said. “It was outrageous. Some people tried to stop him and asked him to leave, but he wouldn’t. He said, ‘I’m not leaving.’ The director is never supposed to speak to the nominating committee.”

Peresman came to the Rock and Roll Hall of Fame Foundation last year when Wenner arbitrarily ousted the long-time chief of the group, Suzan Evans Hochberg, after two decades of loyalty.

“We couldn’t believe Jann stood up there last night and said Suzan was retiring. But when the seating plan went crazy the other day, Jann called and begged her to come in and help. Peresman knows nothing about the business,” a source said.

Peresman came to the Foundation from gigs booking shows at Madison Square Garden and with Clear Channel, the radio giant that many feel has strangled the music business with intransigent radio play policies and suggestions — actually, government investigations — of payola.

In the old days, such a hire would have been considered anathema by Wenner.

None of this should come as any surprise to those who have followed the roller-coaster world of the Rock Hall. According to the group’s most recent tax filing, for example, they gave only $9,000 to indigent musicians from their $11 million in holdings.

Even worse: Wenner sent a tax-free $10,000 to something called Jazz Casuals in San Francisco. It’s really just the archives of Ralph J. Gleason, the late jazz writer who periodically wrote for Rolling Stone in its early days. It was the only donation made by the Foundation to any group last year.

“Again, outrageous,” a source said. “With all of Jann’s money, he could have just sent a check. He didn’t need to use the Foundation’s money.”

By contrast, the Foundation gave only $53,000 to the Rock and Roll Hall of Fame Museum in Cleveland. Attorney Allen Grubman’s law firm took another $50,000 for legal services rendered. Evans received her usual $300,000 salary. Peresman is said to be receiving even more.

And then there’s the matter of who has left on the nominating committee. I’m told that nearly half the group is gone, leaving 32 members. Many of the remaining members are former or current Wenner employees, like Rolling Stone’s Nathan Brackett, David Fricke, Jim Henke, Joe Levy, Brian Keizer and Anthony DeCurtis.

Jon Landau, Bruce Springsteen‘s manager and a former Rolling Stone writer, is the chairman of the committee and considered the last truly mediating influence on Wenner.

There are only three actual musicians: Paul Shaffer, Steven van Zandt and Robbie Robertson. Three are female. One of them is black. There are only two other black members: journalist Toure and Reginald C. Dennis

Wenner, I’m told, “weeded out everyone he didn’t like.” He even got rid of the veteran New York Post and Vanity Fair writer Lisa Robinson.

Wenner almost bumped Claudia Perry, a Newark Star Ledger sports writer and former pop music critic. After a scuffle, she managed to hang on, which was good news. As a black woman she fulfilled two minorities on the board (Edna Gundersen and Elyssa Gardner of USA Today are the other females).

“This is the opposite of what Ahmet would have wanted,” a source said. “He liked a big committee that reflected lots of different tastes.”

For a very long time I was contend with my Boss DD3 echo pedal. Of course it’s generic and cold sounding compared to old tube-tape or disc delays like the Dynacord I once owned. But trying to get spare parts for those was impossible in pre-internet days, at least for my amptech back then. And the old echos require collectors money – when I just wanted a tool, not a museum piece. The earlier delay modelers like the Line6 tried to do too much I don’t want and too less of what I want, the variations of multihead delay patterns. I always found them a little too expensive! Now the Magicstomp recreates tape and multihead delays very well. And timebased effects like echo and reverb escape the detached feeling latency encountered with other digitally generated effects, like amp-modeling and distortion. I got mine used and it’s of the first variety, later versions include a headphone jack.

What really convinced me beside the current low prices for them, was finding this page, where a dutch guy programmed a large number of sixties tape echo patches for the Magicstomp, mostly Meazzi and Vox. There’s also a Roland, and the patch really resembles the sonic signature. You can download patches from Yamaha’s site or dedicated www-groups (2 on Yahoo!) and install them with your pc or mac with OS9 and built in usb. Just connect an usb cable and start the Magicstomp editor. You can deep edit a lot of effect parameters and store them to 99 user presets.

Integrating the effectbox into a live-set-up brings some problems. Read this message from one of the Yahoo! Magicstomp boards:

I’ve finally got round to attaching my magicstomp to my board only to
find a considerable drop in volume when patches are engaged. Tried
reducing the input level but no change.
Is this yet another defect (along with the half second pause between
patches) that has lead to this product being discontinued?
Here’s another point. I’ve decided to use my stomp to replace certain
effects that I only use occasionaly – phaser,flanger, uni-vibe and for
delays etc…problem is that I thought I could navigate up and down
and then just use the on/off footswitch to activate the chosen effect.
Turns out that even though the display reads “reverb” for example, I
still have a bloody harmoniser. Have to go back to the patch that the
sound corresponds to and then move up or down. Useless. I never
noticed this before when I used it as a stand alone effect. Anyone had
similar problems ar know something I don’t?????
Cheers.

Don’t misunderstand me – I don’t mean to say this is a great musical. I have only heard one of the songs and had enough.
The reason I had to include Go-Go Beach here is that I once recorded a track called Go-Go Beach! It was on one of my homerecording tapes, that interested parties could get through reviews in Pipeline and New Gandy Dancer, around 1990. In the track I tried to get some of the spirit of the Manchester bands like the Charlatans and Stone Roses coupled with instrumental guitar work.
When The Looney Tunes Band started, I stopped this tape thing. But somehow I remembered the track after the band broke up (the drummer wanted to include electronics, but I did not want the Loonies to change in that direction). Go-Go Beach then turned into Gogo Sitar and was the first track I did with my modified ES335 copy, homemade electric sitar.

So, there’s no connection for me with that musical, other than the coincidental naming. If you didn’t care for such information, you wouldn’t have read so far, would you?

I just found this little article on Makaha skateboards. My third board was a Makaha I bought it in 1978. It was back to wood decks, after giving my first, a Nash Shark (green), away and riding the daylight out of the kicktailed plastic thing that followed it.

Incidentally Domenic Priore wore his Makaha teamrider jacket two or three weeks ago arriving at the Luxuriamusic.com studios.

The very studio where Paul Buff and Frank Zappa recorded one of my all time favorite LPs is The Hollywood Persuaders, featuring tracks like Drums a-Go-Go and Thunderbird.

freakoutincucamonga writes over at Surf Guitar 101:

Check out our web page for our documentary, “Freak Out in Cucamonga.”

www.freakoutincucamonga.com

For anyone interested in the Cucamonga studios in the early 60’s that brought you ‘Wipeout’ and ‘Pipeline’, as well as recording sessions from Johnny Fortune, The Tornadoes, Conrad and the Hurricane Strings, Johnny Barakat, and let’s not forget, Frank Zappa.

YouTube link to Cucamonga PAL Studio documentary video trailer

Towards the end there’s a beautiful 12′ that reminds me of what Skip Frye would choose on a casual day, but more nose-rocker.
Tom Wegener Surfboards Promo: Two
at YouTube