#early 1960s

[paris-in-a-whisper]

George by Klaus

[thegikitiki]

Bathroom Design & Decor, 1962

[doubtspirit]

Sailor, Rene Burri, Beirut, 1962

[thislovintime]

Peter Tork at The Night Owl Cafe in Greenwich Village, 1965; photo courtesy of 16 Magazine.

“I’d say, passing the ‘bread basket’ in some of those coffee houses I played in for nothing [in the early Sixties] is my outstanding Village memory.” - Peter Tork, 16 Magazine, 1967 “Peter Tork of the Monkees played at the Night Owl the same winter the Lovin’ Spoonful were fired. He played guitar and banjo and did funny songs like ‘Albert [sic] the Alligator.’ His last four nights Peter sang off-key, ‘but he was such a charming performer we let him stay,’ owner Joe Mara told [Hit Parader].” - Hit Parader, April 1967 “I took music theory in college — and when I was starving in the Village, I used to transcribe arrangements for a living. That means I would take a record and play it and then put the notes down on music manuscript paper. I was a perfectionist and my music manuscripts are still the most beautiful you’ll ever see.” - Peter Tork, 16 Magazine’s The Monkees: Here We Are! (1967) “When I left college the second time, I went to New York — Greenwich Village — where I scrounged around trying to earn dimes and quarters to make enough to eat. Some weeks I made six or seven dollars, and I never made more than fifty. Sometimes I needed a handout from home — my father teaches at the University of Connecticut — but I got along without very much. Once I had a day job as an office boy for a music agent but got fired after a month because I couldn’t get there on time — I was burning the candle at both hands.” - Peter Tork, Seventeen, August 1967

[presumablystrange]

Keith and Mick in 1963

[cosmic60s]

Publicity photos of Jerry promoting one of Frank Sinatra's shows at the Sands Hotel

[baudouinette]

King Baldwin hand raise but make it JFK (King of Camelot) ✋🏼🤴🏼

A mix of my two historical favs<3

I accidentally made his hair part on the wrong side bc the image I was referencing was flipped 😓 I tried to fix it in the other version but it doesn’t look as much like him :( the hand is also wrong so I might re-do it eventually and add a simple background of the Oval Office

[tavolgisvist]

Billy Kinsley, bassist for The Merseybeats, recalls hanging out in Hessy's one rainy afternoon with the group's guitarist, Tony Crane, when John Lennon walked into the shop [Frank Hessy's music store]. "He had the Bigsby on his Rickenbacker, but he kept losing the spring from it. In Liverpool at the time you couldn't get spare parts, like in America. So Jim Gretty would nick one from another Bigsby. Jim was a friend of John's, and he'd tell him to nick a spring off another guitar. "Also that day I remember telling John that I'd ordered a Gibson bass from the States, a little EB-0, and he said that he and George really wanted Paul to get a different bass. They didn't like the violin bass, and they wanted him to get an EB-0. Obviously this was before The Beatles were famous, before the rest of the world saw that violin bass - and it became Paul's trademark. But I often wonder what would have happened if he'd got one of those little Gibsons."

(Beatles Gear: All the Fab Four's Instruments from Stage to Studio Hardcover by Andy Babiuk, 2010)

[paris-in-a-whisper]

Peekaboo

[thegikitiki]

And It's Portable Too!

Honeywell 8100 Reel-to-Reel Tape Recorder, 1963

[doubtspirit]

The Bread and Puppet Theater, Peter Schumann, New York, 1962

[thislovintime]

Tork & Farwell in Greenwich Village, early 1960s.

“[Peter] was a funny kind of a guy. He ran around in an old sweat shirt with ‘TORK’ lettered on the back of it and always carried his five-string banjo á la Pete Seeger. He also had what was considered ‘lots of hair’ in those days. […] Peter had a way about him. I mean, he could soften up the toughest audience. If people didn’t like his serious songs, he would play his funny ones. If they didn’t like his funny ones, he would play romantic ones. If they didn’t like his romantic songs, he would sing his ‘provocative’ ones. Usually, the audience was pretty warmed up by then — but just in case it wasn’t, Peter would throw in a spate of funny gags, followed by a series of the most comic faces one could ever see. […] In spite of all his clowning, Peter was a rather serious chap. […] Peter was a loud, powerful singer (I used to call him a romp’em, stomp’em type of singer), while I was a soft ballad singer. He had enormous stage presence and I had very little. He played the banjo, I played the guitar. […] He was restless and intense, while I was calm. He loved to be with a lot of people all of the time, whereas I liked to be completely alone some of the time. And last, but not least, Peter Tork had quite a way with the girls, while I was the shy one. […] [W]e became the unfamous, unknown duo — Tork & Farwell. Where did we work? Where didn’t we work would be more like it. We worked at the Why Not?, The Basement, The Cyclops, The Third Side, The Four Winds, The Samurai, The Dragon’s Den, The Raven, The Id — and all the time we kept adding to our repertoire. […] At that time, most people who hung around the Village were pretty phony. Peter never was. He talked hip, but basically he was a real person with a lot to offer, and he never changed. He was true to his music and he was not going to stay in the Village like a lot of the guys had. One night, when we were working at The Basement, Carol Hunter, a girl I knew, was there. She was an excellent guitarist and a groovy soloist, and kind of a wild, groovy girl. We both liked her as a friend and respected her as an artist. Peter had already sung with her once or twice. ���Hey,’ he said to me after we did couple of numbers, ‘let’s let Carol sing with us tonight.’ ‘Good idea,’ I agreed. She knew all of our tunes, so we just got up there and wailed them out together. We felt so good about Carol that we asked her to join the group, and we rechristened ourselves Tork & Farwell Plus One. During the time that we worked as a trio, we were still passing the basket, and people wouldn’t donate any more money to Tork & Farwell Plus One than they would to just plain Tork or Farwell alone. So there we were, three people getting the ‘wages’ of one performer. Needless to say, it wasn’t enough to live off of, as none of us had any other income. I was the first one to suggest that we break up. Peter was all against it, but there really wasn’t much he could do. […] He is a great guy and he was like a brother to me. I will never forget him — intense, friendly, frank, very funny and clever with an intelligence that goes beyond book learning, and an understanding that goes beyond the surface. And as for the girls — it’s a cinch that Peter still has a way with them. He’s just doing the same thing he used to do — standing up there, making faces, grinning, jumping up and down, singing and laughing and running all about — only now he is doing it for 20 million people all over America, instead of just for a handful of tourists in Greenwich Village.” - Bruce Farwell, 16’s The Monkees: Here We Are (1967)

Requested: more about Farwell and Hunter. Did some digging and found this:

Carol Hunter — went to Julliard; worked as a session musician with Neil Diamond, Bob Dylan, Richie Havens, Janis Ian and more; recorded a solo album in 1973 (The Next Voice You Hear); passed away in 2018. In an interview for the website Neil Diamond Homepage (2001), Hunter noted, “From the time I was a teenager playing the little clubs in Greenwich Village in New York, I wanted to be part of a musical ensemble rather than a solo artist, and I suppose I was something of a bargain to the artists I worked with, since they got something of a two-for-one with me; guitar player plus background singer. Sometimes it was a little awkward being the only girl in the group, and sometimes the locals mistook this overly dressed-up girl with a lot of makeup hanging around backstage for something other than one of the musicians, which was occasionally hilarious.”

Bruce Farwell — Farwell mentioned in the …Here We Are! article that he “still talk[s] to Peter on the phone and see[s] him when he flies into New York.”

In 2011, Berkshire Fine Arts shared a review for an album (Heart, Heart & Soul): “A s a student at Brown, Bruce Farwell fled campus on the weekends during the early, early, ‘60s to come up to Boston and work the coffeehouse circuit. His nimble fingers and picking style earned him many fans. Dropping out of school he abandoned Boston for Greenwich Village, teamed up for awhile with Peter Tork, sometimes with Carol Hunter, and eventually became a member of The Bitter End Singers. After a hitch with the armed forces, a return to college and decades of work as a psychologist he met and married Renata Decher, with whom he now performs as Gemini.”

[musicandotherdelights]

Daily Listening, Day #138 - May 17th, 2020

Album: Joan Baez (Vanguard, 1960)

Artist: Joan Baez

Genre: Contemporary Folk

Track Listing: 

"Silver Dagger"

"East Virginia"

"Fare Thee Well"

"House Of The Rising Sun"

"All My Trials"

"Wildwood Flower"

"Donna Donna"

"John Riley"

"Rake And Rambling Boy"

"Little Moses"

"Mary Hamilton"

"Henry Martin"

"El Preso Numero Nueve"

Favorite Song: "Silver Dagger"

[presumablystrange]

A female fashion model poses wearing a boat necked knitted winter jumper in olive green with lilac and cream horizontal stripes and embroidered black arrow stitching decoration, she stands next to a tree in a London park, 4th November 1961

[cosmic60s]

Jerry, with some very lucky members of a Jerry Lewis fan club <3

[baudouinette]

1964 jfk remembrance pendant 🎀

I haven’t taken it off since I bought it lol