text:
s a young photographer shooting and devouring music in the underground clubs of Tel Aviv in the late '90s and early 2000s, I became acquainted with the DJ Food record Kaleidoscope. I listened enraptured to its jazzy, sophisticated sounds, particularly the track "The Aging Young Rebel." I didn't know whose deep voice was captivating me so much, but it stuck with me.
Fast forward about 10 years, and I've started this project called Dust & Grooves. I go to London to shoot a bunch of great collectors for it, including Dom Servini and Kevin Foakes, who's now the last remaining member of DJ Food. The day before I go to see Kevin, I'm shooting Dom, and he pulls out this record called Word Jazz and puts on a track and I recognize the voice instantly from "The Aging Young Rebel," even though it had been years since I'd heard it. I ask Dom who it is and he tells me: Ken Nordine! So just like that, I have a new understanding of DJ Food, right before our interview.
The next day, Kevin and I spent six (yes, six) hours shooting in his record room, which is like a kid's room for adults. A fantastical organized mess. A lot of action figures and memorabilia, and of course the Ninja Tune logo that he designed, in statue form. Kevin is also a graphic designer, and an art enthusiast, and he's really interested in album covers, box sets, slip cases, all that, so I had known this would be a great shoot for the visuals alone. Even after the better part of a day there, I left feeling we'd only scratched the surface.
One of the coolest things about Dust & Grooves has been the opportunity it's given me to meet and photograph many of my deepest musical influences. Another is all the musical mysteries it's solved for me. DJ Food provided both.
Who are you?
Kevin Foakes, 44, originally from Reigate, Surrey, UK. I've lived in London since 1990 and don't plan on leaving anytime soon.
What's playing right now on your turntable?
Nothing, but Wendy & Lisa's 'Eroica' album is playing through the computer.
Your passion for music… who's responsible?
Probably my dad, he would tape songs from the Top 40 chart countdown on Sundays and make his own compilation cassettes of his favourites. He had a nice radio / cassette system (no turntable) and would fade the tracks in and out at the beginning and end to make a nice flow, always trying to fade it out before the DJ spoke. I wasn't allowed to use it until I was 10 and then he gave me my own cassette to tape 'my' songs on.
But I wouldn't say my parents were big music lovers, they listened to the local radio mostly and there were no records in the house as my dad was a tape fan. I suppose it must have come from hearing stuff on the radio and watching the weekly Top of the Pops program each Thursday evening where they ran down the top 40 best sellers of the week.
Vinyl. Why?
We never had a record player in our house but friends did and I was always aware that records were the format to have, my dad's tapes didn't really cut it, too small, tiny fold out inlays etc. I was interested in the covers as much as the records, even back then although I didn't realise how much until later. Don't get me wrong, cassettes have a special place in my heart but they weren't enough. I would go to friend's houses and pore over their purchases but my dad wasn't having any of it, fobbing me off with the classic, 'what good is a record player when we haven't got any records?' non-argument. I wanted to own the music and build a collection like my friends and their older brothers but only had cassettes until I was 13. Obviously later, when I began to scratch and mix, I had to have records but up until then I was doing pause button 'remixes' on cassettes of my favourite tracks and playing them at break time at school.
Tell me about the first album you ever got.
I honestly can't remember the first vinyl album, I know the first 7" I bought ('Zerox' by Adam & The Antz, aged 13) and the first cassette (The Flash Gordon OST by Queen, aged 10) but the first LP is lost in time. From '81 to '83 I was obsessed with Adam Ant, he was the first Pop star who impacted on me when I was 11 and I had everything he'd done on cassette, including the punk stuff which is still my favourite.
My first 45 – 'Zerox' by Adam and the Antz on Do It Records. Still one of my favourite singles and this is a rare copy with a different B side than the one listed. Clutch of Adam and the Ants singles, the first group I was really into as a kid.
The 'Zerox' 45 was really my first 'record' and it had got to the point that, even though my dad wasn't getting a record player any time soon, I just decided I was going to start a collection. I wanted these tracks that were only available on vinyl, with unique sleeve artwork, B-sides, extra tracks on 12" etc. and they were just about affordable whereas a turntable wasn't at that point. The sleeves were definitely an early fascination too, I remember swapping the picture sleeve of the Antz' 'Young Parisians' single with someone at school, it didn't have the record inside, it was just the sleeve but that was just as important.
I vividly remember buying 'Zerox' with money my parents had given me on holiday in some seaside town second hand shop in '83. Even though I had no deck to play it on it didn't matter, all I knew was that I wanted this little object, I would figure out ways to play it later. It was a trophy when we returned from holiday, it sat on a shelf, doing nothing but I had it for later.
(Incidentally I later found out I'd bought one of 300 mis-pressings that had an alternate B-side from the one listed by a complete fluke and that this 7" was worth more than the standard version)
I also bought 'Cartrouble' by the same band at the same time but I'll always think of 'Zerox' as my first record. I still love it to this day, it sends shivers up my spine and would be in any top 10 of favourite records – quite lucky really as a lot of people's first records seem to be embarrassing novelty kids records. Of course I still have it, others from the same time have gone but I've always kept this.
So from Adam and the Ants you moved on to Frankie goes to Hollywood, on to Grace Jones and Malcolm McLaren. Can you guide us thru this musical journey?
OK, so whilst my Adam Ant phase was going on I was also into the Synth Pop / New Romantic stuff that was in the charts – Human League, Gary Numan, Japan, Duran Duran, Depeche Mode, Tears For Fears, The Police, Ultravox etc. These were all fine but there was something missing, some vital ingredient that didn't make me go gaga for them.
In early '84 I heard Frankie's 'Relax' on the radio just as it had been banned (for suggestive lyrics) and it knocked me over. I taped it and would just play it on repeat after school and began to discover that there were all these different mixes of the track on 12"s (still quite a new thing then). But these mixes were a lot different to the single and twice as long and they took the track somewhere else. The sleeve was a beautiful bit of design too with cryptic notes and this erotic illustration and thus my love of the ZTT label started.
'Relax' initially had 3 different versions on 12", but ZTT never reprinted a different sleeve or label for them to be identified by so it was pot luck which one you got when you bought it – hence the 3 identical sleeves in the photo.
'Welcome To The Pleasuredome' by Frankie Goes To Hollywood on ZTT – the first disc in this double album has three of the greatest pop songs ever on it. I also own the original artwork used on the front, back and inside gatefold and just designed the 30th anniversary box set for it.
'Relax' by Frankie Goes To Hollywood on ZTT – all three of these 12" have identical sleeves and labels but play different mixes. You can only tell which is which by the matrix number on the run out groove.
"The covers to all the releases on the label were works of art to me and I collected everything over the next 5 years, filling scrapbooks with trade ads for releases which were always unique in themselves too."
The label was run by the producer Trevor Horn, his wife Jill Sinclair and ex-NME journalist Paul Morley, and it's here where I think the first real seeds of love of sleeve design were sown. The covers to all the releases on the label were works of art to me and I collected everything over the next 5 years, filling scrapbooks with trade ads for releases which were always unique in themselves too. I've since started a blog – www.artofztt.com – which rounds all these up and where I interview the original designers and photographers who made all these great covers. Aside from Frankie – who were just what I was looking for in a pop band at 14 – there were Art of Noise, Propaganda and the wonderful Grace Jones album, 'Slave To The Rhythm', which would, again, be in any top 10 album chart I did.
Grace Jones – 'Slave To The Rhythm' album on ZTT – one of my favourite albums ever and probably the peak of Trevor Horn's production work. There are actually two versions of this record with different mixes on each, you can tell by the colour of the titles on the front cover. Great sleeve image too by Jean-Paul Goude.
As a result of all this I became very interested in the production and remixing side of things as there would always be multiple 12" releases and this led me back to another release that Trevor Horn had worked on before he started the label – Malcolm McLaren's 'Duck Rock'. This album is regarded as a classic amongst B-Boys in the UK, probably abroad too, because it was one of the first records to really introduce scratching to the pop charts (alongside Herbie Hancock's 'Rockit' the same year).
McLaren (with a LOT of help from Horn and an early incarnation of the Art of Noise) had taken New York Hip Hop, Hillbilly, Cuban and African music and mashed it together with radio show snippets, double dutch skipping, fashion by Vivienne Westwood and graffiti by Keith Haring and Dondi. This once in a lifetime union was 'Duck Rock' and it bridged the gap between Pop and (real) Hip Hop when I went back to discover it because of Horn's later work at ZTT.
An absolute classic, Malcolm McLaren's 'Duck Rock' LP on Charisma. To say this album is a melting pot of different cultures, genres and ideas is putting it lightly.
I see you're a huge fan of Brian Eno and Kraftwerk, how did you come to discover them?
Kraftwerk I found in '82 when 'The Model' was No.1 in the UK and EMI reissued a load of their back catalogue. I bought tapes of 'Man Machine', 'Trans Europe Express' and 'Computer World' then realised that I knew 'Autobahn' from a tape my dad had made when it was a hit in the mid 70's. I never knew what it was but it always stuck out on his tape as it sounded like music from Dr Who to me and I was a bit frightened of it actually. It's a cliché but they changed people's perception of music, I don't think sections of electronic music would be quite the same without them.
Kraftwerk British promo 7" of The 'Robots/Spacelab', I only found this a few years ago. Inside of the Kraftwerk promo, it folds out to three panels with the record tucked inside.
"It's one of those unique records that could only have happened at a certain time. I'm always drawn to albums like this, things that exist at a cultural crossroads."
Eno, I came to quite late, in the early 90's during the whole ambient resurgence after The Orb and Future Sound of London came to prominence. A friend at college was a massive fan and lent me a load of stuff as well as The KLF's 'Chill Out' LP which is another classic. The one that really does it for me though is Eno and Byrne's 'My Life In The Bush Of Ghosts' – it's one of those unique records that could only have happened at a certain time. I'm always drawn to albums like this, things that exist at a cultural crossroads, records like McLaren's 'Duck Rock' or Art of Noise's 'Into Battle'. With Eno, he had such a phenomenal output and hit rate with everything he did from the 70's right through to the 90's, he's a major inspiration, with the music and art running concurrent.
Eno and Byrne's 'My Life In The Bush Of Ghosts' – one of my favourite albums of all time and another of those 'in a field of their own' LPs.
What was the most influential record for you, career wise?
It's probably any one of Double Dee & Steinski's 'Lessons' trilogy, it doesn't matter which one as they're all as strong as each other. I heard, I think, 'Lesson 2' first, on a tape a mate had at school, probably in '84 or '85, and they've stuck with me ever since. It was the moment when it breaks down and Bugs Bunny says, "wh-wh-wh, wh-wh-wh, what's up doc?", that got me, that cartoon element just wasn't in songs. Then they mixed in Junior and Culture Club and made it sound good (and I hated Culture Club).
Sealed private press 12" of 'Lessons 1 & 2' given to me by Steinski.
I've since met both Steve and Douglas, interviewed them and consider Steinski as a good friend which is kind of weird being that I'm this kid from the UK who was at school when they were putting out those records. When I was working with Steve in New York about a decade ago he gave me a sealed copy of their privately pressed 12" of Lessons 1 & 2. They used to sell them at record fairs to make extra dough as the whole thing with Disconet and Tommy Boy (and the whole illegality of the record) wasn't really bringing in the cash so to speak.
"The Lessons are a collage and that's essentially what I do in all forms that I work in (graphic or sonic). It's creative recycling and so was Hip Hop at the time and that's what led me to it in '85."
When I heard 'The Lessons' I could instantly recognize how they were made and that I could do something similar, the same with scratching. I'd tried to play the guitar, it wasn't for me and there was no way we could afford a drum kit which is what I really wanted to play. The Lessons are a collage and that's essentially what I do in all forms that I work in (graphic or sonic). It's creative recycling and so was Hip Hop at the time and that's what led me to it in '85.
How did you get into Hip Hop?
Hip Hop culture was introduced to the UK charts around '82/'83 as a bit of a fad and I didn't take to it then. It was, of course, around before that and the weekly British music press were writing about some of it but I was too young to be reading that stuff then. I remember hearing 'Buffalo Gals' on the radio when it came out and I just couldn't work out what was going on, it just sounded like a mess, no structure at all and what was that (scratching) noise? You had McLaren and Herbie but then The Rock Steady Crew and Break Machine, the latter of which you could tell was a bandwagon-jumping exercise. I had a vague idea of what it was all about (breaking, rapping, graffiti etc.) and I actually got into the graffiti side of it before the music. But even as a 13 year old, I could tell that the music that McLaren, Herbie etc. were getting in the charts with wasn't the 'real' stuff if you like, it was a slickly produced version.
The real stuff was coming out on Tommy Boy, Sugarhill or featured on the Street Sounds Electro compilations licensed by Morgan Khan which were great value for money. The Tommy Boy 'Greatest Beats' compilation was such a godsend to me and my friends, that and the UK versions of the Grandmaster Flash/Melle Mel singles that were charting. I wasn't reading The Face or NME magazines in the very early 80's so missed out on a lot of the authentic underground stuff. Had I been a bit older and maybe lived in London with more access to things like pirate radio and gigs then maybe I would have got into it earlier.
What I did have though was a station called Captial Radio which had a Hip Hop show on 2 hours a night every Friday, Saturday and Sunday, hosted by a DJ named Mike Allen. This was a lifeline for me and my friends and, from mid-'85 (I distinctly remember that Paul Hardcastle's '19' single had just come out), I religiously listened to and taped his show every week. He had a hook up with Groove Records in Soho who were one of the biggest importers of Hip Hop at the time. Suddenly I had a mainline to all these tracks and artists I'd never heard of and could certainly never have afforded. One of the first records I heard on the first show I tuned into was 'King Kut' by Word of Mouth featuring DJ Cheese and I knew that this was 'real' Hip Hop. DMX drum machine, hard rhymes, killer scratching and this massive fucking bell melody for the chorus.
'King Kut' by Word of Mouth featuring DJ Cheese 12", the original on Duke Bootee's Beauty and the Beat label before it was licensed to Profile. This was the kind of Hip Hop I was looking for.
There are a few records that blew my mind when I first heard them, I've already spoken about several, but this one gets added to that list along with Public Enemy's 'Public Enemy No.1' and 'Rebel Without A Pause'.
Mike Allen was 'the man' back then, and his show played a very large part in educating me about the golden era of Hip Hop. Up until then, for a boy living out in the sticks like me, all I had were the few articles in magazines or on TV, the few songs that got in the charts, the Subway Art book and the Style Wars / Wild Style / Beat Street films. Once I discovered the Mike Allen show the floodgates were open and I was devoted until the end of the 80's.
'Paul's Boutique' by The Beastie Boys – quad fold out sleeve version. One of my favourite Hip Hop albums.
For me, '89 was a peak year for Hip Hop and several of my favourite Rap albums were released that year – De La Soul's '3 Feet High & Rising', The Beastie Boys' 'Paul's Boutique' and 'Done By The Forces of Nature' by the Jungle Brothers. I think my love of 'Paul's Boutique' is pretty well documented with the deconstruction of the album I mixed with DJs Cheeba and Moneyshot in 2012. '3 Feet …' is an undisputed classic and the JB's album is, I think, a largely unacknowledged one. If you listen to all three of these records they – along with the Public Enemy LPs of the era – are really the peak of sample collage production. After this the lawsuits started flying and sources had to get more obscure or be paid for. Also, great as they were, NWA had arrived and gangsta rap was here to stay, that started a split in Hip Hop that's only gotten bigger over time.
More killer Hip Hop classics – De La's '3 Feet High & Rising', PE's 'It Takes A Nation of Millions…' and the underappreciated Jungle Brothers' 'Done By The Forces Of Nature' LPs.
Tell me how you got your first gig with Ninja Tune?
I had just left Camberwell College of Art in '93 and my flatmates and I were putting on post-club squat parties playing ambient music on Sundays, sort of extending the club come down. We needed visuals as it was mainly a sit down affair and Mixmaster Morris (The Irresistible Force) was down with us and a friend of Matt Black from Coldcut. I knew Matt had started 'VJing' and Morris gave me his number, urging me to call him. I was a big Coldcut fan since 'Say Kids' and had everything they'd released including a couple of the early DJ Food albums. So I called him and he graciously came down and did our little party with us nobodies in this grim squat for very little money at all.
As it happened, he had a great time, heard me playing and invited me and one of the other DJs, Mario Aguera, onto Coldcut's Solid Steel radio show as guests. This was literally the week I left college after finishing my graphic design degree. I remember because it was my dad's 50th birthday, I went down to see him but had to leave early to get back to London for the show which was on at 1-3am. After this Matt asked us back again and again and I offered to take care of the art and design at the label as I'd heard that they needed someone to makeover the logo.
DJ Food. How did it all start?
"There wasn't much out there that was digging for fresh breaks and they made these to give DJs a new palette. Literally 'Food for DJs.'"
Food was an alias for Matt and Jonathan (More) as they couldn't use the name Coldcut being that they were signed to Arista in the early 90's. They set up Ninja Tune because they were frustrated by the lengthy time they had to wait between releases. By the time Arista got their record out it was old news as the dance scene moves so fast. So Ninja was set up and a lot of the early releases are just Matt and Jon under different names, aided by their engineer Paul Brook and a new work experience guy called Patrick Carpenter aka PC. They did 5 volumes of Jazz Brakes – basically DJ battle records before the Bionic Booger Breaks LPs and all that came after them. There wasn't much out there that was digging for fresh breaks and they made these to give DJs a new palette. Literally 'Food for DJs.'
The Food project grew and grew and, after 5 volumes of 'Jazz Brakes', it had developed to the point where there were six of us working in the studio in different combinations on tracks. The music had evolved from basic loops and big samples to something a bit more 'artistic' shall we say? So LP 6 wasn't a Jazz Brakes volume and DJ Food became 'the artist' with the 'Recipe For Disaster' LP. Myself and PC took on the DJ Food name for the purpose of DJing as Matt and Jon had reclaimed their Coldcut moniker by this point so went off to do their thing.
What's the current status of it?
In 2000 we (PC and I) made an album called Kaleidoscope, but by 2002 PC decided he wanted to work in a live capacity more and joined the Cinematic Orchestra live band. That left just me and, after telling people for years that DJ Food wasn't one person but several, I was on my own to take my sweet time to cook up another record. That emerged in 2012 after a series of 3 EPs, and was called 'The Search Engine'.
You are responsible for the latest version of the famous Ninja logo.
Yes but I'm responsible for all the Ninja logos since '94 actually, the only one I didn't design was the original 'scratchy ninja' as we call him. That was by Michael Bartalos, a friend of Coldcut's, and my version was the first thing I did for them, it got me the gig so to speak. It's changed over the years, throwing different things, positions, been streamlined etc. but I find it very hard to do things with it as it's kind of perfect as it is you know? Actually the label has been using Michael's version recently, that retro thing coming round again.
You collect albums for their exceptional covers.
When I was at college I studied graphic design and it wasn't until the 3rd year, about a term before I left, that I realized that I really wanted to design for music. Up until then I'd been DJing since the mid 80's and more into illustration than graphics. When I got to Camberwell I realized that I liked design a lot more and wasn't hampered by all the baggage I'd brought with me with illustration.
More Command – beautiful typography on this 'Vibrations' LP by Enoch Light & The Light Brigade. Back cover of the Hellers' 'Singers, Talkers, Players, Swingers and Doers' LP on Command.
"I used to keep big scrapbooks of my favorite cuttings from magazines and so many of them were music-related, when I look back at them I can see my career path mapped out. I'll buy records for the sleeve, I'm always on the look out for odd finishes, packaging and such within the vinyl format."
But, since as long as I can remember, the tutors had told us that record sleeve design was corny, they just thought that it meant Iron Maiden or Marillion covers so I'd always shied away from it. In my third year I changed tutors and was given Graham Wood who worked with a design group called Tomato. They'd just made a nice splash with their sleeves for the techno group Underworld and he changed my attitude and made me realise that I was most inspired by music so why not follow that path? It seems obvious now but it wasn't back then. I used to keep big scrapbooks of my favorite cuttings from magazines and so many of them were music-related, when I look back at them I can see my career path mapped out. I'll buy records for the sleeve, I'm always on the look out for odd finishes, packaging and such within the vinyl format.
Hal Blaine's 'Psychedelic Percussion' on Dunhill. Crazy record from a drum legend which lives up to the cover and title although it's not exactly full of breaks as such.From the Command label, which I collect primarily for the sleeve art, 'Provocative Percussion vol.3'. Not a rare record by any means but possibly the inspiration for the Air record behind it.Hand painted / sprayed covers for SiriusMo's '…Is Wunderbar!' on Bungalow. He painted these himself and I bought them separately based on the covers only to find they were the same record.
Albums with optical-art for a cover. When did you start getting into those?
I can't remember really, I've been into Op-Art since I discovered Bridget Riley in my teens and records with Op-Art sleeves tend to be very minimal and sparse, they always jump out at you. Spectrum/Spaceman 3 were always very good for that sort of thing plus Trevor Jackson's sleeves for Soulwax a few years ago are design classics. There seems to be a resurgence of it on sleeves recently with Chris & Cosey's last LP cover ('Transverse') and the like.
Here I will show the optical effect. One of the beautiful foiled sleeves from the Phillips 21st Century Prospective series.
Trevor Jackson's Op Art sleeves for three Soulwax singles on PIAS. The type is only visible from certain angles when you see these sleeves although the camera has picked them up well here. So simple but they MAKE you look at them.
What about interesting packaging?
I look for anything out of the ordinary, screen printed and handmade or painted sleeves especially. I love it when someone has turned the cover into their canvas and you're getting a unique piece of art with the record. I like to go into stores and play what I call 'Record Roulette', picking up interesting looking records because of their sleeves regardless of the music they contain. They nearly always disappoint but that doesn't matter because I have a nice sleeve.
…when you open the gatefold an entire catalogue folds out! Again, bought for the sleeve rather than the music.
I collect the Phillips 21st Century Prospective releases which all have unique silver foiled covers for each release, the music is musique concrete and I have maybe half the releases. Since the mid '90's when I first visited the States I've been buying Command and Project 3 records for their sleeves. They're beautifully simple illustrations or graphic designs, really striking and you could get them for $2-3 a piece back then. Sometimes the music in them is great too like the Dick Hyman albums of The Hellers' record, 'Singers…Talkers…Players…Swingers…& Doers'.
Fold out sleeves are another thing, inserts, weird shaped sleeves, splatter vinyl, books with records in them, even CDs and cassettes for the packaging sometimes.
Do you collect other musical formats?
I have plenty of CDs and cassettes, I'm not a total purist when it comes to format, I want the music first usually. I collect flexi discs too, not just any old flexi, the more esoteric the better. I keep an eye out for records with zoetrope designs on them, suddenly becoming more popular in recent years with bands like Sculpture, Bonobo and Kate Bush doing them.
I also have a small collection of different sized records, going from tiny 3" Japanese kids records to 14" metal master discs with everything in between. I buy lockgroove records full of loops and also double groove records that play different tracks depending on where you drop the needle. The US version of De La Soul's 'Me, Myself and I' is a good example of this but there was also the 12" of M's 'Pop Musik' single and S'Express' 'Mantra For A State Of Mind' 7".
Do you speak Hip?
I try not to, that would, like, mean that I, like, had to, like, say, 'like' before, like, every other, like, word!??? That record by Del Close & John Brent (How To Speak Hip) is so good on every level. It's genuinely funny, a portrait of a certain time, the sleeve is beautiful and the Hip speak booklet inside the gatefold is a nice touch too. I love the fact that records like that exist, who makes that kind of record these days? No one. Something like this would be a radio play or a podcast now, never a record. It's a shame because spoken word records are a genre in themselves which seems to be dead these days.
"Something like this would be a radio play or a podcast now, never a record. It's a shame because spoken word records are a genre in themselves which seems to be dead these days."
The inside booklet of the gatefold promo version of Del Close and John Brent's 'How To Speak Hip'. A genuinely funny guide to hipster speak. Del Close and John Brent's 'How To Speak Hip' on Mercury. Such a beautiful cover.
Word Jazz. You had the privilege to work with Ken Nordine on "Kaleidoscope". How did you come up with the idea of producing a track with him?
I'd been introduced to him by Mixmaster Morris (yet again – thanks Morris) in the early 90's via a CD comp that Rhino put out and fell in love with his voice instantly. Around '97 he came to London to play God in a performance with Laurie Anderson and we hooked up with him for an interview for Solid Steel. You can hear the interview here…and afterwards I asked if he'd be up for doing something together.
'Next' by Ken Nordine on Dot – I'm a big fan and collector of Ken's work and this is one of his best.
Weirdly I took a copy of the compilation 'How Are Things In Your Town?' in for him to sign and on the back, unbeknownst to me at the time, were the lyrics to a poem he'd written called 'The Aging Young Rebel'. I went away, made a backing track that I thought would fit his vocals and he sent me three different texts of which I picked this one. He recorded the vocals to my track in his home studio and then all I had to do was arrange them, it was all very easy. He's a lovely guy, occasionally I'll hear from him or get a Xmas card via email. I'd like to think that that track opened him up to a new audience hopefully.
Where do you buy your vinyl these days?
I buy a lot of new vinyl online or direct from the label or artist. I browse used stores and charity shops for the love of it to find whatever I find, the thrill of the unknown or the 'Record Roulette' thing. If I'm after something specific that's out of print I'll use Discogs or eBay if I have to but I rarely buy from the latter anymore. I've don't do the personal dealer thing, I prefer to find my own and not pay the mark-up.
What other goodies have you found while looking for records?
I once came across a Mike Oldfield 12" acetate in a bargain section for £1. It was a remix of his track, 'Sentinel', from the 'Tubular Bells II' album. I looked it up and it turned out that this particular mix had only been released as a CD single, never on vinyl. I ended up selling it on eBay for £60, one of the rare occasions when I've done something like this.
I recently found a test pressing of The The's 'Infected' LP complete with an uncut cover proof folded around it. It must have belonged to a record label employee or journalist as it had the sales notes and press release with it too. That was £4 in a bargain bin, the sleeve was sticking up above the others and I recognised the colours on it immediately.
The 'Our Universe Spacekit' by the National Geographic Society is a lovely 10" box set containing a flexi disc called 'Space Sounds', an assemble-it-yourself Space Scope and a Stars In The Sky rotating chart. 'The Magic Cube' is a psychedelic 7" flexi disc that comes in an envelope with a cardboard cube inside that springs into shape when you take it out thanks to some strategically placed rubber bands.
I could go on and on listing great records but a lot of people would have them anyway so no big deal. I'm trying to list ones that are more personal or have unique stories around them.
How do you organize your collection?
It's all in genre, sometimes split into labels within that or clusters of groups or artists. Sometime whole labels have their own spaces like Ninja, MoWax, Trunk, Warp etc. Within something like Hip Hop I try to do it vaguely chronologically from the old school on the left through to the current crop on the right. Never done the alphabetized thing or the colour coded thing.
I had to buy this when I saw it because of the name, it's not bad, yielded a few samples.
What's your wife's reaction to your collection? Does she collect as well?
She's fine with it because it's all in my studio and doesn't encroach into the rest of the house. It does mean that I get one of the biggest rooms to store it all in though and that's just fine. She's never had a problem with it and has a pretty decent pop, funk and soul collection herself but she rarely buys vinyl anymore.
Do you have a record collecting philosophy? Any special routines when you enter a store?
My favourite section is the Misc. box or the oddities section in a used store, the place they file the stuff that they can't classify easily. I'm always on the lookout for oddball records, things that don't fit. Things so odd you can't believe they pressed a record of it, most of it not even musical. I remember finding Marshall McLuhan's 'The Medium Is The Message' on vinyl and thinking, 'hang on, this is a book and they made a record of it?'. Jazz poets, religious DJs, recordings of kids talking, ad jingle production, guitar pedal demo records, cut up records commenting on the state of the nation. Music on homemade instruments, children's records about space, odd drug discs, promotional flexi discs, 'break in' songs, teach yourself broadcasting sets – these are all the kind of thing I jump at when I'm in a used store.
"I'm always on the lookout for oddball records, things that don't fit. Things so odd you can't believe they pressed a record of it, most of it not even musical."
No real routine but I like to take my time and work through things at a natural pace, if I'm rushed I'd rather not go into the shop in the first place. If you're in a new spot for the first time it takes a while to orientate yourself. I have a wants list on the phone but I rarely look at it unless I'm checking that I really do need that record and I'm not just buying another double of something. I head for the cheap bins first these days, also the ones that are hardest to reach, less likely to have been gone through. I'll rarely buy a record off the wall, you know, the pricey trophy records, unless it's been on the list for ages and you never see it anywhere else.
Inside McLuhan's book, I have several different printings of this, it's iconic and unique.
What's your comfort record, the one you can always go back to? What makes it so special?
Probably Soul Mining by The The, although it would be a toss up between that and the follow up LP, 'Infected' as I had them on opposite sides of the same tape for years. I first heard them when I was about 18 and they fill me with memories of teenage angst and all those things you remember from back then. The song writing, by Matt Johnson, is essentially intelligent pop, there's no filler and the sonic palette he used was quite unique. Both records are among the few that instantly transport me back to a different time. I wouldn't necessarily want to go back there but there are songs and sounds that trigger memories unique to these records. Having known and worked with Matt now hasn't diminished their power either, he's a songwriter that should get way more kudos than he does.
The US sleeve of The The's 'Soul Mining' LP on Epic/Some Bizarre. Another one of my top 5 LPs of all time.
Tell me about a dollar bin record you would never part with.
In '92, when I was at Camberwell Art College in London, I would take the odd trip up the road to Peckham to a couple of record spots hidden away in the side streets (both now long gone). On the way, there was a junk shop, usually full of bad furniture, but one time someone had dropped a load of records in. Among them was was the double UK issue of Kraftwerk 1 and 2 with the gatefold oscilloscope sleeve on Vertigo. One pound lunchtime find.
Is there an artist or a label you're trying to complete?
Probably ZTT, I'm pretty close with that though and I'm only looking for records up until about 1990 as well. I think there's a handful I don't have, usually foreign pressings with odd b-sides, edits or different artwork. I used to be a lot more completist than I am now, life's too short and you can find yourself holding onto some pretty bad records just for the sake of a full run. I'd like to have a full set of the Phillips 21st Century Prospective LPs with the silver sleeves, they would look nice on the wall together one day. I also collect the screen printed promo 12"s that Output used to do from about release 30 onwards. They were basically white label test pressings screenprinted across the paper sleeve and label, I'm only missing a few of those I think. With the limited and niché nature of vinyl nowadays it's going to be impossible for people to have complete collections of today's labels. Just look at Third Man Records or Finders Keepers, they make stuff in such limited quantities that you have to either be online or at a specific location at a certain time to grab one.
Some highlights of my collection of Phillips 21st Century Prospective albums.
What's the unlikeliest place/occasion you've ever found a record?
I've found records lying in the street before, found a Harry Partch boxset in the street in Toronto once, not in great shape and I already had a copy but, you know. My dad sometimes helps with house clearances and saves me stashes of records or rescues boxes from the local tip. He doesn't know what I want, he just figures I like records and there's usually something there worth keeping.
Regrets! Tell us about a great record or two that got away from you.
I was in Camden Market with some mates one afternoon in the early 90's and saw a copy of The Black Dog's 'Techno Playtime EP' in amongst a pile of vinyl as I walked past a stall. I'd heard of them at this point and knew that they were among an emerging scene of 'Intelligent Techno' artists like Aphex Twin and B12. I didn't know the record but it was only 50p, I 'ummed' and 'ahhed' and thought, 'should I take a chance?' but my mates were walking off through the crowd. If I'd stayed and fumbled around for the money I would have lost them so I decided to leave it and catch up before we were separated. Until recent reissues it used to go for over £100.
Mentor. Was there a particular person who inspired you to collect records, a role model in the art of record collecting?
No one I specifically went out digging with if that's what you mean. It was a pretty solitary pastime until the Ninja Tune DJ tours of the 90's, and those were everyone for themselves usually. I remember Mixmaster Morris telling me about a lot of obscure electronic music, both new and old. He told me what labels were worth investigating, which years were best and to hunt down more artists on certain labels. Up until the 90's I'd mainly been stuck in the Hip Hop and breaks side of things and he showed me how to judge a record by its cover if it was in a foreign language. This is all pre-internet of course, there were no books on classic Krautrock or obscure electronica to be found. The best piece of advice he gave me though was, 'if you find a record with a couple of hairy hippies on the cover with a huge modular synth – buy it!'.
What do you want to happen to your collection when you check out?
No idea, I actually plan on getting rid of it slowly over the years before that, kind of a reverse of what I've been doing up until now. I figure I'm over the hump now, the collecting mania of my 20's and 30's has slowed, space is at a premium, I have a lot of what I want. I also have a lot of stuff I like but don't necessarily NEED. Maybe some of it will pay for the kids to go to college although who knows how much any of this will fetch in 10 years time even?
Who would you like to see profiled next on Dust & Grooves?
Do Steinski, he's got so many great records and stories to tell. If not then Jeff Waye aka Ghostbeard who runs the North American Ninja Tune operation out of Montreal or Kid Koala.
My website is www.djfood.org – it's a regular scrapbook of what I'm doing, gig dates, design work etc. but also what I like. There are plenty of examples of great record sleeve art and design on it plus a regular diet of comic-related material, mixes, videos and much more.
My www.artofztt.com site is an expanding archive of the sleeve art of the ZTT label, from the 80's through to the 90's and beyond.
I'm on twitter @djfood
The third broadcast of our month long residency at Lion's Milk WNYU 89.1 FM with Ben "Scribe" Goldfarb, founder of I Love Vinyl parties in NYC. www.ilovevinyl.org
You can read the full interview with Ben here and buy the Dust & Grooves: Adventures in Record Collecting book at dustandgrooves.com.
The Alan Parson Project – "I Robot"
Mtume – "Ready for Your Love"
Carly Simon – "Why"
Mica Paris – "I should Have Known Better
Paul McCartney – "Wonderful Christmastime"
Michael Jackson – "We're Almost There" (DJ Spinna Remix)
Marvin Gaye – "A Funky Space Reincarnation"
Rasa – "When Will the Day Come"
Steve Arrington's Hall of Fame – "Last Nite/Nite Before"
Womack & Womack – "M.P.B"
G.T.A – "Der Mogul"
Wally Badarou – "Spider Woman Novelas das Nove"
Imagination – "Music and Lights"
The Two Tons – "Just Us" (re-edit)
Charles Earland – "Mercy"
Doc Severinsen – "Spanish Dreams"
Linkwood – "A Piece of Mind"
T.K Disco – "Burning Love Breakdown"
I Level – "In the River" (Dub Instrumental Version)
Cheri is the Groove – "Come With Me"
L. Hurdle / F. Ricotti – "Stateside"
L. Hurdle / F. Ricotti – "Move On"
Shuggie Otie – "Party Time – Not Available"
Roy Porter Sound Machine
Astra Nova Orchestra – "Soul Sleeper"
Janko Nilovic – "Little Butcher's Street"
Catch Lion's Milk LIVE every Thursday from 10:30p-1:00am on WNYU 89.1 FM New York.
Listen to previous shows here and follow Lion's Milk on Facebook!]]>
Below is a snippet, and you can read the whole article here.
"Although I've known Dust & Grooves founder Eilon Paz since he moved to New York from Israel in 2008, and have been a follower, fan, and contributor to his documentary project about vinyl record collecting since nearly its beginning, I don't know everything.
[…] I realized just how much there is to know about the book when I sat down in a park with Eilon recently and asked him to tell me the stories behind a handful of my favorite photos.
Dust & Grooves has grown into its own universe of fascinating information about people, music, records, travel, culture, obsession, emotion and history. Here's a tiny lens onto a cramped corner of it."
"Greg was, I think, the third collector I ever interviewed. I met him DJing in Williamsburg [Brooklyn], at Miss Favela. I met him at the bar. It was my first year in New York and I had a friend who used to bartend there, so I was hanging out. He was DJing, and he used all vinyl, of course, so I asked him a little about the stuff he plays. He's into Brazilian stuff, he's known for his Brazilian knowledge, but seriously the guy is everywhere—in a good way. He knows about so much […]
I used to keep seeing him at Tropicalia in Furs [erstwhile East Village record shop], we used to hang out there. And he never really liked this photo. It took me and Joel [Stones, the shop's owner] a couple years to actually talk sense to him."
"It looked like it was an amazing love story, you know? It was so romantic. The entire house was like one big piece of music memorabilia in a time tunnel of American kitsch […]
But we haven't revealed the sad truth yet: that they got divorced. And one of the real bummers about that—on our end—was then they wouldn't let us publish the story."
"But when we all got there, we discovered that no one had a key. So we were waiting in this corridor for a while, knocking and shouting for someone to hear us. But then, Ahmir became resourceful. How do I say this? He utilized some different creative techniques that granted us access to the studio without requiring a key.
So that was a little drama, but then everybody was happy. It was the perfect icebreaker, actually. From that moment, it made us feel really comfortable with each other, even though we didn't know each other. After a bit, Ahmir forgot about the context and became like a kid getting back to his candy store—he was playful. It had been a while since he had been there."
"I met Alessandro while I was spending a month in Italy, at this nice, rustic house on top of a hill in Tuscany, and I was shooting food and learning to cook. And I remember seeing Alessandro's book—he wrote this book about colored vinyl and picture discs. He holds the Guinness record for most colored vinyl in the world. I saw it once in a store and wrote it down in my notes, and then I stumbled on it again and then I thought, Okay, I need to get a hold of this guy. You know, once again, Dust & Grooves was always a low-budget project. I couldn't travel specifically to shoot this guy, so I had to wait for the right opportunity. And it arrived when I went to Italy."
Check out the full article at medium.com.
The second edition of his Dust & Grooves book is coming out on November 28 and available for pre-orders now. He also created a postcard box that includes some personal favorites and never-seen-before photos from the Dust & Grooves archives.]]>
You can read the full interview with Sheila B. here.
You can buy the Dust & Grooves: Adventures in Record Collecting book here.
1. J Girls: Ki-iro No Sekai
2. Artist Unknown: I'm Gonna Destroy That Boy
3. Tracy Rogers: Baby
4. Nai Bonet: Jelly Belly
5. The Whyte Boots: Nightmare
6. Maxine Darren: How Can I Hide It From My Heart
7. The Fuzz: I Love You For All Seasons
8. Stella: Je Ne Me Reconnais Plus Dans La Glace
9. Ruriko Asaoka: Siam Neko Wo Daite
10. Akiko Wada: Boy & Girl
11. Candi Staton: I'd Rather Be An Old Man's Sweetheart (Than A Young Man's Fool)
12. Tina Britt: Who Was That
13. Nita Rossi: Untrue Unfaithful (That Was You)
14. Little Frankie: Make-A-Love
15. Little Clara; Tu N'es Pas Venu
16. The Starlets: You Don't Love Me
17. Dottie Cambridge: He's About A Mover
18. Sylvan: We Don't Belong
19. Rita Pavone: Il Geghege
20. Lulu: Try To Understand
21. Nancy Adams: Somebody's In My Orchard
22. Ann Cole: Each Day
23. France Gall: Chanson Pour Que Tu M'aimes Un Peu
24. The Fabulettes: Try the Worryin' Way
25. Shapes & Sizes: Rain On My Face
26. Dawn: I'm Afraid They're All Talking About Me
27. The Shangri Las: I Can Never Go Home Anymore
28. Jill Gibson: It's As Easy As 1, 2, 3
29. Betty Barnes: Requiem (For A Girl Born Of The Wrong Times)
30. Jan Panter: Scratch My Back
Catch Lion's Milk LIVE every Thursday from 10:30p-1:00am on WNYU 89.1 FM New York.
Listen to previous shows here and follow Lion's Milk on Facebook!
Sheila has been running a fanzine-turned-web-mag called Cha Cha Charming since 1998, which you can check out here. And for those interested in the second volume of her '60 Japanese beat girl comp, here are the details!]]>
Pat James Longo brought his magical box of all 45 instrumentals.
You can read the full interview with Pat. here:
The Three Suns – "The Creep"
Little Joey Vespe – "Caravan"
The Shades – "Skip It"
The Gamblers – Moon Dawg!
Davie Allan and The Arrows – U.F.O
The Ventures – "The Swingin Creeper
Gary and Larry – "Garlic Bread"
Travis Wammack – "Scratchy"
The Nu-Trons – "Beat"
The DeAndre Trio – "Batman Theme"
Leo Valentino Trio – "Behind the Out House"
Jimmy McGriff – "The Worm"
Ross Carnegie – "Cool Dad"
Louis Chachere – "The Hen"
Tommy Wills – "K.C. Drive"
Harold Alexander – "Mama Soul"
Baris Manco – ""W.A. Mozart' In Yardimlari ile""
Miles Davis – "The Molester"
Herbie Hancock – "Crossing"
Funkadelic – "Vital Juices"
Bad Medicine – "Trespasser Pt. 2″
The BBC – "Upside Down"
Super Circus – "Bubble Gum March"
The Propositions – "Africana"
Mulatu Astatke & The Heliocentrics – "Dewel"
George Danquah – "Just For a Moment"
Los Superiores – "Descarga Superior"
Toni Tornado – "Eu Tenho Um Som Novo"
Jean Jacques Perrey – "E.V.A"
Luis Bacalov – "Take a Chance (Instrumental)"
Small Faces – "Grow Your Own"
The Rolling Stones – "2120 South Michigan Avenue"
The Soft Machine – "Joy of a Toy"
Catch Lion's Milk LIVE every Thursday from 10:30p-1:00am on WNYU 89.1 FM New York.
Listen to previous shows here and follow Lion's Milk on Facebook!]]>
hen a window opens in Questlove's schedule—even if it's very last-minute and on July 4—you take it. As drummer for the legendary hip-hop band the Roots, bandleader for The Tonight Show with Jimmy Fallon, professor at New York University, and round-the-clock DJ, Questlove rarely gets a break in his schedule. Just minutes after getting word of his availability, I found myself speeding down the Turnpike with Eilon toward MilkBoy Studios in Philadelphia to interview one of the hardest-working men in showbiz since James Brown. We had an hour to photograph him and his vinyl collection—just enough time for him to open up about his love of music and lifetime quest for records.
As you were growing up, your dad had a pretty sizable vinyl collection. Did you consider yourself a collector when you were younger, or did that come later on?
I didn't consider it, not until I built this [record] room. Once I had enough money to really buy my first house, I opted to build this studio instead of a house. I remember working on [D'Angelo's] Voodoo record when Q-Tip lost all his records in a fire. That scared the living bejesus out of me. Imagine this hoarder level of collecting, but inside my residency! We're talking about the living room being all records. The kitchen, all records. My bathroom. I kept the best records in the bathroom 'cause it was like, "Where do I keep the gems at? Oh yeah, I'll keep 'em in the bathroom!" It's easy to remember that they're in the bathroom. My Grammys are in the bathroom. There's also a turntable in there. But there came a point when I started cracking records, you know, trying to navigate from here to there like Indiana Jones—one, two, three, [crackle noise] as I tried to jump over stuff. By the time I cracked the 20th record, I was just like, "Man, I gotta do something. Q-Tip's house set on fire!"
What do you consider an important record in your collection?
Average White Band's Person to Person LP is very important. As I said, I literally grew up on the road with my parents and that's all I knew—adults. So when they tried to explain the concept of not going on the road with them, staying at Grandmom's house, going to this thing called school with other kids—that's the first time I felt like an actual kid. It was the hardest thing. I cried every day. Didn't like it much in the first few months, but I got used to it. They would basically have to bribe me with records and record bingeing. And as a sort of congratulatory, last-day-of-school present, we did a $300 record-shopping binge. One of the records they bought me was Average White Band's Person to Person. This singlehandedly changed my life. This is the record that I applied the 10,000 hours of practice to. This was basically a record I practiced to in the basement from the age of 6 until 21. I still practice to this record as a 43-year-old. If I had a top 10 record list, this would probably be my No. 1 record.
"I kept the best records in the bathroom 'cause it was like, 'Where do I keep the gems at? Oh yeah, I'll keep 'em in the bathroom!' … There's also a turntable in there."
What records scared you growing up?
Rare Earth's Ecology, which is a record my mother loved. I was a little creeped out by the long version of "I Know I'm Losing You." Any songs with long echoes creep me out. Rare Earth was a psychedelic band, and I didn't know what psychedelic was. I just knew they used a little too much echo. All of Norman Whitfield's productions were borderline creepy. I wish I could find that Sky's the Limit record by the Temptations. There's a version of "Smiling Faces" where they're laughing at the end. Oh God, I couldn't take that! As a kid I used to always run upstairs and hide whenever Melvin Franklin laughs. To be a 4-year-old listening to that …
If you didn't think the book could get any bigger (or better)… the second edition of Dust & Grooves contains 20 additional pages, profiles even more collectors, and includes a full interview with the master drummer, bandleader, DJ, and collaborator Questlove. The official release date is November 28 and it's available for pre-sale now. This updated 436-page tome is $68 (or with a slipcase for $95) and it ships approximately mid-November.
Keeping his photos in the physical realm, Eilon created a beautiful box set of images from the Dust & Grooves book. The postcard box contains 48 individual photographs printed on thick 5×7 inch matte art paper, with unique designs on the back of each one. As well as some personal favorites from the book, the set also includes some never-seen-before photos from the Dust & Grooves archives and a print by the Brazilian designers 45JJ. You can pre-order the postcard box now in the Dust & Grooves shop for $33.30 (a nod to vinyl's standard revolutions per minute), and it ships mid to late-November. #vinylpostcard
We've been working really hard to have the book and the postcard box available in Europe and ship with local rates. UK shipping as low as $15, Germany, France, Holland as low as $17. Check out the online store.
Also, stay tuned for new features on the Dust & Grooves site. Coming up next: Kevin Foakes (aka Strictly Kev), the main dude behind DJ Food.
Keep digging,
The Dust & Grooves Team.]]>
ickey McGowan's reverence for cultural relics is contagious. It awakens a desire to daydream and play.
Mickey is best known as the man behind the Unknown Museum, a pop-culture repository he opened in Mill Valley, California, in the 1970s. The museum, famous for its tableau vivant exhibits cluttered with twentieth century toys, knick knacks and curios, became a favorite stop for media outlets and tourists alike. When the museum closed its doors in the late '80s, much of its contents ultimately wound up in Mickey's San Rafael "Culture Cave."
The day before our photo shoot with Mickey, we had some concerns. The location he was sending us to sounded more like a warehouse than a home. We wondered if he didn't have any records at his house, explaining that our goal was to feature collectors in their record rooms. "But this is my record room," he insisted.
Our arrival the next morning did little to appease our misgivings. We found ourselves navigating a suburban office park, lugging our equipment from one generic building to another. That anything interesting might be hiding within these walls seemed unlikely, that we were going to find a "record room" seemed altogether impossible. Of course, we were about to be proven very wrong.
To step into Mickey's studio is to experience a felt shift. Outside is listless suburbia; inside, you find an aesthetic richness born out of patient, thoughtful work. The large room, with record shelves that reach well over a dozen LPs high, somehow feels cozy, even intimate. The table fills with records played, marking the day's aural path. Bird songs, space travel, music with a beat, music that's more cerebral. You ride along, happy to be where you are. Some of it's the music itself and the space you're in, but mostly it's Mickey.
Let's start at the beginning. Where did you grow up?
I was born and raised in Los Angeles. It was a town full of stucco pop art buildings. The Big Donut, Brown Derby. Places that were just crazy architecturally. It was the fifties, near the beach, a good place to be raised. My father was a firefighter, there were two of us kids, we had a little lawn, a nice school, we stayed out late, watched Science Fiction Theatre, Twilight Zone, Leave it to Beaver.
Were there record stores where you lived?
I went to Westchester Music. I don't remember who owned it, but when The Complacent Americans record came out, with an atomic mushroom cloud on the cover, he plastered forty copies in the front window. I could always find weird records there. And then there was Wallichs Music City, where you could take records into a booth and listen to them.
I was really looking for anything to do with outer space, or monsters. I had a turntable above my headboard and I would lay in bed, listening to records. Then came the surf craze. "Bulldog" by the Fireballs, Dick Dale. That was '58 to '62.
This was also around the time when my cousin, who was just a year older than me, introduced me to Ken Nordine's Word Jazz. I heard it and I was like, "What in the world?" I was not even sure what jazz was. The sound changed what I perceived music to be.
Word Jazz has been a part of my life for six decades. I've had ten copies. Some have worn out, some I've lost. Sometimes you just want to say it out loud: "Thank you, Ken. Thank you for recording the perfect square foot for us."
Ken Nordine – Word Jazz. 1959. "The perfect square foot."
Ken Nordine – Flavour Bud: In Way Out Sounds from Shirriff. "Great word jingles."
Do you remember your first record?
I bought The "Chirping" Crickets when I was eleven years old. "That'll Be the Day" really moved me. This was in 1957. I also had Elvis' Golden Hits. Everyone had to have that.
Thomas Dissevelt – Fantasy in Orbit. "Don't get caught in the orbit, always drift out a bit."
Outer space has been a life-long fascination for you. What was it that captured your imagination? What were the seminal "outer space" records?
When you were a kid in the fifties, you thought you would someday go into outer space. There had never been any tragedies. No Challenger. We thought we could just take our helmets off. Russia didn't play around with space like America.
Count Down! by Jimmie Haskell, for example. Everyone in space suits, not worried about how they were going to breathe, they were just going to be floating in space. Of course, that didn't work out. This came out in '59. There had been nothing like it before. Then the Moog synthesizer changed things.
Leith Stevens – Exploring the Unknown (1955). Narrated by Paul Frees. "Leith did a lot of soundtracks. He had a great way of always exploring the unknown."
Journey to Infinity was another one. It's almost religious in nature. It's about the hope that we all get off earth and find a facsimile. It's not pushy or Christian, really, but heaven is represented in the planets. "We will find happiness in outer space." That's basically the thesis of the album. "The beginning . . . of the beginning . . . of the beginning . . . "
Sheldon Allman, Folk Songs for the 21st Century. He was in a Twilight Zone episode. David Axelrod produced this for Hi-Fi records. Genius. There's a song about a computer love affair between a UNIVAC Mark II and a humanoid. Harry Revel's Music From Out of Space has the greatest cover ever. It's an ethereal record, with soft movements. Then there was Willy Ley's A Child's Introduction to Outer Space. This was the greatest—a true masterpiece. I found my first copy for 25 cents in a thrift store.
Were you a collector from the very beginning?
I collected a lot as a child, all kinds of things. Anything I could find, really. I had bottle caps nailed to a board, cigar labels, toy cars, games. etc.
Terry Riley – A Rainbow in Curved Air. "A mathematician friend first played this for me in 1968. He sat me down in front of his big stereo and said 'listen to this.' I was immediately hooked. Another masterpiece that really opened my ears.
You traveled and moved around for a few years, leaving most of your possessions behind. Was this a philosophical decision? An adventure?
I hit the road in '68 with my friends. We drove a VW van down to Mexico, our surfboards strapped to the roof. I didn't want any possessions at the time. I wanted the sun shining through the trees, nature.
Baggage can be good, as right now I'm very deep into it, but at that time I didn't have any real interest in worldly possessions. I was interested in eden ahbez's record Eden's Island. Here he was, in perfect health, and one day he walked out of his house and lived in the wilderness, or so the legend goes.
eden ahbez – Eden's Island. "eden ahbez wrote the song "Nature Boy," which Nat King Cole covered. He did a number of 45s and 78s, but this is his only LP. It was recorded after leaving civilization behind and retreating to nature."
When I returned from that trip, I moved to Laguna Beach then to Maui. I bought a one-way ticket, thinking I had a place to stay on the island. Turns out, I didn't. This was a turning point in my life. I suddenly had no plan, no money, but I was in paradise. I walked north up the coast and wound up in Honolua Bay, alone and sleeping on pine needles. The next day I headed into Lahaina, spotted an acquaintance working on the old missionary home, and went to work there, mortaring lava and coral walls. Perhaps this is why I love exotic and tropical music so much.
Not until late '69 did I end up in the Bay Area, in Sausalito, which was the new Haight. It was a wonderful time to be there. Artists, filmmakers, dancers. I was in heaven, sleeping out under the eucalyptus trees and working at the Sausalito Art Center.
How did the Unknown Museum get started?
I started acquiring things again in 1973 and along with Dickens Bascom and others, we opened the Unknown Museum in December of 1974 in Mill Valley, a much quieter town at that time. The original museum was in an old radiator shop where we had 1,800 square feet with windows all the way around. People used to pull up in their cars at all hours and stare in the windows. We lost our lease in 1985 and I moved the collection to a nearby house, where I installed the collections in a domestic setting of the typical American home. It was a walkthrough assemblage of crazy American pop culture. Open for free every Sunday. It closed in 1989. My current home of twenty years in San Rafael is an ongoing continuation of this theme.
My collection of whistling 78s.
What kind of records were you looking for at this time?
I had left my record collection in Laguna Beach in '68. It wasn't too big, maybe five hundred records. I started buying them again in '72-'73. Mill Valley had a store called Village Music. I started buying birdsong records, softer electronic, early Kraftwerk, Klaus Schulze's Picture Music, Tangerine Dream, Martin Denny.
I found that there were certain records I could use to control the experience of visiting the Unknown Museum. I would put on Philip Glass, for instance, and it would clear the room.
Terry Riley – Persian Surgery Dervishes. "This is my personal favorite of Riley's albums. I used to leave this record on in the museum for eight hours at a time."
Was there a communal aspect to record collecting in the '70s and '80s?
It's different now than it was. There were a few record shows. Castro Valley had one. The stores, for me, were both great and not so great. If they even had the easy listening bin, or the budget bin, you could go in and find amazing records, but there was no one in my circle to talk to about them. Most of my friends were rock 'n' rollers. These were solo Lindbergh-Earhart experiences.
Collecting is a personal expression within something that is tribal and universal. That's why you go to a show or listen on the airwaves. You like it, you know that someone else likes it. The idea of collecting is just beautiful, and with music, it's a triple threat: images, music, the process of playing it.
Taking a record out of the jacket, focusing first on the spindle hole, then on dropping the needle. It's like wine or chocolate. It's a sensual thing.
I've hung out with collectors of all forms—cards, toys, etc.—but record collectors seem to be some of the most focused and eccentric. The record people are all over the map, including myself. They're interested in the minutiae. As an idea, there are so many qualities of a record. It supersedes almost all other objects. The jacket, the liner notes, and then you get down into the grooves and the music itself.
"I'm all across the board in my taste."
The internet is making everything move so quickly. I'm trying to "catch-down," not up. I think it's the cellphone radio waves. I'm pretty sensitive to them. We get impatient if things take a second to load. We're way ahead of Dick and Asimov.
How has the internet changed record collecting?
I had to find records pre-internet. I appreciate that I got to experience "the age of innocence." You really couldn't read about music online or listen to mp3s, or sometimes even talk to anyone, but on the other hand you could go into stores and find inexpensive vinyl. Collecting is a bit more complicated now, with the matrix numbers and everything.
I used to be concerned about records and objects not being preserved, but the internet changed that. Now I don't have to worry. It's great that someone can search for music-related information so quickly, but do they absorb anything?Folkways 4251, Healing Songs of the American Indians. Better than aspirin.Folkways 2951, 2952, 2953. Anthology of American Folk Music. "Harry Smith documented deep roots that are still growing."
These are the building blocks of our culture. We all know about this and that, but do we know about the man with the microphone who just recorded beautiful sounds. He might not have influenced a lot of things, but it's pleasant to sit and listen to him, and I hope all of that doesn't just get swept away in the digital stream.
Would you consider yourself obsessive?
I try not to obsess over any one thing, but you might laugh at that if you saw my house. There's no reason to apologize for it. It's like gardening—you want to have more flowers in your garden. Or astronomy—you want to see more through your lens. I see a record and I'm like, What is that? The great thing about record collecting is there's always room for another record. Or, you can always edit them to fit your current tastes.The Culture Cave.
Anything particularly unusual or unknown in your record collection?
Wilcox-Gay Recordio discs. Private, one-time recordings. Record your memories, record it to relive it. There were stores where you could go into a booth and they would record it for you, then mail it for you. It would just be a man talking, or a couple of people. All updates, like they're reading a letter. You'd stand around and talk into it for posterity, or just to send something interesting in the mail. Or someone would have a machine and they'd record something at home or at a party. I have one from 1949 of a guy going around a party, asking people to introduce themselves.
Wilcox-Gay Recordio Discs.
I used to work with the coroner's office and these would sometimes appear. Some of them are great. They're not good for a lot of plays, as they break down, but it's a window into a specific moment in time.
Tell us about your collection of bird recordings.
They fascinate me. Their movements, their nesting rituals, their songs and communication. I'm wired and high strung and birds slow me down and comfort my rhythms. I love that there are birdsong recordings from around the world. They're all just birds, of course, and we are not sure exactly what they are saying, but it's great to think about.
Kenneth Marier – Crickets. "Beautiful cricket recordings. On the back he wrote: 'I started out with a simple idea and I finished with one.'"
Is there a cutoff year to your collection? Do you buy new records?
I have a few from the '90s, but it mostly ends in the early '80s. Grandmaster Flash, later disco. Some electronica and mood things. 1946-76 is really the heart of my collection.
I've been grooving on disco a bit lately. Very pure mood. People just dressing to the hilt, pre-AIDS, just going out, dancing and whatever. The feeling of a discotheque, Saturday night lights—euphoria.
The 4 Instants – Discotheque. "A record that makes you dance. Mostly covers, a few originals. It really grooves."
The '70s were hugely underrated. Glam, early electronica. New Wave, punk, prog rock. Kraftwerk. Eno. The arts. Early video. All that happened then. Much of it was all new.
How many different records are there in the world? Do you think it's possible to learn about everything that exists?
There will always be thousands of records you've never heard. If it's new to you, then it's new. I recently bought a world music collection and kept about a hundred records I'd never seen. These are recordings made in the '50s and '60s, and I had never heard or seen most of them. It was all new to me.
What do you want to happen to your collection when you're gone?
I spent a long time trying to establish a permanent location for the Unknown Museum and everything I've collected. I thought maybe the Smithsonian could acquire it. I have always felt like these are artifacts that have to be saved, and through my life I have seen many huge collections go to the wind. But who knows? It's self-centered to think that your collection is going to supersede you, and it's hard to find people in this day and age who are willing to devote their lives to your life's work. The internet has changed that. Almost everything is being documented thoroughly, so in that way, maybe my work is done as an archivist.
You've mentioned Kraftwerk several times now. Can you say something about why they matter to you and to music as a whole?
One of the most important post-Beatles bands was Kraftwerk. The way they influenced music, the dance scene, that they didn't touch instruments. At one performance, they just sent computers out on stage. Ralf and Florian kept refining it to the manikin look, the robot look, writing very early songs about things like computers. No one else was doing that, not like they were.
Kraftwerk – Computer World. "A visionary tech masterpiece."
Is there anything you're not looking for in a record?
I mostly try to avoid music that intimidates me.
Decongestants for the mind. That's what I'm after: "decongestants." A good record should be great both at low volume or high volume. We owe it to ourselves to listen to our rhythms and to music that affects us.
What about a comfort record? Any favorites?
Brian Eno's Discreet Music is a good example of what I look for in a record. He conceived of this album while he was recovering in a hospital. The radio was on, but it was barely audible. This album was made to be played at low levels, as if someone down the street had music playing. I met Eno in '88. He came into the museum. He was very friendly and we spoke briefly about doing a project pulling ambient sounds from the objects in the Unknown Museum, something I wish we could have followed up on.
Brian Eno – Discreet Music. 1975. "Relaxing and challenging."
What role does nostalgia play in your life?
We've been told our whole lives: don't look back. That's crazy. It's wasting good knowledge. It's all relevant.
So yes, I'm nostalgic. I deal with the past. That's my medium—how I can manipulate the past in the present context. The past is a force to be reckoned with. It's a mistake to think that nostalgia is all about bad thoughts. I've been battling that theory all my life. But you can channel the past into positive energy.
There's so much comfort and healing within the great moments in our lives. Psychotherapists keep poking at you until you remember something that was bad for you. They should be looking for what was good, going back to the moments that were pure and good.
On our book tour out West, the Dust & Grooves crew started in Los Angeles and traveled up the Golden State to San Francisco. It was a whirlwind few days with a lot of sun, car mixes, and tacos—books were sold, signed, and well-thumbed, and it was great to reconnect with our extended collecting family across the country.
Special thanks to all collectors and DJs who supported the project, contributed songs to our mixes, and played records at our parties.
A big thanks to all our fans and supporters who came out to hang with us, Sonos Studio, Upstairs at the Ace Hotel, and Terroir Wine Merchants for hosting us, and Now-Again Records, Dublab, Mixcloud, Rappcats, and Light in the Attic for spreading the word. Big ups to Dewar's for sponsoring this string of California parties and supplying endless bottles of whiskey!
The Los Angeles collecting scene felt like a real close-knit community. We set up at Sonos Studio on La Brea Ave, installing an exhibition of photos from the Dust & Grooves book, and the celebration kicked off with an opening book launch party. The night featured all-vinyl sets from DJs featured on Dust & Grooves: Cut Chemist (and his holy bible of soul), The Gaslamp Killer, Egon of Now Again, Joey Altruda, Sam Swig, Zach Cowie, Oliver Wang, and Dust & Grooves' own Sheila B. Following the festivities on La Brea, there was an afterparty Upstairs at the Ace Hotel on the roof with Jeremy Sole.
Photos by Tiger Tiger Photography and Dust & Grooves; video by Sonos Studio:
More Opening Launch Party Photos…
For our last day in LA, we thew an all-day vinyl hangout at the Studio. Local collectors and DJs came out to spin some tunes—Ruben Molina & Arlene Sepulvda, Liza Richardson, Egon, Greg Belson, Chris Silver, Paola Puente, and Victoria Rawlins—as well as the Dust & Grooves crew Eilon, Sheila B, Lily Wen, and Sam Swig.
Photos by Stephen Paul and Dust & Grooves.
More Daytime Vinyl Hangout Photos
After wrapping up in LA, Dust & Grooves head up the coast to the Bay Area for an afternoon hang at the beautiful Terroir Natural Wine Bar and Merchant in San Francisco. We were so happy to chill at this great wine warehouse-turned-bar with killer all-vinyl sets by The Ambassador, DJ Alarm, DJ Platurn, and Brian Ho.
Below is an excerpt from the feature, and you can read the full article here:
"…Eilon Paz's "Dust & Grooves: Adventures in Record Collecting" makes clear that collectors of vinyl can be just as eccentric and obsessive. His lavishly illustrated coffee-table book contains portraits of some 130 "record diggers," as he sometimes calls them, who have often gravitated to genres as obscure as Turkish psychedelia, "Sesame Street" albums, lounge acts, sexploitation and horror film soundtracks, '60s girl groups from France and Japan, and even colored discs.
Ms. Petrusich focuses on the East Coast of the United States, but Mr. Paz, an Israeli-born photographer who created the Dust & Grooves collectors' website, ranges wider."
Read more at nytimes.com.]]>


text:
Staff Care
Staff Care Jobs & Careers in Abilene, TX
Psychiatry - Physician
Staff Care – Abilene, TX
& RequirementsPsychiatrist - (Psych) Locum TenensStartDate: ASAP Available Shifts: 8 Hour/Day Medical Center in Texas needs a Psychiatrist for… DocCafe
Radiology - Physician
Staff Care – Abilene, TX
& RequirementsRadiologist - (Radiology) Locum TenensStartDate: ASAP Available Shifts: 8 Hour/Day Radiologist group in West Texas is read 160 to… DocCafe
Staff Care Photos
Staff Care Reviews
I worked at Staff Care full-time (less than an year)Pros
Training is top notch, an industry leader with name recognition in the marketplace. Also the salary is ok, but there is uncapped commission which is nice. And just for good measure the gym at the office is a good benefit.Cons
It's all work and nothing else. Being on the phones dialing 100 dials every day can be repetitive and monotonous. The culture there leads itself to being a dog-eat-dog environment where the recruiters can "shark" other peoples' physicians.RecommendsNeutral OutlookApproves of CEO

subset: commoncrawl


text:
August 10, 2012 (EIRNS)–Rowan Bosworth-Davies, a former London
Metropolitan Police (New Scotland Yard) Fraud Squad detective and
the former head of investigations for City regulator FIMRA, the
predecessor to the FSA, has denounced the cries of 'unfair'
coming from sections of the City after the announcements from New
York State's Department of Financial Services on Standard Charter
Bank's money laundering.
He states on Aug. 9 on his website, "They don't seem to
understand that the American authorities are growing very
concerned with the way that just about every major financial
scandal seems to emanate from London or has a London element.
Barclays bank, the LIBOR scams, HSBC, and the money laundering
evidence, the billion dollar derivatives losses caused to J.P.
Morgan Chase, were all orchestrated from London; there are
further U.S. investigations into RBS, [and] it all adds up to an
orchestrated level of regulatory failure and the Americans are
rightly concerned."
In his Aug. 7 website statement, which he has made available
for publication by Executive Intelligence Review (EIR), he
stated, "Now, with yesterday's news about Standard Chartered Bank
and their wholesale diregard of U.S. laws on sanctions, my belief
is reinforced even more strongly. I hope that the U.S.
regulatory agency which has reported on SCB makes sure that their
licence to conduct financial business in New York is removed."
"…Executives of the major banks have decided they are `too
big to jail,' and international laws do not apply to them when
they become inconvenient."
In an exclusive interview with EIR, Aug. 10, Bosworth-Davies
stated, " A Glass-Steagall facility is a vital and fundamental
requirement to begin recreating a fair and honest banking sector,
and should be a non-negotiable issue for our Government and the
bank regulators." He added, "That is why the Standard Chartered
Bank case is of such importance and why the regulators must stay
strong and stick to their principles, if the evidence is clear.
Let the chips fall where they may!"
Rowan Bosworth-Davies has decades of experience working with
U.S. investigators and is not unknown to numerous former
prosecutors from New York who support Glass-Steagall.
Defuse the Euro Timebomb with a Global Glass-Steagall
Follow the Brigade on TwitterMy Tweets
Get live feeds from this site
Recent Posts
- Interview With Senator Bob Graham: Expose The Saudi Role in 9/11
- Sinn Féin Whip Aengus Ó Snodaigh: Government should apologise to the electorate for walking out during key debate
- New Paradigm Show 19 November 2014
- Gerry Adams seeks support for bill to stop water privatisation
- Modi Addresses More Than 20,000 in Australia
- Xi Jinping Addresses Australian Parliament
- LPAC Policy Committee Discussion 17 November 2014
- Sinn Féin activists plan for the future at meeting in Dublin over weekend
- Gerry Adams: Coalition Government Has Lost Its Mandate
- One Man's Collapse… (and some piggy humour)
- Friday Webcast 15 November 2014
- Jones: Obama Is Taking Us Down the Same Road in Iraq that Rumsfeld Took Us
- Senator Kaine: Undeclared War in Iraq 'Height of Public Immorality'
- Government must state categorically that emergency legislation on water charges will not be tabled – McDonald
- The Untold Story of 9/11: A Veterans Day Luncheon with Bob Graham
- Chinese Radio International Interviews Helga Zepp-LaRouche on APEC Summit
- The Whole World Knows Obama Is a Lame Duck; Now He Has to Be Brought Down
- Kesha Rogers: Message on Post APEC Summit
- Gerry Adams' Statement in Dail "Debate" on Sexual Abuse
- Argentine Daily: Weakened Obama is "A Deplumed Lame Duck"
Latest Comments
LaRouche Irish Briga… on HSBC Avoids All Prosecution, S… Michael Murphy on HSBC Avoids All Prosecution, S… LaRouche Irish Briga… on Friday Webcast 31 October… Anthony Enos Wicher… on Friday Webcast 31 October…


text:
Online Dating in Hiawassee for Free
|Meet thousands of local Hiawassee singles, as the worlds largest dating site we make dating in Hiawassee easy! Plentyoffish is 100% Free, unlike paid dating sites. You will get more interest and responses here than all paid dating sites combined! Over 1,500,000 Daters login every day to Plentyoffish.com, we are the market leader in Canada, UK, Australia, US, Ireland and New Zealand, so come meet and chat with other Hiawassee singles Register HERE
music film and funEnjoy afternoons at the flea market beaches cruises fun no drama long talks about nothing laughing lots of laughing music all music outdoor concerts not a club or bar guy every thing in moderation
casselberry Florida jazzyfun61 53 Single Man Seeking Women
If your man doesn't have a beard then you have a gHey my name is Nick.I work a lot so not much free time.I just want someone to do lazy day stuff lolNetflix and what not.I'm not much of a drinker but every now and again I do.
Casselberry Florida nhawes89 25 Single Man Seeking Women
please read my profile firstLooking to see where a friendship leads to If things don't work out I'm also a good and loyal friend. I don't settle for less because I have worked hard everyday for what I have built. I know what I w
Orlando Florida latinamama72 42 Single Woman Seeking Men
true is too hard to ask for right??????Ask me.....open book
carver shores Florida ajeugene5235 29 Single Man Seeking Women
The only 100% Free dating service. Register HERE to use this Free Dating Service, and start contacting other users for free
Help me build this empireI am a business minded person. Very chill and relaxed but always down for anything. I enjoy going out but will also stay in and watch movies. I work and go to school full time. Concentrated on gradua
winter Park Florida trackstar16 22 Single Man Seeking Women
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30


text:
Friends, how many of us have them?
Two teens in a remote Canada community are accused of torching a police station as part of a bizarre plan to get arrested and flown to a Winnipeg youth jail to visit a pal who is also currently facing arson charges, prosecutors alleged this week.
Via Sun News Network:
And the suspected arson case comes at a time RCMP in remote St. Theresa Point, Man., are contending with an emerging crime problem where a "gang" of youths are engaging in a destructive ritual dubbed
"Bad Azz Sundays" as they mark out a weekly time to wreak havoc there, Judge Rocky Pollack heard.
The boys, 13 and 14, were collared after what's known locally as the "justice building," leased by the RCMP from the Island Lake Tribal Council, caught fire and was destroyed just after 4 a.m. Sunday, July 21.
The younger boy appeared for and was granted bail at the Manitoba Youth Centre (MYC) on Thursday.
He has no record or other pending charges and is presumed innocent. Pollack was legally bound under the Youth Criminal Justice Act to give him a shot at freedom with many restrictions attached.
He and his co-accused are suspected of picking the lock to the RCMP section of the side-by-side building with a paper clip then using matches and a lighter to torch paper and the back of the building,
Crown attorney Courtney St. Croix said.
When police caught up to the 13-year-old, he told them it was a joint arson attempt made to get out of the community and into the confines of MYC, St. Croix alleged.
When these kids get out of jail, they should be forced to complete community service at the Burn Care Center Unit of several Winnipeg area hospitals, every Sunday for 6 months. The gang can now call it "Get My Life Together On Sundays."
More On Bossip!
Birds: A Gallery Of Celebrity 'Turkeys' Rocking Feathers
Pure Comedy: Funniest Reactions To Chris Brown & Crunchy Karrueche's Latest Breakup
Thanksgiving Canceled: 20 People Who Should Be Banned From Cooking
Celebrity Cribs: Chipotle Coppin' Fly-'Em-Out Baller Javale McGee Buys $800,000 High-Rise Vegas Condo [Photos]
Awkward Thanksgivings: Celebrities Who Got Alienated From Their Families


text:
Expert Q & A Answers About pregnant spooning
Now that my belly is getting bigger, my partner and I are having a hard time figuring how to have sex comfortably during pregnancy. Do you have any ideas?
Get tested today. We offer Fast, private & affordable STD testing.
Need assistance?


text:
J.C. Penney jcp 0.8985879332477535% J.C. Penney Co. Inc. U.S.: NYSE USD7.86 0.07 0.8985879332477535% /Date(1416952994392-0600)/ Volume (Delayed 15m) : 19497446 AFTER HOURS USD7.87 0.01 0.1272264631043257% Volume (Delayed 15m) : 247610 P/E Ratio N/A Market Cap 2374391893.28003 Dividend Yield N/A Rev. per Employee 103812 More quote details and news »
The department-store chain's stock hit a 52-week low earlier in the week, prior to the opening of its new in-store home-goods miniboutiques.
China Southern Airlines znh -0.38517091959557054% China Southern Airlines Co. Ltd. ADS U.S.: NYSE USD20.69 -0.08 -0.38517091959557054% /Date(1416952926124-0600)/ Volume (Delayed 15m) : 97746 P/E Ratio 26.23304171421326 Market Cap 5333252706.08164 Dividend Yield 1.5590913484775253% Rev. per Employee 213499 More quote details and news »
A new strain of bird flu claimed the lives of six people in China and stoked fears of a wider epidemic. Air-travel demand in China could take a dive.
Private-equity firm Energy Capital Partners upped a previous bid to $4.15 a share to take the environmental and nuclear-services company private.
Vanguard Extended Duration ETF edv 1.1597827024230405% Vanguard Extended Duration ETF U.S.: NYSE Arca 117.315 1.345 1.1597827024230405% /Date(1416952798702-0600)/ Volume (Delayed 15m) : 97155 P/E Ratio N/A Market Cap N/A Dividend Yield 2.9084089843583514% Rev. per Employee N/A More quote details and news »
The U.S. reported the smallest rise in jobs in nine months, undercutting confidence in the economy. The Federal Reserve is likely to keep buying bonds.
GTX gtxi 7.017543859649122% GTx Inc. U.S.: Nasdaq USD0.61 0.04 7.017543859649122% /Date(1416952800168-0600)/ Volume (Delayed 15m) : 192597 P/E Ratio N/A Market Cap 43328549.108398 Dividend Yield N/A Rev. per Employee N/A More quote details and news »
Stifel Nicolaus initiated coverage of the Memphis-based biopharmaceutical company at a Buy with a price target of $7, 66% higher than its recent $4.21.
Rigel Pharmaceuticals rigl -1.941747572815534% Rigel Pharmaceuticals Inc. U.S.: Nasdaq USD2.02 -0.04 -1.941747572815534% /Date(1416952800161-0600)/ Volume (Delayed 15m) : 925484 AFTER HOURS USD2.0198 -0.0002 -0.009900990099009901% Volume (Delayed 15m) : P/E Ratio N/A Market Cap 180853573.467655 Dividend Yield N/A Rev. per Employee 44573.6 More quote details and news »
A rheumatoid-arthritis treatment that the drug developer is producing with AstraZeneca appeared to be inferior to rival treatments in a recent study.
F5 Networks ffiv -0.0307196067890331% F5 Networks Inc. U.S.: Nasdaq USD130.17 -0.04 -0.0307196067890331% /Date(1416952800215-0600)/ Volume (Delayed 15m) : 807150 AFTER HOURS USD130.69 0.52 0.3994776062072674% Volume (Delayed 15m) : P/E Ratio 31.5181598062954 Market Cap 9556112313.25683 Dividend Yield N/A Rev. per Employee 516104 More quote details and news »
Due to weaker-than-expected preliminary results in North America, the network-gear maker significantly lowered its March-quarter guidance.
ManpowerGroup man -0.8601837002478495% ManpowerGroup U.S.: NYSE USD68 -0.59 -0.8601837002478495% /Date(1416953095167-0600)/ Volume (Delayed 15m) : 571373 AFTER HOURS USD68 % Volume (Delayed 15m) : P/E Ratio 13.152804642166345 Market Cap 5428212268.31665 Dividend Yield 1.4411764705882353% Rev. per Employee 835612 More quote details and news »
With Europe's economy languishing, the disappointing U.S. jobs report was a further blow to the staffing outfit, which gets 75% of its business in the two regions.
Empresa Nacional de Telecomunicaciones agreed to buy the wireless operator's Peruvian holdings for about $400 million. It will focus on Mexico and Brazil.
Maxis Nikkei 225 Index Fund nky -0.3977272727272727% Maxis Nikkei 225 Index Fund U.S.: NYSE Arca 17.53 -0.07 -0.3977272727272727% /Date(1416952789011-0600)/ Volume (Delayed 15m) : 123746 AFTER HOURS 17.56 0.03 0.17113519680547631% Volume (Delayed 15m) : P/E Ratio N/A Market Cap N/A Dividend Yield 0.6836337706788362% Rev. per Employee N/A More quote details and news »
In a bold move, Japan's new central-bank head promised to double its purchase of bonds and buy other items like ETFs while targeting 2% inflation.
Carnival ccl 0.6430102405334603% Carnival Corp. U.S.: NYSE USD42.26 0.27 0.6430102405334603% /Date(1416952863653-0600)/ Volume (Delayed 15m) : 2759486 AFTER HOURS USD42.26 % Volume (Delayed 15m) : P/E Ratio 23.21978021978022 Market Cap 24885331951.1625 Dividend Yield 2.36630383341221% Rev. per Employee 1114300 More quote details and news »
The cruise line's ship that stalled in the Gulf of Mexico, stranding thousands, broke away from the dock where it was being repaired in Mobile, Ala. Tugs rescued it.
The battery manufacturer has enlisted an advisor to review financing options to maximize the company's value for shareholders.
The charts record the net change in share price, the high, low and closing trades, and share volume for companies with noteworthy stock activity last week. In addition, the graphs depict last week's daily price activity in detail. The dotted line on some graphs denotes the stock's 200-day moving average; lack of a moving average means the shares have traded for less than that time period.
E-mail: email@example.com


text: La Rada is a long established fish restaurant in Estepona, on the road facing Estepona beach and the sea with views towards Gibraltar and Africa. It is overrated now, the prices not particularly inexpensive, the wines priced at average levels (i.e. 400% mark up) but the fish is very good, provided you stick to whole fish. Avoid at all costs... More


text:
Customize your Stiga table hockey game with this 6-pack of NHL® players! These interchangeable, 3-dimensional figures feature metal sticks and hand painted bodies sporting their team's NHL® logo. Collect all of your favourite teams to create your dream Stanley Cup playoff game!
Designed for use with the Stiga NHL® Stanley Cup Table Hockey Game (sold separately).
Each player measures approximately 2.5" high.
Your answers to these questions will not be shared
It's that time of year, our 2014
Gift Guide is here! It's full of wonderful gifts and awesome deals to
jump-start the season of surprises and holiday delights. We know the way kids
play, and we've put together a collection of everything they're wishing for …
read more...
We're now hiring staff for our brand new locations in Sherwood
Park and Country Hills
and our existing stores in Shawnessy
and Westhills!
resumes to firstname.lastname@example.com
We are thrilled to announce the opening of our new store in Coquitlam, British Columbia!
Details Here


text:
Listen Live
Audio Vault
Photo Gallery
Storm & Janie
Jennifer Grant
Chris Malone
The Blog
KTK Cares
Submit Your Event to KTK Cares
Free Movie Tickets
Official Contest Rules
Thousand Dollar Workday Payoff
Chris Malone
Recently, Chris Malone changed his schedule from 3pm- 7pm to 5am-10 am and now can be heard with Storm Roberts and Janie Pope weekday mornings. Some still say he's still quite possibly the best voice you will hear all day!
Thank You From Malone's Miracle Money Makers
by Chris Malone
posted Aug 24 2013 5:05PM
Thank you all who dined at IHOP's in Gainesville and Ocala Saturday! 10% of your bill will be donated to Chris Malone's Miracle Money Makers for the 2013 Radiothon for Kids! Here is a snapshot of what happened at the S. Pine Ave IHOP in Ocala.
Joan and her staff at the IHOP on S. Pine Ave welcomed 98.5 KTK with open arms! They were excited for the day to begin!
My Team's Co-Captain, Caitlyn Dunning, was hosting the event at the SR 200 IHOP in Ocala.
IHOP was filling up fast as customers happily ordered breakfast. I suggested that since 10% of their bill was going to help CMN kids to order extra...like an extra side of bacon!
It's so nice to see kids donating money to CMN! In exchange, they were able to fill a balloon to show their pride in helping other kids!
Overall it was a great event for us all. A special thank you to IHOP Restaurants, who made today possible. I like to think that we all have given a little cash and a a lot of hope to the hundreds of children and their families of Shands patients, kids currently at the hospital and those we have lost. I sincerely thank you all for participating! It means so much to me!
-Chris Malone
Tags :
Topics :
Social :
Locations :
People :
Caitlyn Dunning
Chris Malone
Back To Blog
Share This:
Thank You From Malone's Miracle Money Makers
Please Enter Your Comments Below
Title :
Comment :
Please enter the text as it is shown in the box below :
Refresh Image
Sign Up For The KTK Newsletter
HD Radio
Music News
Get My Perks
The KTK Morning Show
advertise with us
Recent Blog Posts
Hit the Mark, or Miss By a Mile?
Mike Stanz
Nov 25
Poohphobia Plagues Poland
Mike Stanz
Nov 25
Forget the Hail Mary - This One's the Rosary!
Mike Stanz
Nov 25
Black Sea Devil Captured
Mike Stanz
Nov 25
Did She Diss Em or Not?
Mike Stanz
Nov 25
Cuddle Up to Me - Professionally, Of Course
Mike Stanz
Nov 25
Celebrity Mean Tweets Are Back!
Mike Stanz
Nov 24
Cutest Picture of the Year?
Mike Stanz
Nov 24
Chris Malone
Nov 2014
Oct 2014
Sep 2014
Aug 2014
Jul 2014
Jun 2014


text:
TONOPAH, Ariz. (AP) — A passenger attacked the driver of a Greyhound bus, causing a crash on Interstate 10 in western Arizona that left 24 people injured, state police said.
The Dallas-bound bus was heading east from Los Angeles when the crash occurred near Tonopah shortly before 2 a.m. Thursday.
The bus crossed the highway median, but came to a stop before entering westbound traffic when other passengers restrained the man who had been pummeling the driver, Arizona Department of Public Safety said.
The bus remained upright and none of the 24 people taken to hospitals had life-threatening injuries, the DPS said.
The driver "did a good job of maintaining control" before the bus came to a stop in the median, where there were numerous rocks and bushes, Harquahala Fire District Chief Dan Caudle told KPHO-TV (http://bit.ly/1eF5XJL).
Caudle said the man "basically went berserk in the bus and grabbed control of vehicle."
"The passengers descended on him," DPS spokesman Bart Graves told The Associated Press.
Graves said the attacker reportedly was hallucinating and indicated he wanted to get off the bus. The man was taken to a hospital for a drug-induced condition, Graves said.
The passengers' injuries included a broken sternum suffered by one of the passengers who helped restrain the attacker, said Officer Carrick Cook, another DPS spokesman.
Passengers said it was terrifying.
"I thought we were all gonna die," Chrissy Sanchez told KTVK-TV (http://bit.ly/KMTBVH). "I woke up to this commotion. I remember hearing screaming ... I realized we were not on the road anymore."
The alleged attacker and a female companion got off the bus when it stopped and ran off into the desert, but he was arrested when they returned 30 minutes later, the DPS said.
Maquel Donyel Morris, 25, of Los Angeles will be booked into jail on suspicion of numerous counts of endangerment, assault and aggravated assault, the DPS said.
Greyhound spokeswoman Alexandra Pedrini said the bus was carrying 41 passengers, plus the driver.
A relief bus was sent to the accident scene to take the nearly 20 uninjured passengers to Phoenix so they could continue to their final destinations, she said.
Westbound lanes of I-10 were closed for 30 minutes so helicopters could land.
Copyright 2014 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
Bus Goes Off Arizona Interstate after Passenger Attacks Driver
Other passengers restrained the attacker as bus crossed the median
TONOPAH, Ariz. (AP) — A passenger attacked the driver of a Greyhound bus, causing a crash on Interstate 10 in western Arizona that left 24 people injured, state police said.
Buyer's Guide Featured Companies
Featured Careers & Jobs in EMS
Fire EMS Blogs
Blogger Browser
Today's Featured Posts
EMS Airway Clinic
Mechanical CPR is Producing Resuscitation Results Beyond Expectations
Discover why clinical studies are finding mechanical CPR just as effective as optimally-performed CPR.
More >
New York First Responders Take Extraordinary Steps to Help Residents
Snow causes fire and EMS crews to go beyond call of duty.
Watch It >
Raw Video: Explosion and Fire at California Business
Over a dozen hurt in Santa Paula blaze.
Watch It >
Four Workers Killed at Texas Chemical Plant
Five employees exposed to methyl mercaptan in La Porte.
Watch It >
Worker Killed in North Carolina Bridge Collapse
A fatal construction site collapse occurred in Wake County.
Watch It >
Plane Crashes into Chicago Home
Pilot reported engine trouble after takeoff.
More >
Switzerland Landslide Kills Two, Injures Four
Slide hits residential building near Lugano.
More >
World Trade Center Rescue
Technical rescue work is done at nation's tallest skyscraper.
More >
VividTrac offered by Vivid Medical - EMS Today 2013
VividTrac, affordable high performance video intubation device.
Watch It >
LMA MAD Nasal™
Needle-free intranasal drug delivery.
Watch It >
Braun Ambulances' EZ Door Forward
Helps to create a safer ambulance module.
Watch It >
EZ-IO® Intraosseous Infusion System Real Time Humerus Infusion
Leg access using the EZ-IO.
Watch It >