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savagenewcanaan · 2 years ago

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Michael Savage New Canaan Muscle Autos Still Make a Statement

American muscle mass automobiles were known for their strong V8's, robust engine holler, and for destroying their contention on the race course or road circuit. Off the strip they reek of testosterone and also spontaneous power, whether we are talking about Cameros, GTO's or Firebirds.

And muscle cars and trucks weren't just the divine superintendence of American suppliers, Australian as well as English car producers were additionally hectic producing their own variations such as the Jaguar XJS 12 or the Australian Monaro. Today Australian Muscle cars and trucks are still much sought after. The Holden Monaro was first presented in 1968 as well as was made with the 70's. as well as was born-again in 2001 when Holden released a restricted version 2 door V8 as well as V6 collection which was a sellout.

Michael Savage New Canaan

Muscle cars made up a course all their very own; the automobiles that desires were made of. They descended grumbling out of Detroit with identity as well as style in the mid 1960's as well as would certainly come to be a mania for generations ahead. Muscular tissue cars were an unique type of equipment that were born in the 1950s, developed throughout the 1960s, and also essentially died in the early 1970s. They proceed a social icon of expressive style, mild disobedience, as well as an individual declaration of freedom.

These autos may be engineered by auto-mechanics to perform as they want. In that regard there made up different versions of the heavyweight car manufacturers that fit this class. Muscle autos were created from the mid-1960s right into the 70s, however the outcome of such wildcats dropped dramatically because of an amount of aspects. Initially was the debate over whether it was smart as well as sensible to make such powerful vehicles available to the public, primarily because of roadway racing.

Michael Savage New Canaan

Among the other disadvantages was the increasing expense of gas and also if you had a minor car accident, after that you pocketbook was in for a shock. Likewise Insurance insurance coverage was additionally high due to the price of parts and also work on these beauties. Insurance policy firms enlarged their prices and charges on all high-powered designs of cars, in effect causing any kind of future buyers to relocate to another category of car as the muscle mass cars and trucks were out of their spending plan. For the almost all, the makes and also models were retired, though some were changed as leading end cars rather.

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soulmusicsongs · 5 years ago

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Female Soul in 50 songs

This is a list of great female soul singers you might have forgotten. Soul singers with unforgettable voices and iconic songs. Listen to 50 female soul songs!

Female Soul

At The Hotel - Eunice Collins (At The Hotel / At The Hotel (Instrumental), 1974)

Believe What I Say - Charlene P.M. (Loving You / Believe What I Say, 1975)

Big Bird - Rosetta Hightower ‎(I Can't Give Back The Love I Feel For You / Big Bird, 1968)

California Soul - Marlena Shaw (Spice of Life, 1969)

City Of Stone - Pat Lundy (Soul Ain’t Nothin’ But The Blues, 1969)

Clean Up America - Candi Staton (Candi, 1974)

Crying On My Pillow - Dorothy Berry (Crying On My Pillow / You’re So Fine, 1963)

Desdemona - Marsha Hunt ‎(Woman Child, 1971)

Do Me - Jean Knight (Mr. Big Stuff, 1971)

Do You Still Feel The Same Way - Tommie Young ‎(Do You Still Feel The Same Way, 1973)

Don’t Make The Good Girls Go Bad - Della Humphrey (Don’t Make The Good Girls Go Bad / Your Love Is All I Need, 1968)

Don't Shake My Tree - Beverly Wheeler With The Cameros ‎(Don't Shake My Tree / Don't Shake My Tree (Instrumental), 197?)

Facsimile - Martha Reeves ‎(Martha Reeves, 1974)

For Once In My Life - Barbara McNair (Here I Am, 1966)

From His Woman To You - Barbara Mason (Love’s the Thing, 1975)

Goin’ Man Huntin’ - Joann Garrett (Just A Taste, 1969)

Help Me Make Up My Mind - Joyce Jones (Help Me Make Up My Mind / I'm Just Sitting Here Thinking, 1969)

Help Me Solve This Problem - Gina Hill (Rich Man's Toy / Help Me Solve This Problem, 1970)

Hey Boy - Alice Clark (Alice Clark, 1972)

I Don't Need No Man - Sylvia Smith ‎(Woman Of The World, 1975)

I’ll Wait For You - Alfreda Brockington (Your Love Has Got Me Chained And Bound / I’ll Wait For You, 1969)

I’m Gonna Tear Your Playhouse Down - Ann Peebles (I Can’t Stand the Rain, 1974)

In the Morning When I Rise - Myrna Summers (Myrna, 1977)

It Ain’t No Fun - Shirley Brown (Woman To Woman, 1974)

Love And Liberty - Laura Lee ‎(Women’s Love Rights, 1971)

Mama's Got The Blues - Bessie Smith (Mama's Got The Blues / Outside Of That, 1923)

Message from a Soul Sister - Vicki Anderson (Message from the Soul Sisters, 1970)

Music - Jeanette White (Music / No Sunshine, 1969)

My God, My Freedom, My Home - Fontella Bass (Free, 1972)

My Mother Said - Ila Vann (My Mother Said / You Made Me This Way, 1972)

People Make The World - Jeannie Reynolds And The Re-Leets (People Make The World / I Don't Mess Around, 1971)

Poetry Man - Phoebe Snow (Phoebe Snow, 1974)

Precious Minutes - Toni Williams (Precious Minutes / Tearing Down My Mind, 1969)

Rainbow “71” - Loleatta Holloway ‎(Rainbow “71” / For Sentimental Reasons, 1971)

Rescue Song - Sandra Phillips (Too Many People In One Bed, 1970)

See What You Done, Done (Hymn No. 9) - Delia Gartrell ‎(See What You Done, Done (Hymn No. 9) / Fighting Fire, With Fire, 1971)

Simply Got To Make It (Without You) - Lady Margo (Stop By / Simply Got To Make It (Without You), 1976)

Stay With Me - Lorraine Ellison (Stay With Me, 1966)

Stay With Your Own Kind - Patrice Holloway (Stay With Your Own Kind / That’s All You Got To Do, 1967)

Sunshine Of Your Love - Spanky Wilson (Doin’ It, 1969)

Take Yo’ Praise - Camille Yarbrough (The Iron Pot Cooker, 1975)

Think About It Baby - Barbara Carr ‎(Don't Knock Love / Think About It Baby, 1971)

Too Sad To Tell - Debbie Taylor (Comin’ Down On You, 1972)

What’s Wrong With Groovin’ - Letta Mbulu (What’s Wrong With Groovin’ / Ushaka, 1967)

You Did It - Ann Robinson (You Did It / I’m Still Waiting, 1969)

You Got To Be A Man - Helene Smith ‎(You Got To Be A Man / (Without) Some Kind Of A Man, 1966)

You're Gonna Miss Me - Ann Sexton (You're Losing Me / You're Gonna Miss Me, 1973)

You Hurt Me For The Last Time - Ginji James (Love Is A Merry-Go-Round, 1970)

You Make My Life A Sunny Day - Jacqueline Jones (You Make My Life A Sunny Day / It's A Beautiful World, 1972)

Your Good Thing (Is About To End) - Trudy Johnson (You're No Good / Your Good Thing (Is About To End), 1969)

More great soul music

#Soul #Soul Music #Soul Music Songs #Music #Music Songs #Soul Music List #Female Soul

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yasbxxgie · 6 years ago

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Randy Weston, Pianist Who Traced Roots of Jazz to Africa, Dies at 92

Randy Weston, an esteemed pianist whose music and scholarship advanced the argument — now broadly accepted — that jazz is, at its core, an African music, died on Saturday at his home in Brooklyn. He was 92.

His death was confirmed by his lawyer, Gail Boyd.

On his earliest recordings, in the mid-1950s for the Riverside label, Mr. Weston almost fit the profile of a standard bebop musician: He recorded jazz standards and galloping original tunes in a typical small-group format. But his sharply cut harmonies and intense, gnarled rhythms conveyed a manifestly Afrocentric sensibility, one that was slightly more barbed and rugged than the popular hard-bop sound of the day.

Early on, he exhibited a distinctive voice as a composer. “Hi-Fly,” which he first released in 1958 on the LP “New Faces at Newport,” became a standard. And he eventually distinguished himself as a solo pianist, reflecting the influence of his main idol, Thelonious Monk.

But more than Monk, Mr. Weston liked constantly to reshape his cadences, rarely lingering on a steady pulse.

Reviewing a concert in 1990, Peter Watrous of The New York Times wrote of Mr. Weston, “Everything he played was edited to the essential notes of a phrase, and each phrase stood on its own, carefully separated from the next one; Mr. Weston sat rippling waves of notes down next to glossy and percussive octaves, which led logically to meditative chords.”

At 6 feet 7 inches tall, often favoring flowing garments from North or West Africa, Mr. Weston was an imposing, though genial, figure whether performing onstage or teaching in university classrooms. Even before making his first album, he was giving concerts and teaching seminars that emphasized the African roots of jazz. This flew in the face of the prevailing narrative at the time, which cast jazz as a broadly American music, and as a kind of equal-opportunity soundtrack to racial integration.

“Wherever I go, I try to explain that if you love music, you have to know where it came from,” Mr. Weston told the website All About Jazz in 2003. “Whether you say jazz or blues or bossa nova or samba, salsa — all these names are all Africa’s contributions to the Western Hemisphere. If you take out the African elements of our music, you would have nothing.”

As countries across Africa shook themselves free of colonial exploitation in the mid-20th century, Mr. Weston recorded albums that explicitly saluted the struggle for self-determination. “Uhuru Afrika” (the title is Swahili for “Freedom Africa”), released in 1960, included lyrics written by Langston Hughes, and sales were banned in South Africa by its apartheid regime.

That album — and others throughout his career — featured the marbled horn arrangements of the trombonist Melba Liston, who left an indelible stamp on Mr. Weston’s oeuvre.

In 1959 he became a central member of the United Nations Jazz Society, a group seeking to spread jazz throughout the world, particularly in Africa. In 1961 he visited Nigeria as part of a delegation of the American Society for African Culture, beginning a lifelong trans-Atlantic exchange.

After two more trips to Africa, he moved to Morocco, in 1968, having first arrived there on a trip sponsored by the State Department. He stayed for five years, living first in Rabat and then in Tangier, where he ran the African Rhythms Cultural Center, a performance venue that fostered artists from various traditions.

Mr. Weston drew particular inspiration from musicians of the Gnawa tradition, whose music centered on complex, commingled rhythms and low drones. While in Morocco he established a rigorous international touring regimen and played often in Europe.

In the late 1980s and early ’90s, Mr. Weston released a series of high-profile recordings for the Verve label, all to critical acclaim. Those included tributes to his two greatest American influences, Duke Ellington and Monk, as well as a record dedicated to his own compositions, “Self Portraits,” from 1989.

Mr. Weston earned Grammy nominations in 1973 for his album “Tanjah” (for best jazz performance by a big band), and in 1995 for “The Splendid Master Gnawa Musicians of Morocco” (in the best world music album category), a recording that he produced and released under his name but on which he left most of the playing to 11 Moroccan musicians.

In 2001, the National Endowment for the Arts gave Mr. Weston its Jazz Masters award, the highest accolade available to a jazz artist in the United States. He was voted into DownBeat magazine’s hall of fame in 2016.

Randolph Edward Weston was born in Brooklyn on April 6, 1926. His father, Frank, was a barber and restaurateur who had emigrated from Panama and studied his African heritage with pride. His mother, Vivian (Moore) Weston, was a domestic worker who had grown up in Virginia.

Though his parents split up when he was 3, they stayed on good terms and lived near each other in Brooklyn. Randy spent time with both throughout his childhood, receiving his father’s teachings about the cultures of Africa and the Caribbean while absorbing the music of the African-American church from his mother, who made sure that Randy and his half sister, Gladys, were in the pews every Sunday.

In his memoir, “African Rhythms” (2010), written with Willard Jenkins, Mr. Weston recalled that his father — a supporter of Marcus Garvey’s Universal Negro Improvement Association — hung “maps and portraits of African kings on the walls, and was forever talking to me about Africa.”

Mr. Weston wrote of his father, “He was planting the seeds for what I would become as far as developing my consciousness of the plight of Africans all over the world.”

Mr. Weston took classical piano lessons as a child but did not fall in love with the instrument until he started studying with a teacher who encouraged his already growing interest in jazz, particularly the music of Ellington, Count Basie and the saxophonist Coleman Hawkins.

Mr. Weston was drafted into the Army in 1944 while World War II was underway, serving three years in an all-black unit under the military’s segregationist policies and rising to staff sergeant. While stationed in Okinawa, Japan, he was in charge of managing supplies, and frequently tried to share leftover materials and food with local residents, many of whom had lost their homes in the war.

Upon returning to Brooklyn, he took over managing his father’s restaurant, Trios, which became a hub of intellectuals and artists. Mr. Weston began playing jazz and R&B gigs in the borough, seeking wisdom from older musicians. He became particularly close to Monk.

“When I heard Monk play, his sound, his direction, I just fell in love with it,” Mr. Weston told All About Jazz in 2003. “I would pick him up in the car and bring him to Brooklyn, and he was a great master because, for me, he put the magic back into the music.”

Heroin use was rampant on the jazz scene then, and Mr. Weston sometimes used the drug, though he never developed a full-blown addiction. In 1951 he left New York, seeking a fresh start in Lenox, Mass. He made frequent trips to the Music Inn, a venue in nearby Stockbridge, and while working there he met Marshall Stearns, a leading jazz scholar with strong beliefs about jazz’s West African roots, who was giving lectures and leading workshops there.

Mr. Weston started to perform regularly, and he and Mr. Stearns collaborated on a series of round tables about the history of jazz. Mr. Weston met musicians from across the African diaspora, including the Nigerian drummer Babatunde Olatunji, the Cuban percussionist Cándido Camero and the Sierra Leonean drummer Asadata Dafora.

When he returned to Brooklyn, he was brimming with ideas about the synchrony of African tradition and jazz innovation.

He later received fellowships from the Guggenheim Foundation, the Doris Duke Charitable Foundation and United States Artists, as well as awards from the Moroccan government and the Institute of the Black World.

He held honorary doctorates of music from Brooklyn College, Colby College and the New England Conservatory, and had served as artist in residence at universities around New York City. Mr. Weston’s papers are archived at Harvard University’s Hutchins Center for African & African American Research.

He is survived by his wife, Fatoumata Mbengue; three daughters, Cheryl, Pamela and Kim; seven grandchildren; six great-grandchildren; and one great-great-grandchild. Mr. Weston’s first marriage, to Mildred Mosley, ended in divorce. A son, Azzedin, is deceased.

Mr. Weston remained in good health late in life, performing most often with a rotating group he called African Rhythms.

In 2016, he released his 50th and final album as a bandleader, the two-disc “African Nubian Suite,” which featured an orchestra-size iteration of African Rhythms. Through music and spoken word, the suite traces humanity’s origins back to the Nile River delta.

His last public concert was in July at the Nice Jazz Festival in France, with his African Rhythms Quintet. At his death, his website listed performances scheduled through October.

For Mr. Weston, music was a way of connecting histories with the present, and a communal undertaking. Looking back on his career, he told All About Jazz: “I have been blessed because I have been around some of the most fantastic people on the planet. I have become a composer and become a pianist. I couldn’t ask for anything more.”

Photographs:

Randy Weston performing in 1963

Randy Weston at the Newport Jazz Festival in 2011

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bai4zi · 4 years ago

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1968 Yenko Camero SC/SS 撸先生：看片神器，每日更新，高清流畅，无需翻墙，t.cn/EVvnoK4

#名车

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diecastcarzer · 5 years ago

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MATCHBOX COLLECTIBLES 1968 CHEVY CAMERO SS 396 YMC06-M W/BOX&COA https://ift.tt/306go7c

#diecastcar #toycar

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un-enfant-immature · 5 years ago

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Ford goes drag racing with 1,400 HP electric Mustang Cobra Jet

Ford today took the wraps off an electric Mustang prototype. Called Mustang Cobra Jet 1,400, it carries Ford’s long tradition of drag racing the Mustang. But for the first time, a quiet electric power plant is spinning the slicks instead of a roaring V8.

This one-off prototype is said to hit mid-eight second quarter-mile times thanks to 1,400 HP and 1,100 ft.-lbs of torque. That’s on par with numbers put up by Ford’s 2018 Cobra Jet equipped with a supercharged 5.2L engine.

Ford has yet to reveal any technical information about the electric Cobra Jet’s motors, batteries, tires, or range.

Such prototypes are critical to Ford’s electric strategy that includes producing an electric SUV under the Mustang brand. Many have criticized Ford for expanding the Mustang family to include the Mach-E electric SUV as the Mustang has always been a two-door sports car. With this electric Mustang drag racer, Ford is seemingly telling the automotive world that it sees electric motors and batteries as a viable future for the Mustang brand.

This electric Cobra Jet could be a shot across the bow of Tesla and Porsche. The original 1968 Ford Mustang 428 Cobra Jet is widely considered the most powerful muscle car of the era, outclassing everything from General Motors and Chrysler. Right now, in 2020, Tesla and Porsche offer the most powerful and fastest electric cars outside of electric exotics, and this prototype is seemingly telling them to check their rearview mirrors because Detroit is serious about electric cars.

The original Cobra Jet debuted in 1968 and dominated drag strips across the United States. A person could walk into a Ford dealership and leave with a vehicle capable of besting most modified Cameros, GTOs, and Road Runners. Ford revived the Cobra Jet in 2008 and has since released limited-run versions every few years. Most are not road legal. These are cars designed to do one thing: go fast in a straight line. And now, with the 1,400 HP electric Mustang Cobra Jet, it’s designed to do two things: Go fast and show the world batteries can be fun, too.

#TechCrunch

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canyouactuallybelievesomeone · 8 years ago

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Tagged by the amazing @galaxy-kitten-101 Five things you can find in my bag: - A pen - Wallet - Phone charger - Stud silver ball earrings - Gum pack Five things you can find in my room: - A double size bed - My 5-shelf bookcase filled to the max! with books - A recliner  - My desk used for school work - A big Albert Einstein poster/picture on my wall Five things I’ve always wanted to do: - Travel to Europe  - Learn a second language  - Own a house - Travel to all 50 American states - Have my own washer and dryer Five things that make me happy: - Dutch Bros hot chocolate  - Riding in my uncle's fully restored 1968 Camero  - Going to McDonald's at 2 AM with my best friend  - Swinging at the park  - Having movie marathons @valora-arcane @nicowhereinhadesareyou @littlekittycaat @azarath-evo

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brookstonalmanac · 2 years ago

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Birthdays 4.22

Beer Birthdays

Amy Dalton (1968)

Five Favorite Birthdays

Immanuel Kant; German philosopher (1724)

Charls Mingus; jazz bassist (1922)

Vladimir Nabokov; Russian writer (1899)

Jack Nicholson; actor (1937)

Bettie Page; model (1923)

Famous Birthdays

Eddie Albert; actor (1906)

Joseph Bottoms; actor (1954)

Candido Camero; jazz percussionist (1921)

Glen Campbell; country singer (1936)

Marilyn Chambers; porn actor (1952)

Henry Clay; politician (1777)

Janet Evanovich; writer (1943)

Anna Falchi; actor (1972)

Henry Fielding; English writer (1707)

Peter Frampton; rock guitarist (1950)

Amber Heard; actor, model (1986)

Isabella I; queen of Spain (1451)

Sheryl Lee; actor (1967)

Vladimir Ilich Lenin; Russian dictator (1870)

Chris Makepeace; actor (1964)

Yehudi Menuhin; violinist (1916)

Jason Miller; playwright (1939)

J. Robert Oppenheimer; physicist (1904)

Nicola Sacco; anarchist (1891)

Ryan Stiles; comedian, actor (1959)

Giuseppe Torelli; Italian composer (1658)

John Waters; film director (1946)

#Birthdays

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savagenewcanaan · 2 years ago

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Savage New Canaan Muscle Mass Autos Still Make a Statement

American muscular tissue automobiles were recognized for their solid V8's, brawny engine holler, as well as for destroying their opinion on the race course or road circuit. Off the strip they stink of testosterone as well as spontaneous power, whether we are speaking about Cameros, GTO's or Firebirds.

And muscular tissue cars and trucks weren't just the divine superintendence of American producers, Australian and also English automobile suppliers were additionally active producing their very own variations such as the Jaguar XJS 12 or the Australian Monaro. Today Australian Muscular tissue vehicles are still much popular. The Holden Monaro was initially introduced in 1968 as well as was manufactured via the 70's. as well as was reborn in 2001 when Holden launched a limited edition 2 door V8 as well as V6 collection which was a sellout.

Muscle mass automobiles comprised a class all their very own; the autos that aspirations were constructed from. They descended rumbling out of Detroit with personality as well as design in the mid 1960's and would come to be a mania for generations to find. Muscle mass automobiles were an unique type of maker that were birthed in the 1950s, created throughout the 1960s, as well as essentially passed away in the early 1970s. They proceed a social sign of meaningful style, mild rebellion, and an individual statement of independence.

Michael Savage New Canaan

These vehicles might be engineered by auto-mechanics to carry out as they want. In that regard there comprised various models of the heavyweight vehicle makers that fit this course. Muscle cars and trucks were created from the mid-1960s right into the 70s, however the outcome of such wildcats dropped significantly as a result of a quantity of factors. At first was the debate over whether it was sensible as well as prudent to make such effective cars readily available to the public, mainly because of roadway auto racing.

Among the various other downsides was the raising expense of fuel and if you had a minor car accident, then you budget was in for a shock. In a similar way Insurance protection was likewise high as a result of the price of components as well as work on these appeals. Insurance firms bigger their rates as well as costs on all high-powered versions of vehicles, in effect causing any type of future purchasers to relocate to an additional group of car as the muscular tissue cars were out of their budget plan. For the almost all, the makes as well as models were retired, though some were transformed as top end automobiles instead.

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