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Saturday, June 14, 2014
Friday, June 13, 2014
Van Gogh's Ear
By Jack Brummet, Painting Ed.
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Thursday, June 12, 2014
Throwback Thursday - My grandparent's tavern in Carnation, Wash., and teething on my Grandpa's hook arm
By Jack Brummet
Throwback Thursday: photographs of my grandparents' tavern in Carnation (the weird lines are due to the photo being trashed), in the early 50's, and one of me teething on my Grandpa Dell's hook arm in 1954. Interestingly, I also had another uncle with a wooden leg. You don't really see either hook arms, or wooden legs anymore. . .but growing up I thought it was perfectly normal.
Throwback Thursday: photographs of my grandparents' tavern in Carnation (the weird lines are due to the photo being trashed), in the early 50's, and one of me teething on my Grandpa Dell's hook arm in 1954. Interestingly, I also had another uncle with a wooden leg. You don't really see either hook arms, or wooden legs anymore. . .but growing up I thought it was perfectly normal.
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Painting: Faces No. 831 - Dreamfall
By Jack Brummet
[From an original acrylic painting, digitized and processed)
[From an original acrylic painting, digitized and processed)
click to enlarge
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Wednesday, June 11, 2014
President Lyndon Johnson: LBJ as a boy, circa 1915
By Pablo Fanque, National Affairs Ed.
This is a fascinating photo of LBJ as a youth. As a wise man once said, "the child is the father to man. . ."
click to enlarge
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Tuesday, June 10, 2014
LBJ gives The Johnson Treatment to Nguyễn Văn Thiệu, in 1968.
By Jack Brummet, 60's Ed.
LBJ gives the Johnson Treatment to Nguyễn Văn Thiệu, in 1968.
Previous ATIT articles and photographs of The Johnson Treatment:
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Monday, June 09, 2014
Shakespeare quote of the day - Lord Berowne in Love's Labour's Lost
"Taffeta phrases, silken terms precise,
Three-piled hyperboles, spruce affectation,
Figures pedantical; these summer flies
Have blown me full of maggot ostentation:
I do forswear them."
--Lord Berowne from "Love's Labour's Lost" (Act V, sc. 2)
A Georgia O'Keefe style cave or fissure - Life imitates art
Context & photographer unknown.
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Sunday, June 08, 2014
Neil Young's album "A Letter Home," recorded in a voice-a-graph recording booth
By Jack Brummet, Music Ed.
Neil Young recently recorded a collection of covers with Jack White on a refurbished 1947 Voice-O-Graph recording booth at Jack White's Third Man's Nashville headquarters. Yeah, the same kind of machine my dad recorded a voice letter home for his mom at some port in World War II. These were still around when I was a kid.
The Voice-O-Graph is about the size of a phone booth, with a fairly crude microphone, and directly cuts grooves onto a 6" vinyl record. You can only record 111 seconds on a disc, so obviously some of these tunes are spliced. I love the fuzzy warmth of these tunes, the scratching sound of the needle in the grooves, and hearing what old songs Neil decided to record (Dylan, Gordon Lightfoot, Tim Hardin, Willie Nelson, etc.). The sound is roughly equivalent to that on Harry Smith's amazing Anthology of American Folk Music. Neil describes it as "an unheard collection of rediscovered songs from the past recorded on ancient electro-mechanical technology that captures and unleashes the essence of something that could have been gone forever."
The funny thing about Young releasing a low-fi, mono (and no overdub) album like this is that he has spent the last few years developing the highest fidelity system yet for music reproduction—Pono—that delivers music at up to 30 times the resolution of an MP3. His autobiography from last year goes into great detail on the Pono sound system, and he mentions over and over that even the modern CD only captures a fraction of the actual music recorded.
This is almost all Neil, but Jack White does vocals and piano on On The Road Again and vocals and guitar on I Wonder If I Care As Much.
Neil Young recently recorded a collection of covers with Jack White on a refurbished 1947 Voice-O-Graph recording booth at Jack White's Third Man's Nashville headquarters. Yeah, the same kind of machine my dad recorded a voice letter home for his mom at some port in World War II. These were still around when I was a kid.
The Voice-O-Graph is about the size of a phone booth, with a fairly crude microphone, and directly cuts grooves onto a 6" vinyl record. You can only record 111 seconds on a disc, so obviously some of these tunes are spliced. I love the fuzzy warmth of these tunes, the scratching sound of the needle in the grooves, and hearing what old songs Neil decided to record (Dylan, Gordon Lightfoot, Tim Hardin, Willie Nelson, etc.). The sound is roughly equivalent to that on Harry Smith's amazing Anthology of American Folk Music. Neil describes it as "an unheard collection of rediscovered songs from the past recorded on ancient electro-mechanical technology that captures and unleashes the essence of something that could have been gone forever."
The funny thing about Young releasing a low-fi, mono (and no overdub) album like this is that he has spent the last few years developing the highest fidelity system yet for music reproduction—Pono—that delivers music at up to 30 times the resolution of an MP3. His autobiography from last year goes into great detail on the Pono sound system, and he mentions over and over that even the modern CD only captures a fraction of the actual music recorded.
This is almost all Neil, but Jack White does vocals and piano on On The Road Again and vocals and guitar on I Wonder If I Care As Much.
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Saturday, June 07, 2014
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