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An interesting dummy or display biscuit tin of the size that was placed in grocers display cabinets for the open sale of loose biscuits by weight. This display tin shows four different labels, one on each side, that would usually be seen on all four sides of a single display tin. They are for Crawford's Assorted Chocolate biscuits, Crawford's Cream Crackers, Crawford's Goldenacre biscuits and one of their main brands, sold both loose and in packets and tins, Crawford's Rover Assorted.
Two sides here - the Assorted Chocolate and the Cream Crackers, the latter associated as a savoury cracker for eating with cheese and often associated with rival's Jacobs.
Memphis, TN, est. 1819, pop. 650,000
• in the 1950s, in a small studio on Union, Ave., Sam C. Phillips (1923-2003) recorded music that is "one of the true touchstones of American culture" —Escott, Hawkins, Good Rockin' Tonight: Sun Records and the Birth of Rock 'N' Roll
• this two-story corner bldg. is located in Memphis's Edge district • before becoming the Sun Studio Café, the 1st floor housed Taylor's Fine Food restaurant (1948-1981) [photo] • owned by Dell Taylor (1911-2003) & husband, Carlos (1914-1976) • 2nd floor was a rooming house
• the 1908 bldg. shares a partywall with a 1-story storefront at no. 706, built in 1916 [photos] • this small adjacent structure became Memphis Recording Service & later, Sun Studio [discography], where Elvis Presley (1935-1977) began his recording career
"Dell M. Taylor served up country fried steak and gentle mothering to the emerging stars of Sun Studio… Mrs. Taylor saw to it that Elvis Presley, Rufus Thomas, Jerry Lee Lewis, Johnny Cash, Charlie Rich and Carl Perkins, — along with the mechanics and other workers from the auto dealership row on Union — had the freshest greens and vegetables… Many a song was written in the booths, as the musicians would come in to eat during a break in recording at Sun Studio next door… Sun Studio founder Sam Phillips, credited with discovering Elvis and others, often did his bookkeeping at the restaurant." —Chris Conley, The Commercial Appeal (Memphis), 24 Feb., 2003
• Sam Phillips, who claimed he didn't have a desk, had his own booth at Taylor's to pore over paperwork • "That's where all the guys did their writing and talking, and that's where the Sun sound was really born." –Jack Clement (1931-2013), Sun Studio producer
• exhausted musicians often spent the night in one of "Miss Taylor's" upstairs rooms • while recording at Sun the mid-1950s, Roy Orbison had a two-room apartment there
• the bldg. now serves as visitor center for the recording studio, which is open to the public for tours
Marker: Elvis Presley and Sun Records
In July 1954 Sun Records released Elvis Presley's first recording. That record, and Elvis' four that followed on the Sun label, changed popular music. Elvis developed an innovative and different sound combining blues, gospel, and country. That quality made Elvis a worldwide celebrity within two years. He went on to become one of the most famous and beloved entertainers in history. Sun Records introduced many well known people in all fields of music. Generations of musicians have been affected by those who recorded here and especially by the music Elvis Presley first sang at Sun Records
National Historic Landmark Nomination: (unedited version with citations available here)
Marion Keisker (1917-1989), Phillips's sole assistant & employee when he started his business said he "would talk about this idea he had, this dream, I suppose, to have a facility where black people could come and play their own music, a place where they would feel free and relaxed to do it. One day we were riding along, and he saw that spot on Union, and he said, 'That's the spot I want.' With many difficulties we got the place, and we raised the money, and between us we did everything. We laid all the tile, we painted the acoustic boards, I put in the bathroom, Sam put in the control room—what little equipment he had always had to be the best." — quoted by Peter Guralnick, Last Train to Memphis: The Rise of Elvis Presley
Phillips started his own record company, Sun Records, in 1952, "the first great rock 'n' roll record label." • Some of the artists Phillips recorded would redefine the musical genres in which they worked. Many of them made for Phillips not only their first recordings but also their best.
Before World War II most black music was blues, and a lot of those were country blues of the Mississippi Delta, the raw, gut-wrenching folk music of rural African Americans… Black migration out of the rural South accelerated during the First World War and exploded after World War II when manual cotton picking came to an end. Synthetic materials took over the market after the discovery of nylon in 1939, and the mechanical cotton picker, able to do the work of fifty people, arrived soon after. "The main musical result of the great migration was the blues came to town, and not to any old town: to Memphis, which acted as the local focus for migration from the Delta." — Sir Peter Hall, Cities in Civilization
In Memphis, WDIA started out in 1947 as a popular and country music radio station. The station switched formats in 1948 and began programming for a black audience after the success of a show called "Black America Speaks," hosted by Memphis's first black on-air personality, Nat Williams (1907-1983) [editorial: Color the Issue, A Point of View by Nat L. Williams]
Also in 1948, Dewey Phillips (1926-1968), a white radio announcer from rural Tennessee, began to host a show on WHBQ. "Red Hot and Blue" [listen] expanded from fifteen minutes to three hours daily during its first year on the air. Phillips played "an eclectic mix of blues, hillbilly, and pop that would become an institution in Memphis, and his importance to the cross-cultural miscegenation that became Rock 'n' Roll is incalculable." By 1951, word began to spread that white kids were buying "race records."
Sam Phillips was born on January 5, 1923 in the northwest corner of Alabama near Florence, about 150 miles east of Memphis. He got his first radio job in 1940 at WLAY in Muscle Shoals, Alabama, and later took correspondence courses in radio engineering. He worked at WMSL in Decatur, Alabama, and at WLAC in Nashville before moving to Memphis in 1945.
In January 1950, Phillips started his own recording business in addition to his regular jobs. The Memphis Recording Service opened at 706 Union Avenue, about a mile east of the downtown area. The small one-story brick building had a reception area/office at the front of the building, a recording studio in the middle section, and a small control room in the rear. The entire building is only about 18 feet wide and 57 feet long. Phillips's business card read "We Record Anything—Anywhere—Anytime." Initially that included weddings, funerals, bar mitzvahs, advertisements for radio, etc., in addition to musicians in his studio.
"I opened the Memphis Recording Service with the intention of recording singers and musicians from Memphis and the locality who I felt had something that people should be able to hear. I'm talking about blues—both the country style and the rhythm style—and also about gospel or spiritual music and about white country music. I always felt that people who played this type of music had not been given the opportunity to reach an audience . . . My aim was to try and record the blues and other music I liked and to prove whether I was right or wrong about this music. I knew, or I felt I knew, that there was a bigger audience for blues than just the black man of the mid-South. There were city markets to be reached, and I knew that whites listened to blues surreptitiously." —Escott, op. cit.
Phillips also functioned as a folklorist, documenting music that was fading into the past. "With the jet age coming on, with cotton-picking machines as big as a building going down the road, with society changing, I knew that this music wasn't going to be available in a pure sense forever."
Recording the Blues
video: Sam Phillips: The Man who Invented Rock & Roll Part 1 (44:22) & Part 2 (45:59)
His first deal, with 4 Star/Gilt Edge Records, was a song by a blind pianist from south Memphis. Lost John Hunter's "Boogie for Me Baby" [listen] was "a crude boogie blues that could pick up some southern juke coin," according to the review in Billboard, a record business trade publication.
In late summer 1950, Phillips launched his own record company with partner Dewey Phillips (the hot Memphis radio announcer, no relation) in order to issue and promote his own products. They called their label Phillips, but it only lasted a few weeks, issuing three hundred copies of Joe Hill Louis's "Boogie in the Park" in August 1950 [listen]
Phillips soon began working with Modern Records of Los Angeles, owned and operated by the Bihari brothers. Their new subsidiary, RPM Records, was looking for "new music with a down- home feel." Jules Bihari sent a guitar player from Indianola, Mississippi, to Sam Phillips to record. Riley King was already popular locally and known as B.B. King (for Blues Boy, or more likely, Black Boy). Phillips recorded King, one of the first artists on the new RPM label, from mid-1950 until mid-1951 [listen].
Even at this early stage in his career, Sam Phillips used recording techniques that were soon recognized as hallmarks of his records. He put up-tempo boogies on the front sides of records, slow numbers on back sides, and overamplified on faster songs to get a primitive fuzzy sound… These early recording sessions with King also document Phillips's skill as a record producer. King's version of a Tampa Red song had an explosiveness missing from the original record.
"Rocket '88'," a song about a hot Oldsmobile, is one of the contenders for the title "first rock 'n' roll record." It featured Jackie Brenston, the singer, and Ike Turner, the bandleader, on piano. "Rocket '88'" [listen] was released in April 1951. It hit number 1 on Billboard's R&B chart in June and eventually became the second biggest R&B hit of the year. According to Sam Phillips, "Rocket '88'" was the record that really kicked it off for me as far as broadening the base of music and opening up wider markets for our local music." Phillips resigned from WREC in June 1951 after "Rocket '88'" became a hit. — [more] on the history of “Rocket 88”
The Commercial Appeal (Memphis), 28 Mar, 1951: "[Sam Phillips] has agreements with two recording companies to locate and record hillbilly and race music. Race numbers are those tailored for the Negro trade. Sam auditions musicians with original songs. When he finds something he's sure will sell, he gets it on acetate and sends it to one of the companies. He doesn't charge the musicians anything . . . Sam may branch out one day, so he says if anyone wants to bring him a pop song, he'll be glad to look it over." • full article
• Sam Phillips first recorded Chester Burnett (The Howlin' Wolf) in the spring of 1951. Born near Aberdeen, Mississippi, Howlin' Wolf (1910-1976) was a singer who gave the traditional Delta blues another dimension. They recorded "Moanin' at Midnight" and "How Many More Years" [listen] in August 1951… In Phillips's estimation, the Wolf was his greatest discovery.
• Even though he preferred the creative side of the business, Phillips started his own record company early in 1952… With his own label, Phillips could run the business like he wanted and release records that other labels rejected.
"When I was leasing to other labels, they wanted me to compromise. They wanted a fuller blues sound than I did. They were selling excitement. I was recording the feel I found in the blues. I wanted to get that gut feel onto record. I realized that it was going to be much more difficult to merchandise than what Atlantic or Specialty, for example, were doing, but I was willing to go with it."
Phillips named his new company Sun Records and selected an eye-catching record label [photo] designed by John G. Parker (1925-2012), who also designed the tiger stripe helmet for the Cincinnati Bengals football team and packages for Alka-Seltzer and Super Bubble gum… "The sun to me—even as a kid back on the farm—was a universal kind of thing. A new day, a new opportunity." —Sam Phillips
The first record issued on the new Sun label (March 27, 1952), Sun number 175, was an original instrumental, "Drivin' Slow," by alto saxophonist Johnny London.
"Even on this first release, all the hallmarks of a Sam Phillips Sun record were in place: the raw sound, the experimental origin, the dark texture, even the trademark echo. Phillips and London created the illusion of a sax heard down a long hallway on a humid night by rigging something like a telephone booth over London's head while he played. The record's appeal had more to do with feeling than virtuosity—in short, it offered everything music buyers could expect from Sun for the remainder of the decade." [listen]
The first recording on the Sun label considered to be a classic was Easy, an instrumental released in March 1953 by Walter Horton (1921-1981) (Little Walter, and later, Big Walter).
". . . Horton played the same theme five times, with mounting intensity. By the fourth chorus, he was playing with such intensity that his harmonica sounded like a tenor saxophone. Phillips' virtuosity with tape delay echo was rarely used to better advantage: he made three instruments [harmonica, guitar, drums] sound as full as an orchestra. Any other instrument would have been redundant." [listen]
Sun Records had its first national hit in the spring of 1953 with "Bear Cat," [listen] which went to number 3 on the national R&B chart. It was an "answer song" to "Hound Dog" by Big Mama Thornton aka Willie Mae Thornton (1926-1984), sung by local radio announcer Rufus Thomas. "Bear Cat" was the first record to make money for Sun Records and it put the company on the map. "Feelin' Good" by Little Junior's Blue Flames (released in July 1953), was also commercially successful, reaching number 5 on the national R&B chart.
Sun's next hit was "Just Walkin' in the Rain" [listen] by The Prisonaires, a black vocal group of five inmates from the Tennessee State Penitentiary in Nashville. They sang close-harmony gospel style and came under armed guard to record at 706 Union on June 1, 1953. As part of the warden's rehabilitation program, they were allowed to perform on radio, in concerts, and at the Governor's mansion, but "Just Walkin' in the Rain" was their only hit.
Phillips recorded a number of important blues artists in the early 1950s, including "Sleepy" John Estes, Little Milton Campbell, Rosco Gordon, Dr. Ross, Harmonica Frank Floyd, Willie Nix, Billy "The Kid" Emerson, and Bobby "Blue" Bland.
". . . It's safe to say that the blues has never sounded as mean, raw, or intense as it did on countless days and nights at 706 Union Avenue. Amplifiers were cranked way past the point of distortion, guitars slashed like straight razors, rickety drum kits were pounded with fury and abandon, and the stories both sung and shouted spanned the gamut of the black Southern experience…
"Even if he'd never issued a record on the shining yellow Sun label, even if Elvis Presley had never entered his small recording studio..., Phillips would rank as one of the most visionary record producers of our time on the basis of his early fifties blues work." —John Floyd, Sun Records: An Oral History
In May 1954, Phillips recorded "Cotton Crop Blues" with James Cotton on vocals and Auburn "Pat" Hare on guitar. This was "one of the truly great blues recordings," but recording of traditional blues at 706 Union fell off in 1954 with the growing popularity of R&B music. Sun Records soon became synonymous with rock 'n' roll, overshadowing Phillips's role in blues recording "and the insight that [he] brought to recording the blues. He worked hard to get the best from his artists . . . Phillips would sit behind his tape deck until sunup if he thought the musicians on the studio floor might capture the sound that he heard in his head."
Phillips struggled to make money in the record business for almost six years. Eventually he saw that the market at that time was too small for the kind of music he was recording.
"The base wasn't broad enough because of racial prejudice. It wasn't broad enough to get the amount of commercial play and general acceptance overall—not just in the South . . . Now these were basically good people, but conceptually they did not understand the kinship between black and white people in the South. So I knew what I had to do to broaden the base of acceptance." —Escott, op. cit.
Elvis Presley
Elvis Presley graduated from Humes High School in north Memphis on June 3, 1953 and went to work at M.B. Parker Machinists on July 1. Later that summer, he recorded a personal record at the Memphis Recording Service. Presley paid $3.98 for an acetate with two sides, both ballads. While he was there, Presley talked with Marion Keisker, a long-time Memphis radio personality who helped Sam Phillips run his businesses at 706 Union, and asked if she knew of a band that needed a singer.
He made an impression on Keisker which she later remembered well, especially his answer to her question about which hillbilly singer he sounded like: "I don't sound like nobody." At that time, Presley had a child's guitar that he played in the park, on his porch steps, and in a band with his buddies around their housing project. He soon aspired to be a member of the Songfellows, an amateur church quartet. —Guralnick, op. cit.
Presley dropped by 706 Union a number of times after that initial meeting to see if Ms. Keisker had any leads for him. In January 1954, Presley paid for a second personal record, and tried out for a professional band that spring. Eddie Bond (1933-2003), the band leader, told him to keep driving a truck because he would never make it as a singer. Presley later revealed that Bond's rejection "broke my heart." —Guralnick, op. cit.
". . . There is little question that he stepped through the doorway [at 706 Union] with the idea, if not of stardom . . . at the very least of being discovered. In later years he would always say that he wanted to make a personal record "to surprise my mother." Or "I just wanted to hear what I sounded like." But, of course, if he had simply wanted to record his voice, he could have paid twenty-five cents at W. T. Grant's on Main Street . . . Instead, Elvis went to a professional facility, where a man who had been written up in the papers would hear him sing." —Guralnick, op. cit.
Marion Keisker finally called Presley on Saturday, June 26 to set up an appointment, almost a year after he recorded his first personal disc. On a recent trip to Nashville, Phillips had gotten an acetate of a song that reminded him of Presley's voice. They worked on "Without You" [listen] for a long time that afternoon, and Phillips had Presley sing a number of other songs after his unsuccessful attempts with "Without You."
A week later, Phillips set Presley up with two members of the Starlite Wranglers [photos], Scotty Moore (guitar) and Bill Black (bass), and the three of them went to the studio on Monday, July 5 so Phillips could hear them on tape. Nothing special happened at the session until they took a break and Presley began fooling around and playing an old blues song by Arthur Crudup, "That's All Right [Mama] [listen]."
"Sam recognized it right away. He was amazed that the boy even knew Arthur "Big Boy" Crudup—nothing in any of the songs he had tried so far gave any indication that he was drawn to this kind of music at all. But this was the sort of music that Sam had long ago wholeheartedly embraced . . . And the way the boy performed it, it came across with a freshness and an exuberance, it came across with the kind of clear-eyed, unabashed originality that Sam sought in all the music that he recorded—it was "different," it was itself." —Guralnick, op. cit.
Phillips got his friend and kindred spirit, disc jockey Dewey Phillips, to play "That's All Right" [listen] on his radio show "Red Hot and Blue," then near the height of its popularity. The response was immediate—hundreds of phone calls and telegrams. Dewey played the song a number of times that night and also interviewed Presley during the show.
By the time the record was pressed and ready for release, there were 6,000 orders for it locally. Sun record number 209 was released on Monday, July 17, 1954. Phillips had been "looking for something that nobody could categorize," and this song did not sound exclusively black or white or country or pop. Initially, many people who heard the song thought that Presley was a black man. —Guralnick, op. cit.
Elvis Presley's first big public appearance with Scotty and Bill, the Blue Moon Boys, was on Friday, July 30 at Memphis's outdoor amphitheater in Overton Park [photos]. The show featured Slim Whitman, a star from the Louisiana Hayride, which some called the Grand Ole Opry's "farm club." He drew a hillbilly crowd, but they went wild when Elvis shook and wiggled his legs, his natural way of performing.
The new record made Billboard's regional charts by the end of August, but it was the B side that was more popular. Phillips backed "That's All Right" with an unorthodox version of "Blue Moon of Kentucky" [listen], a waltz that was a hit in 1946 for Bill Monroe, country music's elder statesman. By early September, "Blue Moon" was number 1 on the Memphis C&W chart and "That's All Right" was number 7. —Guralnick, op. cit.
Sun released Presley's second record in late September. "It was . . . an even bolder declaration of intent than the first, especially the strident blues number 'Good Rockin' Tonight' [listen], which rocked more confidently than anything they could have imagined in those first, uncertain days in the studio." The original jump blues version was written and recorded by Roy Brown in 1947 [listen]
Presley's growing popularity enabled Phillips to arrange a guest appearance on the Grand Ole Opry for October 2, even though the Opry had never before scheduled a performer at such an early stage in his career. The performance of "Blue Moon of Kentucky" by Elvis Presley, Scotty and Bill received a "polite, but somewhat tepid, reception," and the Opry's manager told Phillips that Presley "just did not fit the Opry mold."
It was a big disappointment for Elvis. But soon they were off to Louisiana for Presley's first appearance on the Louisiana Hayride, "the Opry's more innovative rival in Shreveport" that had a show every Saturday night. On the third Saturday of the month the show broadcast with a 50,000 watt signal that reached up to twenty-eight states.48 After only one guest appearance, Presley signed a standard one year contract to be one of the Hayride's regular members, and he and his band quit their day jobs. —Guralnick, op. cit.
For the next year, Elvis Presley and the Blue Moon Boys toured almost constantly... Presley took his first airplane flight and first trip to New York City on March 23, 1955 to try out for Arthur Godfrey's Talent Scouts contest, but he did not pass the audition. [A] tour with Hank Snow/Jamboree Attractions began on May 1 in New Orleans, visiting twenty cities in three weeks, including a number of stops in Florida. There was a "riot" backstage after the concert in Jacksonville …
The audiences had never heard music like Presley played before, and they had never seen anyone who performed like Presley either. The shy, polite, mumbling boy gained self-confidence with every appearance, which soon led to a transformation on stage. People watching the show were astounded and shocked, both by the "ferocity of his performance,"49 and the crowd's reaction to it.
Even in the early days, Elvis almost always stole the show from the headliners, and concert lineups had to be rearranged accordingly. Nobody followed Elvis. Roy Orbison saw Presley for the first time in Odessa, Texas: "His energy was incredible, his instinct was just amazing . . . I just didn't know what to make of it. There was just no reference point in the culture to compare it."—Guralnick, op. cit.
"'He's the new rage,' said a Louisiana radio executive… 'Sings hillbilly in R&B time. Can you figure that out? He wears pink pants and a black coat . . .'" —Guralnick, op. cit.
Elvis caused a great commotion everywhere he went. Throughout the South, Presley had girls screaming and fainting and chasing after him.
Sam Phillips was also on the road constantly after the Overton Park performance in July 1954, promoting the new records to distributors, disc jockeys, record store owners, and jukebox operators. His experiences, however, were entirely different. Time and again, disc jockeys who were old friends and/or long-standing business associates told Phillips they could not play the Presley records. A country deejay said "Sam, they'll run me out of town." To an R&B deejay, "That's All Right" was a country song. A major pop station disc jockey told Phillips, "your music is just so ragged. I just can't handle it right now. Maybe later on." —Guralnick, op. cit.
WELO in Tupelo, Mississippi, Presley's hometown, would not even play the record, in spite of many requests from teenagers, because the deejay did not like the new music. —Guralnick, op. cit.
Sam Phillips persevered in spite of all the rejection he was getting, and kept trying to turn it around. "I needed the attention that I got from the people that hated what I was doing, that acted like: 'Here is somebody trying to thrust junk on us and classify it as our music.'"—Guralnick, op. cit.
"He was a man swept up by a belief, in a sound and in an idea. And as discouraged as he might sometimes get, as harsh as the reality of selling this new music might be, he never strayed from his belief, he never allowed himself to be distracted from his main goal. Which was to get them to listen." —Guralnick, op. cit.
Phillips could feel a revolution was on the way. There were already lots of country boys coming to his studio to play the new music, which initially got the name rockabilly. "Sam knew that a day was coming . . . when the music would prevail." —Guralnick, op. cit.
Presley was still a regional sensation and unknown to the national market when he got the record industry's attention. By the summer of 1955, almost all the major and independent record labels were inquiring about him. Sam Phillips had mixed feelings about selling Presley's contract, but his operations could not accommodate the Presley phenomenon, his finances were very tight, and he had other artists who needed his attention.
Presley's parents signed a contract in August which soon forced the issue. Col. Tom Parker (1909-1997) became "special adviser to Elvis Presley." He was the head of Jamboree Attractions, one of the major promoters and bookers of country and western talent, and had booked Presley on the Hank Snow package tours earlier that year. At that time, Parker was known as the best promoter in the business. In October Parker asked Phillips to name his price for Presley's contract, and Parker made sure that it was met.
The deal was signed at 706 Union Avenue on November 21, 1955. RCA-Victor bought Elvis Presley's contract from Sun Records for $35,000, plus $5,000 in back royalties owed to Presley. The story ran in the Memphis Press-Scimitar the next day:
"Elvis Presley, 20, Memphis recording star and entertainer who zoomed into big- time and the big money almost overnight, has been released from his contract with Sun Record Co. of Memphis . . . . Phillips and RCA officials did not reveal terms but said the money involved is probably the highest ever paid for a contract release for a country-western recording artist. 'I feel Elvis is one of the most talented youngsters today,' Phillips said, 'and by releasing his contract to RCA-Victor we will give him the opportunity of entering the largest organization of its kind in the world, so his talents can be given the fullest opportunity.'" —quoted in Guralnick, op. cit.
Sam Phillips never regretted his decision to sell Elvis Presley's contract. In many ways, Presley's departure was like a new beginning for Sun Records. Many country musicians aspiring to play rockabilly began to make their way to 706 Union Avenue. As Johnny Cash said many years later, "Elvis was a beacon that brought us all there." —Peter Guralnick, "Sam Phillips: The Man Who Invented Rock 'n' Roll," VHS (A&E Biography, 2000)
Sun Studio
After Sam Phillips moved his companies to the new location on Madison Avenue, 706 Union Avenue housed a number of different businesses in the 1960s and 1970s, including a barber shop, an auto parts store, and a scuba shop. The building was vacant in 1985 when it became the site of a family reunion of sorts. An album entitled “Class of '55: Memphis Rock 'n' Roll Homecoming“ was recorded here to celebrate and remember the "Class of '55" on their 30th "anniversary." Record producer Chips Moman convened Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Roy Orbison to record together for the first time at the Sun studio in September 1985.
Not long after that event, 706 Union Avenue became a stop for visitors on tours to Graceland, the home of Elvis Presley, which opened to the public in 1982. The building opened as the Sun Studio for tours in 1987—the name Sun Records and the original Sun record label design still belong to Shelby Singleton, who bought the company in 1969. The current property owner also purchased the adjacent two-story brick building that housed a café and a boarding house in the 1950s. That building now serves as a soda shop, gallery, and gift shop for visitors to Sun Studio.
The Sun Studio also operates as a full service 24-track recording studio for professional musicians, as well as anyone who wants to make a personal record, just like Elvis. In 1987, the Irish rock band U2 recorded several songs here for their album "Rattle and Hum," including "When Love Comes to Town" featuring B.B. King. Several hundred thousand visitors have made the pilgrimage to this extraordinary place.
• National Register # 03001031, 2003 • designated a National Historic Landmark, 2003
Here we go with part 2, another crop of interesting tracks from this short lived but excelleny TV series:
1. All That I Know / Zach Berkman
2. Brand New Style / Empire Isis
3. Out Of Reach / Matthew Perryman Jones
4. C'mon Y'all / Salme Dahlstrom
5. Are We There Yet / Ingrid Michaelson
6. Future Power / Miss TK & The Revenge
7. White Daisy Passing / Rocky Votolato
8. Time (ft. Katie Gray) / The Burned
9. Nothing Can Compare / Abi Ryan
10. For The Love Of The Game / Secrets In Stereo
11. Crushed and Created / Caitlyn Smith
12. Alive / Superchick
13. Tightrope (UK Mix) / Paul Freeman
14. Hey Hey / Superchick
tracks 1 & 2 from Episode 11 (The Eleventh Hour)
tracks 3 & 4 from Episode 12 (Follow The Leader)
track 5 from Episode 13 (California Girls)
track 6 from Episode 14 (Are We Having Fun Yet?)
track 7 from Episode 15 (Love Me, Loves Me Not)
tracks 8 & 9 from Episode 16 (Save The Last Dance)
track 10 from Episode 17 (Hope & Faith)
tracks 11-14 from Episode 20 (Are We Family)
The Tieton Mosaic Project was launched by Tieton Arts & Humanities, along with Mighty Tieton and the City of Tieton. Their goal is to create a bold visual identity for the city of Tieton, WA and establish a new self-sustaining artisan business.
Tieton does not have a strong historical architectural tradition. Buildings are workmanlike cinderblock-style from the 1940-60s. However, the town itself has a clearly defined core, with a beautiful park surrounded by four blocks of storefronts. A modest amount of graphically distinct signage executed in traditional craft materials will give Tieton a distinctive identity. Thus, the Tieton Mosaic Project will produce a series of six typographic mosaics, inspired by the New York City subway system mosaics and local fruit label design, to be installed on or around civic landmarks in Tieton. Starting with public signs, we willexpand our repertoire to include marketable production line. The mosaic studio follows the Mighty Tieton business model. Based in Tieton, these businesses train and employ members of the community, marketing their products nationally.
In July of 2013, the National Endowment of the Arts awarded Tieton Arts and Humanities (TA&H) a $50,000 Our Town grant to launch the Tieton Mosaic Project. The project is a joint public/private venture by TA&H, the City of Tieton, Mighty Tieton, Paper Hammer Studios, the Educational Foundation of America, the Raynier Foundation, Washington State Arts Commission (ArtsWA) and the Yakima Valley Community Foundation.
Learn more at www.tietonmosaic.com
I have to say that, even allowing for memory, one of the finest pints of beer I ever drank (out of a very many ...) was a pint of draught Oldham Bitter one night in the late 1980s in Hollingwood, Lancs. It was so good I had several, nearly missed the train home and sadly it was amongst the last I had of this fine beer. In 1982 the brewery succumbed to a takeover by Boddingtons in nearby Manchester who, sadly, went into the clutches of the woeful Whitbread empire - thus went not only Oldham Ales but also Boddington's distinctive Mancunian beers. I bought this bottle that night and never did drink it! The label design is a cast-back to an early age of bottled beers, using a merry collection of type and the old "OB" logo.
My own compilation of tracks featured in the first half of season 1:
1. Let It Rock (in the style of Rudolph Kevin ft. Lil' Wayne)
2. When The Time Is Right / Griffin House
3. Rockstar / Jordan McCoy
4. Go! (Jump In! Mix) / Jupiter Rising
5. Waitin' / Choklate
6. Handsfree (If You Hold My Hand) / Sonny J
7. Passion / Kreesha Turner
8. Who We Are / Ryan Calhoun
9. The Last Summer / the forward
10. Rock What You Got / Superchick
11. Anthem / Superchick
12. Is That All You Got / Bosshouse
13. That's How It Is / Paul Freeman
14. Never Look Back / Zach Berkman
15. Gone Away / Lucy Schwartz
16. We Are Golden / Mika
17. Ya Better Believe / Max Morgan
tracks 1-7 from Episode 1 (Pilot)
track 8 from Episode 2 (Where's Marty)
track 9 from Episode 3 (Blowing Off Steam)
tracks 10 &11 from Episode 5 (Like Mother, Like Daughter, Like Supermodel
track 12 from Episode 6 (Between A Rock & A Hard Place
track 13 from Episode 7 (Run Emily, Run)
tracks 14 &15 from Episode 9 (Where's Kylie)
tracks 16 & 17 from Episode 10 (All That Glitters)
Curacao Curacao Curacao, Curacao Curacao. I was actually in Curacao in 1987 and toured the Curacao factory, so my mom might have got this on that trip. Or my dad probably already had some anyway. Surprised it's still around, it's good in margaritas instead of triple sec. I guess my parents aren't margarita types.
New Old Stock, great classic label design. The older style cans had no warnings on the front to obscure the label design.
In the mid-1920's Crawford's of Edinburgh (this being D.S. Crawford's the bakery shops) commissioned some fine packaging and labelling. This, for Union Assorted, makes play on the devices of the major dominions - Canada, India, Australia, New Zealand and South Africa as well as the 'mother country'. It seems a strange cross between the "Empire Exhibtion" style (of 1924) and the Empire Marketing Board.
Phillipe and David Blond believe that every woman should be glamorous every day. The platinum designers create scintillating styles for starlets: gem-encrusted bodysuits; crystal corsets; mini-dresses lavishly embellished with stars, chains, spikes, and sequins. Fun fashion and rock & roll glam are the only rules for these gorgeous garments. Our favorite blonde celebrates The Blonds, dressed for an amazing adventure. Barbie wears a stunning silvery mini corset dress—designed by The Blonds themselves—featuring countless sculpted faux gems and a full length faux fox fur. Of course, luscious blonde curls frame her beautiful face. Accessories include silvery jewelry suite and glitter pumps. Pretty, provocative, and magical, The Blonds Blond Diamond Barbie brings the most sparkly splendor of fashion.
HOP ART #2
Dutch Brewery "VANDESTREEK" info:
"Hop Art serie - Bier is kunst! In 2014 brouwen we een serie bieren in samenwerking met kunstenaars. Wij doen kunstig met het bier, zij met het etiket. Hop Art #2 is een (brown) IPA, tjokvol met Amerikaanse hoppen, en slechts 5% alcohol.
5% alc."
"Het etiket is ontworpen door de Nijmeegse artiest/ontwerper Raymon van Vught."
Black Label®
Designed by: Bill Greening
Release Date: 8/11/2011
Product Code: T7920
Every wardrobe can use a refresh! It's time to spice up that denim with some nighttime sparkle!
Model No. 04 gets gorgeous with the Goddess face sculpt and an articulated body. She styles her cropped skinny jeans with a golden blouse, matching jewelry, and sky-high sandals. Her dark hair and nude lips add the final touch for a fabulous evening look.
With passport in hand and designer luggage by her side, Diane von Furstenberg Barbie® doll is ready to jet-set in style! Dressed in a pink and white patterned wrap dress, a style synonymous with the DVF name, Barbie® doll embraces the designer's signature flair — a blend of comfort and class, perfect for voyaging around the world. Accessories include an oversized white bag, folded newspaper, dangly charm bracelet, earrings and sunglasses, making this ensemble city-chic as well as travel-friendly!
Remains and contours of removed labels, designed to mark dangerous goods, so called " Placards " on a Tank Container.
One of my favourite Railway Photos ... ; ) May 2011
en.wikipedia.org/wiki/Dangerous_goods#Classification_and_...
Pink Label®
Designed by: Linda Kyaw
Release Date: 11/18/2010
Product Code: V5004
Japan Barbie® doll is inspired by the beautiful noblewomen of her country who were well trained in the martial arts, and experts in horsemanship, swordsmanship, and archery. She comes dressed in a striking red patterned kimono with black detailing. Multi-colored knee-high platform sandals and golden fan add to her allure. Red and white flowers accent her long dark hair, and striking face paint gives her an exotic air.
I sorta remember this being the liqueur of choice in the late 70s/early 80s, I think my Aunt Marie consumed a lot of this stuff.
Bottle label design for rakija, Serbian brandy (front). I was using the illustrations of products well known across the region, becoming some sort of symbols in collective consciousness.
Pink Label®
Designed by: Linda Kyaw
Release Date: 6/16/2011
Product Code: V0445
An amazing fusion of fashion and fine art, the Museum Collection dolls are a feast for the eyes!
Vincent van Gogh Barbie doll captures the mood of the magnificent masterpiece, "The Starry Night." She wears a strapless cocktail dress with a Cypress tree accent in black flock fabric, and the swirling patterns of the painting are echoed in her circular earrings, molded metallic sandals, and wavy hair. Both in and out of her packaging, she's the picture of perfection!
I brewed this beer in honor of a very good friend of mine. He's a veteran, he has seen way too many things, lived life on the edge, loves his punk rock, and drives too fast.
His last name is Keeler, so the beer name was a play on words. The punk girl was illustrated by my ever talented wife Elynn using Procreate, and I designed the label in Photoshop.
Gold Label
Designed by: Anna Choi
Release Date: 2/15/2006
www.barbiecollector.com/shop/doll/rhapsody-new-york-barbi...
See more comparisons or submit your own at www.flickr.com/groups/dollvshuman/
Tribute Barbie® Doll
Gold Label®
Designed by: Robert Best
Release Date: 11/11/2010
Product Code: T2155
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Barbie® doll is under the spell of Robert Best and his glorious, glamorous Barbie® Fashion Model Collection. Inspired by the vintage Barbie® sculpt and classic haute couture, this beloved collection debuted in 2000. To celebrate 10 years of collaboration between the master and his muse, Mr. Best conjures up his very best. Tribute Barbie® doll wears a pale blue gown, lavishly embellished with golden embroidery and pink, iridescent, and silvery sequins. This enchanting ensemble marks a magical occasion!
Inspired by vintage labels designed with various typeface styles, Godfrey comes with 6 styles and variable fonts, for ease of pairing on designing. Opentype features such as stylistic alternate, tabular lining, and ligature in CO. and LTD.
Godfrey was created for display needs, perfect for headlines, posters, signage, t-shirts, panels, logos, branding, etc.
There are extra editable logo templates made with this font family. in Ai and Eps formats.