#davie rickenbacker

[kinki-world]

Peter Quaife / The Kinks

[cedarsaga]

ANGEL C-130H 7th Wing, Dyess AFB, TX

ANGEL UH-1 SAR helicopter not on mission

ANGEL VH-3A HC-2, NAS Chambers,VA (also CH-53,SH-3G)

ANGEL OPS 71st RQS /347RQG Moody AFB GA

ANGLE KC-135R 121st ARW, OH ANG Rickenbacker ANGB OH

ANGRY F-16C/D 121ST FS DC ANG Joint Base Andrews MD

ANGRY F-15D/E 422nd TES Nellis AFB NV

ANGRY A-10s 52FW / 81st FS Spangdahlem GE

ANGRY OWL Hill AFB, UT range control

ANGRY WARRIOR Hill AFB, UT Eagle Range Control

ANIMAL F-16C/D 176th FS, WI ANG , Truax Fld WI

ANIMAL F-15E USAFE 48FW / 494FS LN Lakenheath UK

ANIMAL CONTROL 165th AW CP GA ANG Savannah IAP GA

ANITA E-4B 55th Wing, Offutt AFB, NE Airborne CP

ANKARA Polish Air Force 3rd Airlift Aviation Wing Powidz

ANKER KC-135R 163rd ARG, CA ANG March AFB CA

ANKER KC-135 22nd ARW McConnell AFB KS

ANKLE C-130 352nd SOG, RAF Mildenhall, UK

ANTAR KC-135R 319th Wing, Grand Forks AFB, ND

ANTAR A-10 357TH FS, DAVIS MONTHAN AFB AZ

ANTE C-32B 486th FLTS Eglin AFB FL

ANTIC AC-130E 16th SOS, Hurlburt Fld FL

ANTLER CH-46E HMM-166, "Sea Elks" MCAS Tustin, CA

ANVIL C-26 ID AS N6131Z-at Joint Base Andrews MD during 2005 Inauguration

ANVIL E-3B 552nd ACW, Tinker AFB, OK

ANVIL F-16C/D 120th FS, CO ANG Buckley AFB CO

ANVIL C-130J 130th AS, WVA ANG Charleston WVA

ANVIL UH-60 VA ArNG Ft Eustis VA

[novumtimes]

Survivor Announces The End Of The Sia Prize A Bonus For Contestants From The Pop Singer

Survivor contestants are saying see ya to a bit of prize money from pop singer/songwriter Sia. Just two days after Survivor’s 46th season ended, host Jeff Probst announced that the Sia Prize has come to an end. Sia will no longer award money to her favorite players every season. On May 24, Probst announced the end of her largesse on Instagram. Sia reposted it. “After eight years, 14 seasons, 19 players, and over $1,000,000 awarded, Survivor is officially bringing the Sia Prize to a triumphant end!” Sia reposted Probst’s statement on her Instagram Story, adding animated hearts. “Over the many years, Sia has brought so much joy to so many players and it was always straight from her heart,” Probst said. “So it is with tremendous gratitude and admiration to Sia that we bring to a close one of the most unique relationships a TV show could ever have with a pop star of Sia’s global wattage,” Probst added. Sia started her tradition in 2016 after at the 32nd season’s live finale for Survivor: Kaôh Rōng — Brains vs. Brawn vs. Beauty. “I still vividly remember the day Sia stood up in the audience during the live finale … and made her way onstage,” Probst recalled. “She was so taken by Tai [Trang]’s commitment to protecting a chicken from being eaten that she awarded him $50,000 of her own money.” “Tai was shocked,” Probst said. “The audience was shocked, I was shocked! What was happening? Sia was onstage in her wig handing out money to a Survivor player!?” The singer has since gifted 18 more players with various amounts of money, including seven players who each received $100,000: Rick Devens (season 38), Elaine Stott (39), Janet Carbin (39), Drea Wheeler (42), Jesse Lopez (43), Carolyn Wiger (44) and Katurah Topps (45). The other 11 contestants who were awarded money were Donathan Hurley (36), Davie Rickenbacker (37), Aurora McCreary (38), Joe Anglim (38), Jamal Shipman (39), Owen Knight (43), Ryan Medrano (43), Lauren Harpe (44), Carson Garrett (44), Jake O’ Kane (45) and Kaleb Gebrewold (45). “I’m really honored for Survivor to have this one of a kind association with Sia,” Probst said. “She’s in the Survivor Hall Of Fame of Superfans!” The Sia Prize is not officially affiliated with the long-running CBS program. The winner of Survivor wins a $1 million prize. Source link via The Novum Times

[fentw]

SURVIVOR DAVID VS GOLIATH - BRANTSTEELE EDITION

Link: https://brantsteele.com/survivor/37/r.php?c=cjDC3FrT

--------------------------------SPOILERS----------------------------------

Umm, I don't know if Natalia's victory was deserved, I thought she was a little carried by her alliance because the ideas for most of the moves came from Angelina, but as Angelina didn't make it to the final, I think Mike was the one who deserved it the most.

Natalia Azoqa Winner Finalist 5 Votes To Win

Jeremy Crawford 2nd Place Finalist 3 Votes To Win

Mike White 3rd Place Finalist 2 Votes To Win

Angelina Keeley 4th Place Juror Lost Fire-Making

Pat Cusack 5th Place Juror 3*-1-1 Vote 2-1 Revote

Alison Raybould 6th Place Juror 3-2-1 Vote

Alec Merlino 7th Place Juror 3*-2-1-1 Vote

Natalie Cole 8th Place Juror 4-2-2 Vote

Christian Hubicki 9th Place Juror 5-1-1-1-1 Vote

Bi Nguyen 10th Place Juror 5-5 Vote 5-3 Revote

Nick Wilson 11th Place Juror 4-3-3-1 Vote

Gabby Pascuzzi 12th Place Juror 6-5-1 Vote

Lyrsa Torres 13th Place Juror 5-5-3* Vote 6-5 Revote

Elizabeth Olson 14th Place Pre-Juror 3-1 Vote

Jessica Peet 15th Place Pre-Juror 4-1 Vote

Carl Boudreaux 16th Place Pre-Juror 4-1 Vote

Kara Kay 17th Place Pre-Juror 5-3 Vote

Dan Rengering 18th Place Pre-Juror 7-2 Vote

John Hennigan 19th Place Pre-Juror 5-3-2 Vote

Davie Rickenbacker 20th Place Pre-Juror 5-5 Vote 5-3 Revote

[guidepiner]

Rock band called instruments of destruction

#Rock band called instruments of destruction series

He famously burned two guitars at three shows, most notably the 1967 Monterey Pop Festival. Jimi Hendrix was also known for destroying his guitars and amps. Jeff Beck, then a member of the Yardbirds, reluctantly destroyed a guitar in the 1966 film Blowup after being told to emulate the Who by director Michelangelo Antonioni. VH1 later placed this event at number ten on their list of the twenty Greatest Rock and Roll Moments on Television. Moon was also injured in the explosion when shrapnel from the cymbals cut his arm. Moon overloaded his bass drum with explosive charges which were detonated during the finale of the song, " My Generation." The explosion caused guest Bette Davis to faint, set Pete Townshend's hair on fire and, according to legend, contributed to his later partial deafness and tinnitus. television on the Smothers Brothers Comedy Hour in 1967. The most famous episode of this occurred during the Who's debut on U.S. Keith Moon, the Who's drummer, was also known for destroying his drum set. A student of Gustav Metzger, Townshend saw his guitar smashing as a kind of auto-destructive art. Rolling Stone Magazine included his smashing of a Rickenbacker guitar at the Railway Tavern in Harrow and Wealdstone in September 1964 in their list of "50 Moments That Changed Rock & Roll". This piece of performance art inspired guitarist Pete Townshend of the Who, who was the first guitar-smashing rock artist. Page threw his guitar off stage and kicked it out of the ICA’s front door and down Dover Street until it broke totally apart. The artists who gathered around this art movement and its development were opposed to the senseless destruction of human life and landscapes engendered by the Vietnam war.ĭuring the Festival of Misfits in 1962, Fluxus-artist Robin Page performed his event named "Guitar Piece". Two years later, New York City hosted the second Destruction in Art Symposium at Judson Church in Greenwich Village.

#Rock band called instruments of destruction series

During the course of the symposium, Raphael Montañez Ortiz performed a series of seven public destruction events, including his piano destruction concerts, which were filmed by both American Broadcasting Company and the BBC. According to the event's press release, the principal objective of DIAS was "to focus attention on the element of destruction in Happenings and other art forms, and to relate this destruction in society." Two events were scheduled to occur throughout London. In London, 1966, a group of artists from around the world came together to participate in the first Destruction in Art Symposium (DIAS). Nam June Paik's "One for Violin Solo", performed on 16 June 1962, featured Paik very slowly and intently lifting a violin, then smashing it with one blow on a table. Jazz musician Charles Mingus, known for his fiery temper, reportedly smashed his $20,000 bass onstage in response to audience hecklers at New York's Five Spot. Several contemporary musicians, including Annea Lockwood, Yōsuke Yamashita, and Diego Stocco, have incorporated piano burning in their compositions. Jerry Lee Lewis may be the first rock artist to have destroyed his equipment on stage, with several, possibly erroneous, stories of him destroying and burning pianos in the 1950s.

[claubabbles]

Survivor David vs Goliath: David Tribe a.k.a. the only tribe that matters

[dashkatz]

Watch my iconic mother & I review Survivor 37: David vs. Goliath. We debate our POLAR OPPOSITE opinions about Angelina & discuss the best season in years. 🔥🌴🔥

[denisestaplegend]

NOOOOOOO WHAT THE FUCK

[thepastprotracted]

[kinki-world]

Pete Quaife - The Kinks

[bandcampsnoop]

10/5/20.

Finally...a band I to which I often refer, buick, has reissued their only release in all of its glory.  Originally released in 1992, this band was certainly a product of it’s time, but ahead as well.  Yes, there are obvious (as the band concedes) nods to Sonic Youth.  But there is so much more here.  This was recorded well before the “formation of Mogwai, Godspeed You Black Emperor, Explosions in the Sky”.   To me, this sounds as vital today as it was back in the early 1990s.  In fact,  Scott’s mentioned that his “favorite reference to possible influence[s] came from Thin White Rope's Guy Kyser when he stated after one of our shows, "You sound like Dick Dale with his brains knocked out." This is made all the more funny since I didn't know who Dick Dale was at the time.”

buick was Scott Lawrimore (guitar) and Jeff Clark (drums).  While a drum-guitar duo isn’t weird today (Japandroids or No Age come to mind), in 1992 there wasn’t a band like them (maybe Spinanes...but not really).

Generally speaking, the band wasn’t entirely happy with the original mix - both felt it missed their quiet/loud arrangements.  So, Scott enlisted John McEntire (Tortoise, The Sea and Cake) to remix.

But, only a guitar, and drums?  How do you get this much out of two instruments.  I asked Scott Lawrimore to comment:

How did you get the sound you did (on guitar)?Most cuts only have one guitar —like in our live performances—recorded in one take on two tracks. One mic was on a Fender Twin Reverb (made in the same year I was, 1970) in a large gym-sized room, and one mic was simultaneously capturing a 4x12 speaker cabinet in a small tiled bathroom. The bass and mids were turned waaaaay up, and the treble ratcheted down on the Twin to counter the jagged, jangling highs produced by the humbucker pickups on the Rickenbackers I used for most songs. Since we were just guitar and drums, all songs use open tunings and those bass-heavy amplifier settings to flesh out a ringing wall of sound behind the main guitar phrasing. I'm sure the tunings have official musical nomenclature, but I discovered them on my own through trial and error.  As a self-taught, unconventional guitarist, open tunings helped me to 'find my sound' while also cutting me slack for not being anywhere near a virtuoso. There were four different guitars used for the album: a 1990 solid-body Rickenbacker 610 (for Lucy Conrad, Excellent Liar); a 1980 hollow-body Rickenbacker 330 (for Homage to Lucien Freud, Badhead, The Moon is Not a Yellow Sow, and Immortality); a 1970 Fender Jaguar (for Phrenology, and Brown Blackstars); and my first guitar, a sweet $100 pawn shop Les Paul copy (for Graves). The hollow-body Ric was my preferred guitar because it produced the most controllable 'voiced' feedback (a ridiculous amount, actually). Typically this would not be sought after, or embraced, but everytime you hear feedback on the album, it's intentional and coming from that 330. I always loved showing up to gigs with that guitar and the audience assuming we were going to whip out some Byrds or R.E.M. jangle, and then SCREEEEEEEEEECH!!!!—that first ear-piercing feedback driving half the audience out of the room...

Did Jeff just get to create his own sound?  

Origin Story:[Scene opens on the crunchy, tabouli-stained Coffee House of UC Davis just before the summer break of 1990; Scott is behind a cash register wearing a t-shirt he recently spray-painted with the word "Hectic" under a smelly thrift store suit jacket three sizes too big; Jeff approaches wearing an On-The-Waterfront-leather-jacket over a 10,000 Maniacs t-shirt, his grease-slick-black hair partially hidden by a Stanford baseball cap.] Jeff [apropos of nothing in particular]: Wanna start a band? Scott [thrown off by 10,000 Maniacs shirt]: What do you play?J [confidently]: Nothing yet, but I'm going to teach myself to play the drums this summer.S [skeptically and expecting to maybe never see Jeff again]: Ok. Let's try to get together when you get back... Not-such-a-spoiler Alert: Jeff taught himself to play the drums that summer. Apparently he holed himself up in an unused bedroom of a house he was taking care of in southern California and tried to play along with the first two Throwing Muses albums that he had on constant repeat. Funny in hindsight that that is the band he chose considering what we ended up sounding like, but if you listen carefully to their songs like Call Me or Juno, you hear a lot of what was to become Jeff's rumbling tom work and syncopated fill sensibilities. In terms of whether I had a hand in Jeff's sound for our songs, the short answer is "no." When we played together for the first time, I had figured out all the parts for precisely one song—we called it First Song for a long time before naming it Homage to Lucien Freud for the original CD. For the opening chord progression, and just to get us started, I asked Jeff if he could play the drums of Sonic Youth's Tunic (Song for Karen) from the Goo album that had been released that summer. Of course he could. Perfectly. We played that six-chord progression three or four times through like we had been playing together forever when someone banged on the door yelling for us to "turn it fucking down." That was the abrupt end of our first session, but set the tone for everything that was to come... The fact that Homage to Lucien Freud now begins with Jeff's rumbling toms and bears little resemblance to Tunic is a testament to how all of our songs tended to evolve collaboratively. I would have a number of 'parts' or quiet/loud 'moments' or remedial-math-rock 'transitions' that I would play for Jeff and then he would figure out all the drum details for those sections. I had an ear and desire for song dynamics, but it was Jeff that perfectly filled and requited them. Learning those transitions and moments was key, but many songs had sections that we never played the same way twice—the call-and-response section starting at the 1:38 mark of Graves, for example, or the harmonics-to-mayhem-chord section starting at 1:54 mark of Badhead. When we played live, I would simply indicate to Jeff that a change was coming and he would be there with something amazing.

Scott Lawrimore is currently in London, UK (and has had a full career in art/curating/teaching), and Jeff Clark is in Ypsilanti, Michigan (and has had a full career as a graphic designer).  This album was originally released on Lather Records (Sacramento, CA).  The reissue is self-released.

[yuzurumolice]

The great artists I love #blacklivesmatter vol.1 / Miles Davis. . #molice #themolice #rock #music #alternative #punk #japan #tokyo #worldmusic #worldwide #japanesemusic #live #newwave #postpunk #posthardcore #telecaster #Rickenbacker #drummer #guitarist #ilovemusic https://www.instagram.com/p/CA-FN_4hxxz/?igshid=jnewrctpwufn

[harrisonstories]

Above: George Harrison with his niece, sister Louise Harrison, and brother Peter Harrison in Benton, Illinois, Middle and Below: George in New York City (1963)

The Beatles and Me On Tour by Ivor Davis Excerpt #3 (this one is a long read):

The column was to be delivered every Thursday at noon, Greenwich Mean Time (GMT). I naively imagined that, as the deadline approached, the highly compensated Harrison would come knocking on my door for an intimate tête-à-tête, spewing forth astute opinions, witty asides and observations.

I hadn’t reckoned on Rocker Mean Time: the fact that after the insanity of each show, the band would head back to the hotel, order room service – usually steak or burgers or egg and chips – down Cokes and whiskey, go to bed around four o’clock in the morning and sleep until mid-afternoon to prepare for the next concert or press conference or trip to the airport. With GMT anywhere between four and seven hours ahead of us – depending on where we were in the States – it made my deadline virtually impossible to keep.

What’s more, in the midst of all the frenzy, Harrison didn’t have much to say for himself. So I quickly made an executive decision: I would concoct my own version of what had happened on the tour for the first couple of columns. Indeed, those first stories that I wrote were totally fabricated – I didn’t even bother to run them past George, fearful he would hate them and grab them up, never to be seen again.

So, while each day I would file hard news reports and personal observations detailing the frenzy and the fans surrounding the tour, I would churn out embarrassingly trite claptrap in George’s name. “It’s Simply Fab in Frisco,” was the forgettable fan-mag headline the editors in London put on George’s first column, which carried the byline “By George Harrison: One of the Beatles” – as if he might be mistaken for George Harrison, the dock worker from Bolton.

[…] It continued along in that benighted way, with another column delivering such meaningless morsels as: “Tomorrow we’ll be in Las Vegas – and of course we’ve all got a system to break the bank at the gambling saloons.”

Something had to change between us, and indeed the inevitable showdown came on September 5 after a concert at Chicago’s International Amphitheater. We were cruising at 25,000 feet in the Electra jet, heading to Detroit, when George came charging down the aisle and stopped at my seat. Without even a civil “Hello,” he said, “I’m told my column is boring – a load of old shite.”

I couldn’t argue that point, but stung by his reprimand, I shot back, “Well it might help if you bothered to tell me what exactly you want to say.”

He looked a little chastened by my blunt answer, turned and headed back to his seat. So before we landed, I wandered up to where he was sitting, concerned that our relationship was now totally soured, and feeling I needed to try and patch things up between us if the Beatle and his ghost were to ever find themselves on the same literary wavelength.

This time, he seemed less tense and angry – perhaps he had been briefed by Derek, who knew the perils of ghostwriting. He beckoned me to sit in the empty seat next to him and finally began to open up a little. He said he was particularly delighted with the Chicago concert because it had given him the chance to meet up with his older sister Louise and her husband Gordon Caldwell. He told me that the last time he had seen her was when she had come to his suite in New York to nurse him back to health prior to the Sullivan appearance.

Louise, he told me, was twelve years older and had emigrated to America nine years earlier with Gordon, a mining engineer. Now she lived in the small Illinois coal-mining town of Benton, some 300 miles from the Windy City.

And he surprised me by saying this was actually the *third* time he had visited United States in less than a year. His first-ever visit took place, he said, in September, 1963, when he had arrived with his older brother Peter – and on that occasion, no one even noticed.

He said he had traveled to Benton at a time when the Beatles had a rare fortnight off from their schedule: John and his wife Cynthia had taken off for Paris, and Paul and Ringo had gone to Greece with their partners, actress Jane Asher and teenager Maureen Cox, a hairdresser, who was to become Ringo’s wife.

George told me that during his visit, he and Louise hand carried a copy of the unreleased-in-the-U.S. “From Me to You” (which their mother had airmailed to Louise), to local AM radio station WFRX in West Frankfort, Illinois. Disc jockey Marcia Raubach, the teenage daughter of the station owner, liked it so much that she played it repeatedly – the first known recorded Beatles song ever to air in the States.

Also during his stay, Louise suggested that the Four Vests, a popular local group, might like to meet her younger brother, who she claimed, “was pretty famous in England.” They reluctantly agreed; George went to their concert at the Veterans of Foreign Wars hall in the small community of Eldorado and was finally invited on stage well into the second half of their program. He was introduced as the “Elvis of England” and with great relish, joined them for “Roll Over Beethoven,” “Johnny B. Goode,” “Matchbox” and “Your Cheatin’ Heart.”

George was thrilled beyond belief to rediscover the anonymity that he had regularly lost as the Beatles’ popularity boomed in Europe. Two days later he showed up to perform with the group again at the club, this time in Benton, and later, with no audience, he jammed with the group in his sister’s living room.

George said he was also able to squeeze in a side trip to New York, and when he returned to Illinois, he went to the local music store and bought a white and red Rickenbacker 420 guitar for $400.

“That’s a bloody fortune,” Louise said when he told her how much he had paid. “You must be very rich.” (In May, 2014, that same Rickenbacker guitar sold at auction for $657,000).

And George said he checked out a few local record shops: “I asked if they had any records by the Beatles,” he smiled. “The answer was always the same: ‘Beatles? Never heard of them.’”

George told me, “I was chuffed. I could walk around again like an ordinary person because no one recognized me. It’s impossible to do that in England anymore, but here I was, in the heart of America, shopping and walking around. I started to feel normal again.”

He wasn’t the only one “chuffed”. On the last day of summer in 2013, the Illinois State Historical Society unveiled a plaque in Capitol Park in Benton to commemorate the fiftieth anniversary of George’s unheralded visit.

Our relationship improved enormously after that chat.

[famehungryblog]

Davie Sazerickenbacker

Previously on Survivor 20 new castaways arrived on a boat where Probst split them into two tribes based on whether they were successful or not, which is really harsh when you lay it out plainly, no? For 35 days they were hammered by the weather, to the point a wild wave took out poor Pat as he was thrown about a boat off camera. With that alliances shifted throughout the game with Jessica, Jeremy

[claubabbles]

I have to say that Gabby surprised me so much. I tend to love her archetype post show but never during it. But she is amazing and I'm glad she tried to make a move. Love her.

Still don't like Kellyn though...