a Sketchy Draft as Grand Architect of Draft1 for BIGnewEdayMedia's #CowboyVampires

She got blonde hair and baby blue eyes

And when those eyes look up at me

When I got her on her knees, well, it’s

Hard. Real hard and I end-up saying Yes.

She secretly holds the power and I can’t

Live without her – I’ll do anything she says

So when she said maybe I could get a raise

A nice increase in pay for a job well done

Or maybe a transfer to up in the Heights

Ah – now that would be living real nice

Closer to that old “grand architect”

Looking for a suspect – lookin’ to suspect

I need an easy mark I can first suspect

Then I’ll turn him to a #target assign him

Some value and get my results I need

I’ll strike the right keys at the company store

I know it’s like stealing but like cleaning money

You just construct a parallel – work backward

And it’s a complicated case under investigation

Oh, but what I never knew was the real rules

Of a due process of constitutional law – I’m no

Lawyer so I swear I’m now just a played pawn

My neck sticking so far out like a catch of #88

My childhood hero #PittsburghSteeler Lynn Swann

Why let me have access to roll the #DICE

If there’s a chance we’re snowed-in we may get buried alive

 

Now I am just a cowboy and got an ace of spades to play

Thanks to you I got 3 more aces up my sleeve this very day

What?! What can be a matter – I was told it wouldn’t go wrong

Fuck! Come’ on man, it always looks like this kid just hit a bong!

On TV I heard it said “it’s not like we’re listening to your conversations”

Oh & then I knew I was dead. It was dead. I was now dead at that play

And if I didn’t leave this alone I’d be left to roam as a #cowboyvampire

A man without a home, a name, made into just a number on a plane

I’d have to go there when they called – no questions ever – I’d be made

Into one of them – made into one of them living in the shadows of a dusty

Tumble#weed high plains where I’d never understand just what I’ve done

It’s a danger that water poses – when you go off the deep end for her –

She’s insane. Like a wicked witch subject to an architect = of a mousetrap

Incentives became my motives and #everyday U.S. Citizens became my crime

 "And I would've got away with it if it wasn't for those pesky kids of #BIGnewEdayMedia"

Best of the Roses but not rose colored glasses,

john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)

"Tumblin' #DICE" ...

"Tumblin' DICE" THE ROLLING STONES 

= Real Cowboys don't use "the store" like #everydaypeople


http://www.youtube.com/watch?v=owHEBZSh33w

Wo Yeah! (Wo, wo)
Women think I'm tasty, but they're always tryin' to waste me
And make me burn the candle right down,
But baby, baby, I don't need no jewels in my crown.
Cause all you women is low down gamblers,
Cheatin' like I don't know how,
But baby, baby, there's fever in the funk house now.
This low down bitchin' got my poor feet a itchin',
Don't you know you know the duece is still wild.
Baby, I can't stay, you got to roll me
And call me the tumblin' dice.
Always in a hurry, I never stop to worry,
Don't you see the time flashin' by.
Honey, got no money,
I'm all sixes and sevens and nines.
Say now baby, I'm the rank outsider,
You can be my partner in crime.
But baby, I can't stay,
You got to roll me and call me the tumblin',
Roll me and call me the tumblin' dice.
Oh, my, my, my, I'm the lone crap shooter,
Playin' the field ev'ry night.
But baby, I can't stay,
You got to roll me and call me the tumblin' dice, (Call me the tumblin')
Got to roll me (yayes), Got to roll me, Got to roll me (Oh yeah)
Got to roll me
Got to roll me (yeah)
Got to roll me (Keep on rolling)
Got to roll me (Keep on rolling)
Got to roll me (Keep on rolling)
Got to roll me
My baby, call me the tumblin' dice, yeah
Got to roll me
Baby sweet as sugar (Got to roll me)
Yeah, my, my, my yeah (Got to roll me)
I went down baby, oh
Got to roll me (hit me)
Baby I'm down


Best of the Roses but not rose colored glasses,

john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)

Golden Smog "Cowboy Song"

Golden Smog Cowboy Song


http://www.youtube.com/watch?v=H7QHq8Hx50A

I am just a cowboy, lonesome on the trail
Those starry nights, campfire lights
The coyote call, the howling wind wails
As I ride out on an uncertain sundown

I am just a cowboy, lonesome on the trail
Lord, I'm just thinking about a certain female
The nights we spent together riding on the range
Looking back it all seems so strange

Roll me over and turn me around
Let me keep spinning 'til I hit the ground
Roll me over and let me go
Riding in the Buffalo

I was took in Texas, I did not know her name
Lord, those southern girls all seem the same
Down below the border, a town in Mexico
I set out with the rodeo

Roll me over and turn me around
Let me keep spinning 'til I hit the ground
Roll me over and let me go
Riding free with the Buffalo

Roll me over and turn me around
Let me keep spinning 'til I hit the ground
Roll me over and let me go
Riding in the rodeo

Roll me over and I'll turn around
And I'll watch my fingers go up and down
Up and down
That's okay amigo, let me go

Roll me over and turn me around
Let me keep spinning 'til I hit the ground
Roll me over and let me go
Riding in the rodeo

Roll me over and let me be
Roll me over and let me be
Cowboy's life is the one for me

Songwriters
DOWNEY, BRIAN MICHAEL / LYNOTT, PHILIP PARRIS

Read more: Golden Smog - Cowboy Song Lyrics | MetroLyrics



Best of the Roses but not rose colored glasses,

john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)

Snoop Lion feat. Jim Morrison - Riders on the storm -

 

Snoop Dogg feat. Jim Morrison - Riders on the storm (listen & watch slide show here on youtube) http://www.youtube.com/watch?v=-hsahbAEZpc

Jim Morrison - "You're all a bunch of slaves!" from Miami, FL concert & Five To One (non edited live version not for radio play = The Doors Live in Detroit, MI) - listen & watch here on youtube http://www.youtube.com/watch?v=UGAb8WAmWOc

Best of the Roses but not rose colored glasses,

john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)

Beethoven 3rd Symphony Eroica (5/5); 4th movement; Bernstein

Beethoven 3rd Symphony Eroica (5/5); 4th movement; Bernstein

Ludwig van Beethoven
Leonard Bernstein
New York Philharmonic

http://www.youtube.com/watch?v=Tt4jtYpTHWM

Beethoven 3rd Symphony Eroica (5/5); 4th movement; Bernstein

http://www.youtube.com/watch?v=Tt4jtYpTHWM

In his late twenties, Beethoven started to hear buzzing and ringing sounds in his ears. A few years later in 1802, he wrote a distressed letter in a town near Vienna that was addressed to his brothers (yet it remained in his own possession until his death at age 57). The note discussed Beethoven's deteriorating hearing (he eventually went deaf), how it made him feel lonely and anxious around others, and it laid out a will such that his siblings would inherit his wealth when he died.

However, he also wrote in it, "I would have ended my life—it was only my art that held me back." Historians later dubbed this letter, the Heiligenstadt Testament, after the town in which it was written.

This triumph over personal adversity happened concurrently with a significant change in Beethoven's musical style. The works composed after his emotional breakdown in 1802 radiated a new boldness and intrepidity, which often broke the formal rules of the Classical era in music. In fact, the first musical ideas for his Third Symphony—which was completed in 1804—were jotted down merely a few weeks after the Heiligenstadt Testament. Putting these ideas into perspective, it is no wonder why Beethoven's Third Symphony is sometimes deemed a nexus between the Classical and Romantic musical periods.

The Third Symphony's nickname is Eroica, which is Italian for "heroic." Originally, Beethoven planned to call the work, Bonaparte, after Napoleon Bonaparte. But once he learned that Napoleon proclaimed himself the emperor of France, he crossed out the dedication and wrote on the title page, "Heroic Symphony composed to celebrate the memory of a great man."

There are a lot of syncopations (stresses at unexpected times) and dissonances (unstable tone combinations), and wider pitch (highness or lowness of sounds) ranges and dynamics (loudness or softness in sounds) and heavier uses of accents (emphases on notes), to name a few deviations from the Classical era's typical way of writing a symphony.

http://www.youtube.com/watch?v=Tt4jtYpTHWM Beethoven 3rd Symphony Eroica (5/5); 4th movement; Bernstein

Best of the Roses,

john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)

my new strawhat.com 8 4 13 w/ PSU friend: fresh from me watching @MHarrisPerry #NerdLand

my new strawhat.com 8 4 13 w/ PSU friend: fresh from me watching @MHarrisPerry #NerdLand

                                                           Moon, Pa. john & pam 8 4 13





Best of the Roses,
john alan conte jr.
&
the new everyday media

mystrawhat.com

When Egypt Was Tolerant & Cool: 1978 ABC News Story = Grateful Dead Rocking the Ancient Pyramids Egypt 1978 (+ limited edition GratefulDead Egypt 1978 hoodie)

Grateful Dead Egypt 1978 ABC News Story - YouTubewww.youtube.com/watch?v=5QYgE631mU8

In 1978 The Grateful Dead rocked Egypt as documented in this ABC News Story --- bringing 20 tons of gear with them and a bunch of peaceful dancing Deadheads (legions of fans who liked & followed the Grateful Dead in a grassroots type of travelling social media) --- who brought the #hugs & drugs = #bongs not #bombs

Grateful Dead Egypt 1978 Fire on the Mountain/Flag planting
http://www.dailymotion.com/video/x7vu3k_grateful-dead-egypt-1978-fire-on-th_music

Grateful Dead
Rocking The Cradle - Egypt 1978 Grateful Dead/Rhino
If there was ever a Grateful Dead adventure that deserved assiduous archiving, it has to be their 1978 journey to Egypt, when they gave three concerts at the foot of the Great Pyramid. Rocking the Cradle - Egypt 1978, a two-CD (plus bonus disc) and DVD set, serves however to illustrate what a "you had to be there" experience the band's trip to the so-called cradle of civilization actually was.  It's something of a truism that the Grateful Dead had difficulty rising to a big occasion—Woodstock 1969 and the closing of Winterland in 1979 spring to mind, and the Egypt shows might qualify for inclusion as well. Yet the scale and ambition of the project, in logistical terms alone, renders its realization amazing in itself. Hints of the administrative complexity appear on the DVD, while the liner notes describe the complex machinations.  No doubt being in the desert locale—the third night under an eclipse of the full moon—was memorable, perhaps something awe-inspiring, in itself. Yet that suggests the music was only part of what guitarist Jerry Garcia termed performance art. Liner note author Alan Trist, head of the Dead's music publishing arm, Ice Nine, describes the experience as a headfirst immersion in a culture that may have left even these seasoned warriors in of a state of shock.  On much of the first disc, there's a palpable sense of the group working ever so hard to generate a full head of steam. Early in a competent version of "Fire on the Mountain" Garcia wails, "takes all you got just to keep the beat," and so, more often than not, it sounds. No doubt this was in part because drummer Bill Kreutzmann was playing one-handed due to injury, leaving rhythm partner Mickey Hart, usually the one to decorate the beat, to maintain the tempo.  Truth be told, for the bulk of the two hours-plus on the main Rocking The Cradle discs, the Dead struggle. Again, it's probably a case of the musicians succumbing to the intense sensory stimuli resulting from being near the banks of the Nile (the tourism aspect of which is captured in the footage included on the DVD titled "The Vacation Tapes"). Garcia's first discernible prominence is a moment of clarity during rhythm guitarist Bob Weir's "Looks Like Rain," with Weir unusually evident in the proceedings as main vocalist.  The septet, which in 1978 included vocalist Donna Jean Godchaux and keyboardist Keith Godchaux, finds their frisky way into Buddy Holly's "It's All Over Now"—thanks perhaps to being freed fromtheir own material for a while. The Dead found at least some semblance of abandon here, in contrast to an overall sense of playing too carefully for their own good. Certainly, the technical side of recording the shows might have dampened the sense of adventure, especially after the discovery that most of the first night's tapes were unusable. Much of what archivist David Lemieux has culled for the two main CDs derives from the final night of 9/16 (in a reach for cause and effect on the part of the Dead mindset, this was the day before the monumental peace accords were announced).   Half of the bonus disc derives from 9/15, half from 9/16. A more tightly executed string of decidedly diverse material, this hour-plus of music demonstrates how Phil Lesh's bass acts as fulcrum for the band. Particularly in the material from the 16th, such as "Bertha," the band pivots around him and his instrument. Whether it's the jaunty "Ramble On Rose" or even the more rapid clip of "El Paso," Lesh sets the pace with grace and purpose before the drummers falling into step on Weir's reggae tinged "Estimated Prophet." The entire ensemble is thus prepared to navigate the light-stepping likes of "Eyes of the World" and render the theme to "Terrapin Station" with all the regal air called for. In such close proximity to the Great Pyramid and the Sphinx, the band might have done well to surrender to the multiple stimuli of these wonders of the world and play more rather than less freely. No doubt some lulls lacking purpose might still have occurred, but whether such intervals are more or less taxing to endure than a flat performance of a set piece like "Jack Straw" is debatable.  Even so, the way the Dead seem lifted by the intro of celebrated Nubian percussionist Hamza el Din and his troupe for "Ollin Arageed" is yet another demonstration how they preferred to find their way into their particular space for a performance. In the case of these appearances at Gizah Sound And Light Theater, the run as a whole might well be perceived as a series of sets where the band finds traction part way through, generates momentum, then builds upon it. When the Dead intuitively realize the end is nigh on September 16, they truly take flight on "Truckin.'"  "Stella Blue" then sounds like nothing so much as a consecration of the Deadhead clan's stay in Cairo, and Chuck Berry's "Around and Around" an act of faith in the merry-go-round of serendipity/synchronicity that Grateful Dead always appeared to be.   Musical content aside, Rocking The Cradle - Egypt 1978 is even more colorfully and creatively packaged than is customary for such treasured titles, and Alton Kelly's original graphics are effectively celebrated with stand-ups that unfold inside the tri-fold digi-pak.
Track listing: CD1: Jack Straw; Row Jimmy; New, New Minglewood Blues; Candyman; Looks Like Rain; Stagger Lee; I Need a Miracle; It's All Over Now; Deal. CD2: Ollin Arageed; Fire on the Mountain; Iko Iko; Shakedown Street; Drums; Space; Truckin'; Stella Blue; Around and Around. DVD: Bertha; Good Lovin'; Row Jimmy; New, New Minglewood Blues; Candyman; Looks Like Rain; Deal; Ollin Arageed; Fire on the Mountain; Iko Iko; I Need a Miracle; It's All Over Now; Truckin'; The Vacation Tapes.

Personnel: Jerry Garcia: guitar, vocals; Bob Weir: guitar, vocals; Phil Lesh: bass, vocals; Keith Godchaux: keyboards, vocals; Mickey Hart; drums, percussion, vocals; Bill Kreutzmann: drums, vocals; Donna Jean Godchaux: vocals; Hamza el Din: percussion, vocals; Nubian Youth Choir: vocals.

         Best of the Roses,
john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)


 I'll give you #Newsworth

Say #RecordCollection like You Mean It: Vinyl

                                                  Gram Parsons #GP in my truck

“You have these moments when you are playing a record when you get caught in a location and time,” said Mr. Bernich, who lives in Brooklyn Heights. “There is a magic with vinyl and the memories that are connected to it.”

Thomas Bernich has been working to preserve vinyl as a format at Brooklynphono, his Sunset Park factory, since 2003

 

When he finally had the chance to buy two used vinyl-pressing machines from a plant that was closing, Mr. Bernich pounced, turning his hobby into a job and opening a small business. While vinyl records are clearly a relic, Mr. Bernich has found a niche. When it first opened in 2003, Brooklynphono was making about 2,000 records a month. Now, Brooklynphono has five pressing machines, making more than 10,000 records a month. It caters mostly to indie-rock record labels based in Brooklyn, but also to several European dance record labels.

Mr. Bernich stumbled into the record business after he realized that his talent for sculpture, which he studied at the Pratt Institute, could probably not support a career. But while at Pratt, Mr. Bernich, 40, started collecting records, inspired by a friend’s passion for vinyl.

vinyl: side 1 of Easter Everywhere

“I’m really not very musical, and the best thing I can play is the stereo,” Mr. Bernich said. “This fits because I have mechanical experience.”

Zach Cale, a 32-year-old musician and a founder of All Hands Electric, an indie rock and folk music record label in Brooklyn, is one of Brooklynphono’s clients.

                                    New record BLUE RIDER coming Sept. 24 on All Hands Electric  http://zacharycale.com/

Aside from the convenience of having records made by a local plant — his label saves on shipping costs by picking up orders — Mr. Cale prefers having his music on vinyl because, he said, fans like the tangibility of a 12-inch album. “We’ve always been really into the physicality of vinyl,” said Mr. Cale, who paid $1,300 for 500 records. “People really respond to it because it’s visual and it feels like you have a piece of the band.”
      
While vinyl records have largely been consigned to the dustbin of the music industry, Mr. Bernich said he still found magic in turning musicians’ ideas into physical objects to share with the world.
“Once a musician makes a record it lasts a very long time,” he said.

Say #RecordCollection like You Mean It

VINYL FORMAT. 1997's The Mollusk is yet another sign that Ween just got better and better with each record. The Mollusk is perhaps their most concise and well-honed record to date. After the previous year's exercise in country music (12 Golden Country Greats) the duo returns to its usual genre jumping, though there is a heavy focus on prog-rock. Often nautically themed and, as always, way smarter than they're given credit for, The Mollusk is one of the highest points in a brilliant catalog. Reissued on 180 gram vinyl. Vinyl LP $18.98

Weaned on CDs, They’re Reaching for Vinyl

Vinyl is growing out of its niche.

There were always record collectors who disdained the compact disc, arguing that an LP’s grooves yielded warmth and depth that the CD’s digital code could not match.
      

But the market largely ignored them. Record labels shuttered their LP pressing plants, except for a few that pressed mostly dance music, since vinyl remained the medium of choice for D. J.s.

As it turned out, that early resistance was not futile, thanks largely to an audience of record collectors, many born after CDs were introduced in the 1980s.

      

These days, every major label and many smaller ones are releasing vinyl, and most major new releases have a vinyl version, leading to a spate of new pressing plants.

      

When the French electronica duo Daft Punk released “Random Access Memories” in mid-May, 6 percent of its first-week sales — 19,000 out of 339,000 — were on vinyl, according to Nielsen SoundScan, which measures music sales.

      

Other groups with a predominantly college-age audience have had similar success: the same week, the National sold 7,000 vinyl copies of its latest album, “Trouble Will Find Me,” and 10,000 Vampire Weekend fans opted for the LP version of “Modern Vampires of the City.” When the Front Bottoms, a New Jersey indie band, posted a photo of their players carrying stacks of LP mailing boxes on their Facebook page recently, their label, Bar/None, racked up what Glenn Morrow, who owns the label, described as “phone orders for $2,000 worth of LPs in 10 minutes.”

      

A growing number of classic albums — including the complete Beatles and early Rolling Stones and Bob Dylan catalogs — have had vinyl reissues in recent years as well.

      

Michael Fremer, who monitors the LP world on his Web site, Analogplanet.com, said: “None of these companies are pressing records to feel good. They’re doing it because they think they can sell.”

About a dozen pressing plants have sprouted up in the United States, along with the few that survived from the first vinyl era, and they say business is so brisk that they are working to capacity. Thomas Bernich, who started Brooklyn Phono in 2000, says his company makes about 440,000 LPs a year, but a giant like Rainbo Records, in Canoga Park, Calif., turns out 6 million to 7.2 million, said Steve Sheldon, its general manager.

      

One plant, Quality Record Pressings, in Salina, Kan., opened in 2011 after its owner, Chad Kassem, grew impatient with delays at a larger plant where his own line of blues reissues was being pressed. His company, which runs four presses — acquired used, but modified to run more efficiently — now makes LPs for all the majors, and lists Jimi Hendrix, Eric Clapton and Nirvana reissues among its recent projects. He is currently pressing 900,000 vinyl discs a year.

Meet Jess Rotter, an incredibly talented illustrator from Brooklyn, NY.

Q: Your name, age, where are you from, and where do you currently live?
A: Jess Rotter, 33, Brooklyn NY (Currently in Los Angeles, CA)
Q: What’s playing right now on your turntable?
A: Na Hawa Doumbia- La Grande Cantatrice Malienne, V. 3-released by the great Brian Shimkovitz of Awesome Tapes From Africa, The Hot Dogs -Say What You Mean (pre-Summer fun), Annette Peacock-X-Dreams, and my best friend Susannah just bought me a Grateful Dead vinyl box set of all the Warner Brothers studio releases, which I can’t turn off…
Q: What was your last purchase?
A: Athanor-Graveyard, Phil Manzanera Remixes (so expensive, but so awesome), Laurie Spiegel The Expanding Universe reissue, To What a Strange Place Vol. 1 compilation by Mississippi Records, ready to get dark with the latest Death Waltz Horror soundtracks (mind blowing cover art), Affinity’s s/t reissue
Q: Who sparked your love of music?
A: My Father for sure-it was his collection that opened my eyes and became an old soul super quickly. He made sure I had my own little Fisher Price Record player at a very early age. It was love at first play- even when asleep as a child I would wake up, turn the side the record, then go back to sleep-repeat. My family was all about channels to bring your imagination out-as they firmly believed the world tasted much sweeter that way. Enjoying records was a great way to unleash that…making pictures immediately in your head.
Q: Why vinyl?
A: Listening to music via computer speakers is just not as groovy…
Q: Do you focus on a specific musical genre?
A: I definitely listen for the most part to music of the past, but within that time period- all kinds of genres.
Q: How has your passion for vinyl affected the rest of your life — friends, life partners, lifestyle, jobs?
A: Vinyl has always been this endearing way of communication I have with people. A friend once told me a life well lived is when you have a heavy music head(s) in tow to teach you about records. Through the years, mixes I have received and exchanged with greats like Zach Cowie (Turquoise Wisdom), Chris Ruggerio (Preservation Sound), Keith Abrahamsson (Mexican Summer), Matt Werth (RVNG) in particular have been constant inspirations and bonds between us. It can get deep! I try to send mixes to friends from time to time, as a little diary of what has been found via myself and others, always hoping to pass those lil zingers on..I still hold on to that gasp passion of learning about music-that enthusiasm and drive never goes away.
Q: You’re an illustrator and a lot of your work is based on music and album covers. How did you get into that?
A:  The music scribbles came to play when I was in college-I spent every summer interning at London/Mo’Wax records in the city, whose aesthetic was heavily built on album art and creative promotion. When I was living a semester abroad in London, my scribbles caught the attention of a clothing label called “Birdie” who commissioned me to do prints and tee shirts paying homage to bands and artists of the past. We did prints for dresses of Elton John’s “Benny and The Jets” and George Harrison’s “My Sweet Lord”- was such a great and exciting time- I was only 22. One of my favorite designs we did was of the song “Oh Yoko” which featured John in the middle of a bath calling to a large portrait of Yoko (In Harmony reference, anyone?). When Birdie ended in 2006, I began my own tee shirt line called “Rotter and Friends”, that paid homage to even rarer music of that time like Link Wray, Badfinger, Yo Ha Wah 13, Big Star, and Linda Ronstadt. R + F to this day garners so many supporters and good vibes it definitely helped shape my illustration and painting career to where it is now. It is an honor to still receive letters and mixes from young teenagers and older adults who are looking to learn or reminisce about the records we salute.
Q: Where do you acquire your vinyl these days:  flea markets, record shops, personal dealers, ebay, other online stores?
A:A dream day is to wake up, grab a coffee, and quietly hit the shops for inspiration. Personally, record stores are like little art galleries and I enjoy them also greatly when out of town. Pretty thankful to receive a number of records on the frequent as gifts-those mean the most as someone had put thought into the piece. Also working at record labels for over ten years is a pretty awesome and easy way to nab vinyl.
Q: Do you think collecting vinyl helps preserve our musical heritage and culture?
A: The beauty of vinyl is the act and sound-no other format works the same. Music breathes on vinyl, it has heart and forces you to listen in a much different way than an mp3. I enjoy the physicality of the experience.
Q: Do you have a record collecting philosophy?  Any special routines when you enter a store?
A: I definitely always peek at the walls for the store’s weekly “edit” and then head straight to the “New Arrivals” bin. I rarely go to record shops knowing exactly what I want, prefer to just take the ride of digging and see what happens…
Q: What’s your comfort record, the one you can always go back to?  What makes it so special?
A: The Ted Lucas album really makes me feel safe. That man had one of the most beautiful voices out there and the songs are full of warmth. There’s a bootleg version of Neil Young’s song “On The Beach” that will always be a special go to as well for comfort. Also, since my early teens-there is no other band like Led Zeppelin- forever and always.


And some musicians & musicians as music fans just have to hear how it sounds on vinyl "the record" = that's what they care about. .. the sound when the needle drops. ..

Rolling Stones - Happy (the boys listening to Exile in '72 on vinyl in a hotel room during tour)
           rare footage (watch here) http://www.youtube.com/watch?v=S7iXDkmBsyI
 at the end we hear a seemingly stoned Stone say, "does anybody wanna order some drinks up to the room?!" ...



Best of the Roses,
john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)


 I'll give you #Newsworthy ‎

#Obama + #Putin = "Vodka Summit" sponsored by #SpyVodka (a company of #Clooney & #Damon)

@markknoller: Will Pres Obama agree to a summit with Pres Putin in Moscow in Sept? "We are evaluating the utility of a summit," says Carney.

@NewEdayMedia: @markknoller the vodka summit = sponsored by #spyvodka

 

 

 

@NewEdayMedia: @thedailybeast fake rumor for #GeorgeClooney fake spy movie = Clooney & #MattDamon R #SpyVodka company sponsoring new #Obama + #Putin summit

George Clooney busted for holding #weed claims against his individual & minority rights! Says pot is the new "gay rights" and it's now a civil rights - human rights issue he will fight after release of his new #SpyMovie 2013 ...

Clooney has support from colleague & partner in #SpyVodka, Matt Damon also with a new film

 

 

Damon insists along with Clooney that Clooney was a victim of #Suspiciousless #Targeting which must stop as a practice for meeting quotas for prison system (where some big prison kingpin pays handsomely for fresh piece of ass from the outside + a little celebrity = #ValuedTarget)... "this sick practice must stop & surely isn't legal, ask Snowden," Clooney comments.

 

 

 

Best of the Roses,
john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)


 I'll give you #Newsworthy ‎

President Bill Clinton on Jerry Garcia's Death -Of Course, Interviewed by Leggy Female Reporter - (Aug 1st = jerry's bday)

Former President Bill Clinton on Jerry Garcia's Death  

 Of course, interviewed by leggy female reporter

      watch here via youtube
http://www.youtube.com/watch?v=GXjHwAnHepM

 

 

sure glad ‪#‎JerryGarcia‬ was born today August 1st = what a cultural icon w/ world class pop!
Jerry Garcia & Merl Saunders - LIVE - Pacific High Studios 2-6-72 

http://www.youtube.com/watch?v=s-JGKXXhbsM

  Jerry Garcia, John Kahn, Bill Kruetzman & Merl Saunders
... Pacific High Studios, San Francisco, CA
February 6, 1972

1. It Takes A Train To Cry*
2. Expressway
3. That's The Touch
4. Save Mother Earth
5. Imagine**
6. That's All Right Mama
7. Who's Loving You Tonight?
8. When I Paint My Masterpiece
9. I Was Made To Love Her**
10. Lonely Avenue
11. How Sweet It Is

* first verse is instrumental
** instrumental

 

Best of the Roses,
john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)


 I'll give you #Newsworthy ‎

Value of 11 Rig Workers Lives & Gulf Coast Environment? DOJ & Halliburton Agree to $200,000.

Halliburton has admitted destroying evidence in the Deepwater Horizon oil spill disaster in the Gulf of Mexico and will plead guilty to a criminal charge, the Justice Department announced Thursday.

Under the plea agreement, which requires court approval, Houston-based Halliburton will also face three years' probation, pay the maximum fine of $200,000 and continue to cooperate in the Justice Department's criminal investigation of the April 2010 explosion and fire on the drilling platform, which k#lled 11 rig workers off Louisiana.

The Justice Department said it would not pursue further criminal charges against Halliburton or its subsidiaries.

Separately, Halliburton made a $55 million "voluntary contribution" to the National Fish and Wildlife Foundation.

In a statement Thursday night, Halliburton noted that the Justice Department "acknowledged the company's significant and valuable cooperation during the course of its investigation, and the company has agreed to continue to cooperate ... in any ongoing investigation related to or arising from the incident."

The spill was the largest in U.S. history: Nearly 5 million barrels of crude oil poured into the Gulf before the sea-floor gusher was capped three months later.

Halliburton's energy-services subsidiary designed and built the well for BP. In early May, the company began an internal investigation to determine whether the number of "centralizers" — metal collars that help keep the well pipe centered — played a role in the blowout. Halliburton recommends installing 21, but BP chose to use just six.

Halliburton ran 3-D computer simulations in May and June 2010, and both times the results indicated there was little difference between the two scenarios. Employees were then directed by unidentified individuals to destroy the simulations, the Justice Department said.

The Deepwater Horizon Task Force was unable to recover the computer simulations.

Halliburton and BP have blamed each other for the cement job that failed to seal the Macondo well.

In a separate statement regarding its contribution to the fish and wildlife foundation, Halliburton said: "Sustainability is at the core of the Company's long-term success and is embedded throughout our business. Our contribution to NFWF demonstrates our commitment to making a positive environmental impact on our world and a strong commitment to our local communities."

No bodies were recovered.
— Jason Anderson, 35, of Midfield, Texas. A father of two. His wife, Shelley, said Thanksgiving was his favorite holiday. Anderson began preparing a will in February 2010 and kept it in a spiral notebook. It sank with the rig.
—Aaron Dale "Bubba" Burkeen, 37, of Philadelphia, Miss. His death at the Deepwater Horizon came on his wedding anniversary and four days before his birthday. He was married with two children.
—Donald Clark, 49, of Newellton, La. He was one of six workers scheduled to leave the rig on April 21, the day after the blast.
—Stephen Ray Curtis, 40, of Georgetown, La., Curtis was married and had two teenagers.
—Gordon Jones, 28, of Baton Rouge, La. Jones arrived on the rig the day before the explosion. He died three days before his sixth wedding anniversary and 10 minutes after talking to his pregnant wife, Michelle Jones. Their son, Max, was born three weeks later.
—Roy Wyatt Kemp, 27, Jonesville, La. Kemp was married. His daughter's birthday was 3 days before the explosion. Kemp was one of six workers scheduled to leave the rig on April 21.
—Karl Kleppinger Jr., 38, of Natchez, Miss. Kleppinger was a veteran of the first Gulf War and the father of one child.
—Keith Blair Manuel, 56, of Gonzales, La. Manuel had three daughters. He was a fan of LSU athletics and had football and basketball season tickets.
—Dewey A. Revette, 48, of State Line, Miss. Revette had been married to his wife, Sherri, for 26 years when the rig exploded. He was one of six workers scheduled to leave the rig on April 21.
—Shane M. Roshto, 22, of Liberty, Miss. His wife, Natalie, filed a lawsuit April 21, 2010, saying she suffered post-traumatic stress disorder after her husband was killed in the explosion. He was one of six workers who were set to leave the rig on April 21.
— Adam Weise, 24, Yorktown, Texas. Weise drove 10 hours to Louisiana every three weeks to work on the rig. A high school football star, he spent off- time hunting and fishing. He was one of six workers scheduled to leave the rig on April 21.

Best of the Roses,
john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)


 I'll give you #Newsworthy ‎

Transcending Race

President Obama is a perfect example of how a pot smoking teen of beautiful color can become President of the U.S.A.

... elevating himself above any people place or thing that could weigh him down & hold him back in his own environment

 

The 10 teens of beautiful color that just severely beat a young white man in Baltimore's little Italy while he was walking home from work (a job at a restaurant) this past July weekend, if President Obama had a son he would most likely look just like any one of those 10 teens. In fact, 35 years ago that could've been him ... anyone of those 10 being charged as adults because the beating was so severe http://baltimore.cbslocal.com/2013/07/26/mob-of-teens-brutally-attack-man-in-heart-of-little-italy/

 

 

"Excuse me while I kiss the sky!"

 

 = How to Transcend Race

 

 

Jimi Hendrix did not cultivate an image of someone to be feared that is a violent offender.

And even although Nixon paranoia dictated that white American fathers should be suspicious & fear Jimi Hendrix and his cult of personality because he was part of the "counter culture" movement you did not fear him as a menacing young black male.

And, correlating evidence with this notion is that to people under 30 at that time of Jimi  Hendrix was a sign & symbol of "freedom" ... freedom to break-on-through-to-the-otherside and empower & enlighten people with a most incredible kind of guitar playing, music, songs, lyrical poetry.

"And I said fly on my sweet angel - fly on through the sky - fly on my sweet angel - and tomorrow I'm gonna be by your side" ...

Transcending race is something that Jimi did and still does. .. because he cultivated that image and lived it. .. so, until this day, Jimi Hendrix transcends race.

Hendrix On Dick Cavett show, classic quote - YouTube 

 

 A funny scene from Jimi's appearance on the Dick Cavett show. ... Jimi Hendrix First TV Appearanceby ...

► 0:14► 0:14

www.youtube.com/watch?v=HPrjyLhmcWI


Best of the Roses,
john alan conte jr.
&
the new everyday media

BIGnewEdayMedia coming soon to mystrawhat.com (featuring original poetry & top hottest of new everyday media 2014)
 I'll give you #Newsworthy ‎