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#Women's #Sexy #Dress, V #Neck 👉 t.co/MQvIZBTM9h #iheartawards #bestfanarmy #aldub34thweeksary #harmonizers pic.twitter.com/rhWzEY
— progress (@1bestcellphone) March 24, 2016
In the dream, Iceland's fierce winds harmonize with the radiant sun, casting a surreal glow over a quaint church ahead. Enveloped by a vibrant display of blue flowers, the scene conjures an ethereal serenity amidst nature's tumultuous embrace.
Hans Arp - A Petrified Forest - exhibition in Museum Beelden aan Zee, The Hague - Scheveningen
Hans Arp (1886-1966) believed in the intrinsic connection between art and nature, creating sculptures that harmonized with the natural world. Using plaster as his primary medium, Arp developed organic forms that blurred the line between abstraction and representation. His studio, akin to a “petrified, enchanted forest,” housed plaster models, each form crafted at least twice for exploration, dissection, and reintegration into new creations – often also in different sizes and materials.
Arp's affinity for nature led him to display sculptures outdoors, allowing them to weather and mature naturally. In 2023, the Stiftung Hans Arp und Sophie Taeuber-Arp e.V. donated 220 plasters to ten institutions globally. Museum Beelden aan Zee has received 21 plasters and one bronze. Arp never considered his plasters as market-ready, making the donation particularly significant for institutions that would otherwise never be able to acquire such works.
The exhibition Hans Arp – A Petrified Forest presents the donated plasters for the first time and in an exhibition design resembling the artists’ studio in Meudon, France. Arp’s journey into sculpture began in the 1930s, with the donated works reflecting the culmination of his innovative exploration until his passing in 1966.
DC passenger locomotive ChS7-010 with train 027 Moscow - Brest.
Spring eventually has come to Moscow. In sunny day marvellous blue livery of ChS7 perfectly harmonizes with blue Belorussian cars and blue sky.
after life sketches on the road, repaint to harmonize colors; A7=10x7cm mixed papers; acrylic: chromium oxyde green, burnt umber, carbon black and iron black, titanium white.
Ryan Ross and Brendon Urie harmonize during Panic At The Disco's set at the Honda Civic Tour. May 30 at The Pageant theatre in St. Louis Missouri.
Copyright: © 2009 Melissa Goodman. All Rights Reserved.
(Please, while I appreciate the idea of sharing, no multiple invitations .. thanks!)
The large, fragrant, snow white flowers of Echinacea purpurea 'White Lustre' Coneflower will harmonize beautifully with all the other perennials in the garden. Adding white to the garden palette allows the eye a resting place amongst a sea of brighter colors. This selection holds its flowers horizontally on strong, branched stems; they also have overlapping petals and a golden yellow cone.
Architectural and rolling stock aesthetics combine neatly in this view of a southbound Brightline service drawing into the dedicated station at Fort Lauderdale. The present northern terminus at West Palm Beach is in a similar style. A pointer for future railway stations of the 21st century?
Seiyou-Mitsu-Bachi, 西洋蜜蜂, Common honey bee, European honey bee, Apis mellifera
She is about to land the flower of Catsear, Front arms raised ready to hook the petal, rear legs down, mouth tube extended, Incredible harmonized moves in a very short moment.
Buta-na, 豚菜, Catsear, Hypochoeris radicata (immigrant)
Tsukuba, Ibaraki, Japan May 2007
Nikon D70s Micro Nikkor 60mm
Museum of Ethnography Budapest Hungary
Architects: NAPUR Architect
Area : 34000 m²
The new building of the Museum of Ethnography in Budapest City Park (Városliget) was opened 2022. The award-winning new museum building – which is part of Europe’s largest urban-cultural development called Liget Budapest Project has dynamic yet simple lines simultaneously harmonized with the park environment and communicating with the surrounding urban area.
The collection, which comprises 250.000 items from the Carpathian Basin and from every corner of the world, has been hosted by various facilities since its establishment in 1872, but never in its history did it operate in a building designed specifically to cater to its needs. The project was one of over 1700 entries from 115 countries. According to the decision of an international jury, the competition was won by the Hungarian architectural studio, Napur Architect (beating leading world-class architect studios such as Zaha Hadid, BIG), whose building is distinguished by a dynamic yet simple design harmonized with the natural environment of the park while communicating with the urban texture of its surroundings. The gently curving lines enable the building to function as a gateway and a passage linking the city and the park. Sixty percent of the structure is under ground level, and thanks to the landscaped roof and the transparency of the sections over the ground, the new museum is adapted to its environment in its scale too. The grass-covered roof area will be a pleasant community space awaiting visitors to Városliget.
The spectacular trademark of the building is the glass curtain wall surrounding the landscaped roof garden, reminiscent of two intertwined hillsides, with a unique characteristic, consisting of nearly half a million pixels, a raster made by metal grid based on ethnographic motifs selected from the museum's Hungarian and international collections.
The new functions and flexible spaces of the modern and state-of-the-art museum building will facilitate the understanding of the historical heritage embodied by the collection as well as the various aspects of contemporary society. Besides passing down this historical heritage, the realization of more recent professional and research themes and perspectives continues to be among the priority objectives of the museum, as confirmed by its mission. The creatively built spaces will open up new opportunities to communicate with visitors, enabling the presentation of the everyday objects, phenomena, and ideas of the past and the present side by side.
In 2013, the National Museum of Modern and Contemporary Art, Korea opened a new branch in Sogyeok-dong, Jongno-gu at the former site of the Defense Security Command. The announcement for the construction of the National Museum of Modern and Contemporary Art, Seoul (MMCA Seoul) came out in 2009, and the architecture for the museum was selected through idea proposals and an architectural design competition in 2010. What makes the Seoul branch different from the others is that it introduced Korea’s traditional architectural concept of ‘madang’, which is a spacious courtyard where people can come in and gather together to socialize. MMCA Seoul's building is also designed to harmonize with the surrounding nature around the city.
Equipped with facilities including a reference center, a project gallery theater and a multipurpose hall, MMCA Seoul strives to accommodate every mode of new artistic endeavor and to communicate with the public. The site is where Korea’s historical and political developments were achieved. Most of the old buildings are gone but a few still remains to remind people of its significant role.
The Dapper Dans are getting ready to start their day by harmonizing all the way up and down Main Street USA at Disneyland. On this day, Lee, the big draft-horse in charge of the Street Car, was acting up a bit...he was nervous because the sound system the Dans use was reverbing and popping loudly in the speakers very close to the Street Car and he began to get jumpy. Immediately, these three conductors showed up and calmed the big animal down and the Dapper Dans were on their way...One thing caught my attention when I processed this...the gal on the right is wearing cowboy boots!
This was taken on the second day of the Mice Chat Photo Meetup-I was there for a brief time in the morning...
Handheld HDR from 3 exposures
Dirty red and green stripes harmonize at Hayford Interlocking on the BRC on the southwest side of the city. The CN power is taking headroom on the GTW connector and will tie onto a track in Clearing's east departure yard to make an L503-02 job for Markham.
View of four men in suits, one holding a guitar.
Digital Collection:
North Carolina Postcards
Date:
1941
Location:
North Carolina;
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
By the end of 2016, I decided to harmonize my colored hair with my natural color hair, which is almost white by now.!! And I became light blond... Something that I was in my early years of life...
( I managed to not pass this portrait from my mainstream photostream, because I rarely send there private portrait photos in the recent years....)
To harmonize the digestive functions, move your belly in and out. Anybody has the same abdominal muscles. May be you have forgotten your abdoms... Use your muscles to keep healthy.
Yoga involves various aspects to balance Life.
Photo viewed 773 times on January 17 2010.
Pour que votre digestion se fasse bien, prenez l'habitude de faire bouger votre ventre. Tout le monde poss'de les memes muscles abdominaux, mais tout le monde ne les utilise pas. Certains les ont oublié. Ils peuvent les réveiller grace au yoga.
Le yoga revet differents aspects de vie.
Photo vue 773 fois au 17 janvier 2010.
I designed this Hoping For Spring Pedestal to harmonize with the art glass globe. It got its name from all the bees that kept checking it for pollen while I worked on it. Glass tile, vitreous tile, iridescent tile, Venetian tile, millefiori, marbles, glitter tile, mini tiles, stained glass, large ceramic candle stand, and part of a thrift store stained glass lamp to support the globe.
The survival of the fittest is the ageless law of nature, but the fittest are rarely the strong. The fittest are those endowed with the qualifications for adaptation, the ability to accept the inevitable and conform to the unavoidable, to harmonize with existing or changing conditions. ~ Author Unknown
Definitely some of the most adaptable creatures I have ever seen....you have to be in order to survive in such harsh & brutal conditions. Decided it was time to return to some of my wildlife images from this winter's trip to Yellowstone, so this week I will be posting some that I never got around to....hope you enjoy!!!!!
Wishing everyone a great week.....was able to enjoy the day off (President's Day) and spend a little time with the hubby in one of our favorite places....the Hill in St. Louis (historic Italian neighborhood); a day of shopping, great eats, & great company :-) As always, thanks for stopping by to visit; your comments & critiques are always appreciated.
Museum of Ethnography Budapest Hungary
Architects: NAPUR Architect
Area : 34000 m²
The new building of the Museum of Ethnography in Budapest City Park (Városliget) was opened 2022. The award-winning new museum building – which is part of Europe’s largest urban-cultural development called Liget Budapest Project has dynamic yet simple lines simultaneously harmonized with the park environment and communicating with the surrounding urban area.
The collection, which comprises 250.000 items from the Carpathian Basin and from every corner of the world, has been hosted by various facilities since its establishment in 1872, but never in its history did it operate in a building designed specifically to cater to its needs. The project was one of over 1700 entries from 115 countries. According to the decision of an international jury, the competition was won by the Hungarian architectural studio, Napur Architect (beating leading world-class architect studios such as Zaha Hadid, BIG), whose building is distinguished by a dynamic yet simple design harmonized with the natural environment of the park while communicating with the urban texture of its surroundings. The gently curving lines enable the building to function as a gateway and a passage linking the city and the park. Sixty percent of the structure is under ground level, and thanks to the landscaped roof and the transparency of the sections over the ground, the new museum is adapted to its environment in its scale too. The grass-covered roof area will be a pleasant community space awaiting visitors to Városliget.
The spectacular trademark of the building is the glass curtain wall surrounding the landscaped roof garden, reminiscent of two intertwined hillsides, with a unique characteristic, consisting of nearly half a million pixels, a raster made by metal grid based on ethnographic motifs selected from the museum's Hungarian and international collections.
The new functions and flexible spaces of the modern and state-of-the-art museum building will facilitate the understanding of the historical heritage embodied by the collection as well as the various aspects of contemporary society. Besides passing down this historical heritage, the realization of more recent professional and research themes and perspectives continues to be among the priority objectives of the museum, as confirmed by its mission. The creatively built spaces will open up new opportunities to communicate with visitors, enabling the presentation of the everyday objects, phenomena, and ideas of the past and the present side by side.
Swami Speaks About Divine Music
"What is the essence of Sankeerthana? Its essential purpose is to earn the love of God. Combining one's voice, tune, feeling and rhythm to the appropriate beat of the song, the devotee should immerse himself in the singing. Harmonizing the feeling with devotion and Love, the sacred words of the song should be an outpouring of love towards God. That alone is devotional singing."
"When the song is rendered without understanding the meaning of the words and without any inner feeling or genuine love for God, it is a mechanical performance. Bhaava (feeling), Raaga (melody) and Thaala (rhythm) are the essentials for proper singing."
"Even the name Bhaarath signifies the combination of these three elements. (Bha-Ra-Tha). In every action in daily life, the combination of these three elements should be observed. This rule can be applied even to one's studies. Bhaava, in relation to study of a subject, means understanding the subject thoroughly. Raaga implies cultivating a love for the subject and Thaala means expressing one's knowledge coherently and clearly."
“The wealth derived from singing God’s name, and meditation, is the influence of the higher energies in nature on one’s life. These not only cleanse the external body but also purify the inner tendencies .”
“Bhajan is one of the processes by which you can train the mind to expand into eternal values. Teach the mind to revel in the glory and majesty of God; wean it away from petty horizons of pleasure. Bhajan induces in you a desire for experiencing the Truth, to glimpse the Beauty that is God, to taste the Bliss that is the Self. It encourages man to dive into himself and be genuinely his Real Self. Once that search is desired, the path is easy. One has only to be reminded that he is divine. The malady is: it is being thrust out of recognition. Man has come for a great destiny, on a sacred mission, endowed with special skills and tendencies to help him on; but, he fritters these precious gifts and crawls on earth from birth to death, worse than any animal. Exercises like Bhajan elevate the mind and exhort the individual to seek and find the source of eternal joy that lies within him.”
“People may say that when you go to Sai Baba, there is nothing but bhajan. Realize that there is nothing “Your heart grows when you are hearing bhajans with a full mind. On the other hand, if you do not sing melodiously, then you will not be getting joy. Community singing must be developed if you want to give to all people the thrill and joy of singing of prayers.”
“Bhajans should be sung with complete obliviousness of the body. Devotional fervour is more important than musical skill. The ladies who took part in the bhajans in the morning sang the bhajans whole-heartedly. Their hearts were full of sweetness. Hence sweet music flowed from their hearts.”
"The word of a song can be expressed in prosaic manner which has no appeal to the listener. But when they are sung melodiously as in the song: "Raama! Nannu Kaapaadu"--"Raama! save me," they tug at the heart-strings. (Svaami sang the song to demonstrate its appeal). Such sweetness is contained in the song when it is rendered melodiously."
"Everyone, whether he is well versed in music or not, should listen attentively to the singer and try to repeat the words of the song with feeling."
"Some persons attending bhajans do not move their lips at all. They may say that they are singing the songs mentally within themselves. This is not proper. If you have devotional feeling, it should be expressed by the tongue joining in the bhajan. Only then it can be called Sankeerthana--singing in unison with others. You must sing the names aloud, full-throated, as far as the voice can reach. Only then the Divine will respond in full measure and shower His grace. No one will go to the rescue of a drowning man if his cries are feeble. Only when he cries aloud at the top of his voice will the cries be heard and people will rush to save him. Sankeerthana means singing with abandon and fervor."
"Everyone should realize that every limb and organ in the body has been given to man to be used for a sacred purpose: The tongue to utter the Lord's name, the hands to offer worship, the feet to go the temple and so on. These organs should not be used for frivolous and unholy purposes. Sanctifying everyone of the sense organs, man should purify the mind and contemplate on God."
(Article Source- Internet) Image Courtesy : musicasprayer Website
Nicolas Boulerice holds the hurdy-gurdy and Olivier Demers holds the fiddle while these Le Vent du Nord musicians stop to harmonize vocally.
© Anvilcloud Photography
Now it's time to decide about the binding. I've had so much fun with the quilting. I did it all by hand this time, sitting outside under a huge tree. The cups and pot are quilted in the ditch.
Inspired by all the great junkartist here, I decided to create a few ray guns,
just for the fun of it! This is my second one: The Harem's Harmonizer.
Mixed materials, approx. 27cm tall, 15cm wide and 16cm high.
Materials used: part from a vintage moped, vase, lid from a vintage wooden carddeck box and some other bits and pieces…
Check out more rayguns at my ray gun shop at raygun.nl
Seattle Chinese Garden with USk Seattle on Sunday. Man made structures harmonize with rocks, trees, plantings and people.
Photo I shot of Jan and Dean taken June 1987 at the Dardanella Bar at Wasaga Beach
After concert Jan signed autographs for concert goers. Jan Berry died March 26, 2004, after he suffered a seizure eight days before his 63rd birthday
died. Today Dean Torrence still tours.
For more information on Jan and Berry check websites below :
www.jananddean-janberry.com/main/
www.surfcityallstars.com/torrence.html
Jan & Dean "Sidewalk Surfin'"
American Bandstand. August 22, 1964
www.youtube.com/watch?v=x_Qr6Ky1Lbg
American Bandstand. August 22, 1964
JAN AND DEAN
Jan Berry and Arnie Ginsburg decided they had what it took to be a music act. How hard could it be? Seems Arnie had come
up with a song based on a real person...a stripper named Jennie Lee, "The Bazoom Girl," charter member of the "League of
Exotic Dancers." Arnie, 18 years old and sowing a few wild oats, had caught her act at an L.A. burlesque club. It was
1958; Jan was still in high school and missed out on Arnie's "adult" excursion. The guys got together in the garage at
Jan's home in Westwood with an Ampex reel-to-reel recorder Jan's dad had gotten him and began harmonizing, doo wop
style, while another friend, Donald Altfeld, supplied makeshift percussion (banging on sticks). A primitive, echo-
drenched version of "Jennie Lee" was the result.
It didn't take much effort on the part of Jan and Arnie to get the song released on Arwin Records, owned by Doris Day's
husband Marty Melcher. Joe Lubin, A&R man for the Hollywood-based label, heard the tape and felt strongly enough about
its potential that he got together with the guys do a more polished version, but insisted on duplicating the sound he
heard on the tape. An all night session with Lubin in Jan's garage produced a second take as well as "Gotta Getta Date,"
written on the fly by the three and recorded in the early morning hours for use as the single's B side. Back in the
studio, Lubin hired the best session men in town (guitarist Rene Hall, saxophonist Plas Johnson, pianist Ernie Freeman
and drummer Earl Palmer) and overdubbed the band for the finished product. It was an unconventional way to make a
record...but not all that uncommon in the early rock and roll environment of the late '50s.
The song caught on, hit big (top ten in June '58), and Berry and Ginsburg found themselves appearing onstage doing rock
shows with some of the hottest names of the era in a blur of bright lights and adoring female fans that began to affect
Arnie in a stressful, emotional way. Not everyone, it seems, is cut out for instant stardom. Jan was fine with it. The
follow-up, "Gas Money" (Altfeld shared writer credit with Berry and Ginsburg on this one), hit the charts less
impressively while hinting at a car-and-hot-rod direction the act (or Jan at least) would explore more deeply in the
future. The third Arwin single didn't sell and the duo appeared to be done, which was okay by Arnie, mentally and
physically drained and ready to move into a less manic vocation. He quit to attend the University of Southern Cal,
leaving Jan, wound up and ready for more, with the task of finding another singing partner.
An old football buddy, Dean Torrence, had just returned from six months' initial training with the U.S. Army Reserve and
was game to take over where Ginsburg left off. The two had met at Emerson Junior High in Westwood several years earlier,
playing on the school football team there and at University High School right up through graduation. Locker room
harmonizing had become a regular routine with other school athletes joining in; roughhousing on the gridiron, singing in
the showers. A school club called The Barons, counting Jan, Dean, future actor James Brolin and pounding-drum devotee
Sandy Nelson among its members, did some impromptu singing as well. It was a no-brainer in 1959 for Jan and Dean to
attempt to continue what Jan and Arnie had begun.
Budding record industry everyman Kim Fowley, another classmate of Jan, Arnie and Dean at University High, recommended
the new duo to Lou Adler and Herb Alpert, producers at Los Angeles label Dore (upon meeting them, Adler said they had a
"very California look" in contrast to the Philadelphia breed of teen idols saturating the biz at the time). For "Baby
Talk" (penned by Melvin Schwartz), a recent release by Brooklyn doo wop group The Laurels, Jan and Dean put more
emphasis on the song's nonsense baby syllables; their version hit the national top ten in September 1959. Several
follow-up singles on Dore appeared on the charts in '59 and '60: Alpert and Adler's "There's a Girl," the oldtime
standard "Clementine" (eclipsed by Bobby Darin's rendition, released at about the same time) and two older R&B hits-
turned-teen-tunes, The Moonglows' "We Go Together" and The Crows' "Gee."
With a solid track record, Jan and Dean approached Liberty, one of L.A.'s top record companies, in the hopes of working
with the label's bigtime hitmaking team and securing longer-term success. A demo of Hoagy Carmichael and Frank Loesser's
1938 tune "Heart and Soul" done up J&D style was rejected by the label, though they were interested in signing the duo.
The two instead took the song to Gene Autry's Challenge Records, relying on their gut instinct that it would be a hit
(even though a version by The Cleftones was already scaling the charts). It was; number one in Los Angeles in June '61
and a top 30 hit nationally (the markedly different-sounding Cleftones record did reach the top 20 a few weeks earlier,
winning the overall competition). After one other Challenge 45, "Wanted, One Girl," Jan recorded a solo single,
"Tomorrow's Teardrops," released by Alpert and Adler on a "just for fun" label, Ripple Records. In late 1961, Jan and
Dean signed a long-term contract with Liberty.
Early Liberty efforts were a bit directionless as they stayed with the previously established formula. "A Sunday Kind of
Love" (a Louis Prima standard best known through Jo Stafford's 1947 hit and a 1953 R&B version by New York group The
Harptones) hit the charts briefly in early 1962. "Tennessee," with a doo wop hook not unlike the ones in "Jennie Lee"
and "Baby Talk," had a slightly better run a few months later. "Linda," written in the '40s by Jack Lawrence, showed
promise when adjusted to Jan and Dean mode in spring 1963, a top 40 hit but just the third overall among more than a
dozen releases since '59.
The Beach Boys had been together for two years and were really heating up at about this time, opening for Jan and Dean
in concert and serving as the duo's backing band onstage. Jan began writing songs with the group's leader Brian Wilson
and their composition of "Surf City" opened the world of surf music to J&D and hit number one on the charts in July '63.
Suddenly Jan and Dean and the Beach Boys were competing with one another...and the leader of the latter was consorting
with the enemy! Of course it was a friendly rivalry and Wilson continued to contribute songs, usually in collaboration
with Berry and Roger Christian, a songwriter and well-known Los Angeles disc jockey. "Honolulu Lulu," a Berry-
Christian-Spunky song ("Spunky" being another case of Lou Adler just "having fun"), was a fall '63 hit in the surf-and-
beach vein, then Jan and Dean took the next logical step into the drag race craze (as the Beach Boys had done on the B
sides of their last few surf hits) with the first of several hot rod and/or car songs. "Drag City," written by Berry,
Christian and Brian Wilson, went top ten in January 1964.
Jan Berry began writing and producing outside acts, among them The Matadors, who backed Jan and Dean on many of their
studio recordings. He and Art Kornfeld composed The Angels' 1963 hit "I Adore Him" and with Christian he contributed
"Three Window Coupe" to The Rip Chords' run of car song smashes in '64. Dean Torrence went in another direction during
what little free time he had, attending USC and studying a number of subjects, including architecture and science. At
the start of 1964, the guys came up with a song that crossed the car craze with the "teen death" movement going strong
since the start of the decade: "Dead Man's Curve" (the nickname of an actual stretch of Sunset Boulevard) was deemed a
bit dark by Liberty Records brass, so they made sure it was backed with a "happy" song, "The New Girl in School,"
promoting the record as a double A side. Both songs were hits, but "Dead Man's Curve" was bigger and landed them back in
the top ten. The song's impact didn't end there, though; in a couple of years it would become a permanent, and tragic,
part of the Jan and Dean story.
Donald Altfeld turned a possible hallucination into a major hit for his longtime pals. One night while driving down
Colorado Boulevard in Pasadena, he swore he saw a little old grandmother-type in a hot, souped-up rod speed past him.
The illusion became reality after that, when he and Roger Christian wrote "The Little Old Lady (From Pasadena)," another
top ten for Jan and Dean during the summer of '64. At the same time, the Dodge Dealers of Southern California came up
with a series of TV commercials with actress Kathryn Minner as a Granny in '...a brand new shiny red Super Stock Dodge,'
as the song described. The spots were popular and Minner became a star, causing a sensation at personal appearances and
even appearing with Jan and Dean on the cover of their album titled after the hit song.
Next up was the theme from the summer film "Ride the Wild Surf" starring Fabian and Shelley Fabares, backed with "The
Anaheim, Azusa and Cucamonga Sewing Circle, Book Review and Timing Association," the logical follow-up to "Little Old
Lady," featuring an entire group of Grannies hipper than yourself. "Sidewalk Surfin'" made sure skateboarders weren't
overlooked; it used the melody of Wilson's Beach Boys tune "Catch a Wave."
The T.A.M.I. Show was a big event for rock music fans, hosted by Jan and Dean during two nights of filming in October
1964 at the Santa Monica Civic Auditorium. Shot on videotape and later transferred to film for a theatrical premiere in
December, the all-star concert featured James Brown, The Rolling Stones, Lesley Gore, The Supremes, J&D partners-in-
crime the Beach Boys and many others. The film's theme, "(Here They Come) From All Over the World," was written by P.F.
Sloan and Steve Barri (of The Fantastic Baggys, another sometimes-backup band for Jan and Dean) and a live performance
by the duo was released as a single, even though the version heard at the beginning of the film was a studio recording.
Following the high of hosting one of the all time great, star-studded music movies, Jan and Dean's singles began showing
sings of weakness. Like Brian Wilson, Berry and Torrence were huge fans of producer Phil Spector; "You Really Know How
to Hurt a Guy" was produced by Jan in a Spectoresque "Wall of Sound" style and hit the top 40 at the start of summer
1965. Sloan and Barri's "I Found a Girl" had more in common with their early recordings and was also a top 40 hit. Jan
released another solo single, his one attempt at a protest song, "The Universal Coward" (a takeoff on "The Universal
Soldier," a fall '65 hit for both Donovan and Glen Campbell), but like the earlier Berry single, it didn't catch on.
Meanwhile, Dean sang on the early 1966 Beach Boys hit "Barbara Ann." When the Batman TV series premiered on ABC-TV in
January and immediately dominated in the ratings, the duo released their own "Batman" single (with no similarities to
the show's theme by Neal Hefti), a cartoonish take on Gotham City's dependancy on the Caped Crusader.
If the best days were behind them, any chance of a resurgence was extinguished in April 1966 when Jan Berry ran into a
parked truck while driving his Corvette Stingray not far from the location detailed so morbidly in "Dead Man's Curve."
He suffered brain damage and paralysis resulting in limited use of his limbs, including his legs (doctors diagnosed that
he would never be able to walk again). The likelihood of his making records or performing in the future was slim, but
Dean Torrence continued solo, releasing several singles under the name of the duo. Their contract with Liberty had
expired and the label released a few older recordings as singles, including the act's last top 40 hit that summer,
"Popsicle" (a remix of a 1963 recording, "Popsicle Truck"). Dean formed the J&D label and licensed one track, "Yellow
Balloon," to Columbia Records (competing in the spring of '67 with a version by a band named The Yellow Balloon, which
became the hit). He also started his own company, Kittyhawk Graphics, geared specifically toward creating logos and
cover art for music acts and, with artist Gene Brownell, won a Grammy Award in the category of Best Album Cover for
designing the cover art for the 1971 release by the band Pollution.
There were no further chart appearances for the duo after 1967. Berry rehabbed successfully enough over the next few
years to return to studio recording and the two worked together off and on. Live appearances were trickier, as Jan's
struggles were all too obvious to concertgoers, but they kept at it and made regular appearances in the '70s and '80s as
headliners (with a new backup band, Papa Doo Run Run, named after a variation on the lyrical intro of "The New Girl in
School") and as an opening act for longtime colleagues The Beach Boys. Jan Berry passed away in 2004 at the age of 62.
Dean Torrence still performs occasionally under the name The Jan and Dean Show in memory of his close friend and musical
other half. Music fans will always keep that image of two guys with a "very California look" in their minds and hearts.
- Michael Jack Kirby
NOTABLE SINGLES:
Jennie Lee - 1958
by Jan and Arnie
Gas Money - 1958
by Jan and Arnie
Baby Talk - 1959
There's a Girl - 1959
Clementine - 1960
We Go Together - 1960
Gee - 1960
Heart and Soul - 1961
Wanted, One Girl - 1961
Tomorrow's Teardrops - 1961
by Jan Berry
A Sunday Kind of Love - 1962
Tennessee - 1962
Linda - 1963
Surf City - 1963
Honolulu Lulu - 1963
Drag City - 1963
Dead Man's Curve /
The New Girl in School - 1964
The Little Old Lady (From Pasadena) - 1964
Ride the Wild Surf /
The Anaheim, Azusa and Cucamonga Sewing Circle, Book Review
and Timing Association - 1964
Sidewalk Surfin' - 1964
(Here They Come) From All Over the World - 1965
You Really Know How to Hurt a Guy - 1965
I Found a Girl - 1965
The Universal Coward - 1965
by Jan Berry
A Beginning From an End - 1966
Batman - 1966
Popsicle - 1966
Fiddle Around - 1966
Yellow Balloon - 1967
... harmonizing with the Universe. Do you hear the rhythm in the background?
OM MANI PADME HUM OM MANI PADME HUM OM MANI PADME HUM
Om mani padme hum
From Wikipedia, the free encyclopedia
The mantra in Tibetan script.
"om manipadme hūṃ", written in Tibetan script on a rock outside the Potala Palace in Tibet.Om mani padme hum (Derived from the Sanskrit, Devanagari ओं मणिपद्मे हूं, IAST oṃ maṇipadme hūṃ),mani meaning the jewel and Padma-the lotus. The six syllabled mantra of the bodhisattva of compassion, Avalokiteshvara (Tibetan Chenrezig, Chinese Guanyin). The mantra is particularly associated with the four-armed Shadakshari form of Avalokiteshvara.
The Dalai Lama is said to be an incarnation of Chenrezig or Avalokiteshvara, so the mantra is especially revered by his devotees and it is commonly carved onto rocks and written on paper which is inserted into prayer wheels, said to increase the mantra's effects.
"It's the time of the season for loving." That was the beautifully harmonized refrain from a 1960's hit by the Zombies. See: www.youtube.com/watch?v=hfwFpRnOeGg&feature=related . In this photo, I am playing on Leslie Anne's carpet before snuggling up on her "comfy couch."
It is late summer on the Texas Gulf Coast, a time of blazing heat and torrential rain. The juicy peaches from several parts of Texas are gone along with our canteloupes, plums, and sweet corn, but I can still get them from other parts of the country. Fresh squash, okra, tomatoes, and watermelons are still available locally. All of these are symbols of summer, especially in June when they are just starting to arrive. Growing up I took fresh fruit and veggies for granted because our nation grows just about everything and ships them by rail and truck all across our land.
Looking back 50 years, I remember how special it was in June when school was out for the summer, swimming pools were open, and my grandparents would take us to visit kinfolks in Central Texas. Besides Texas produce sold at the outdoor fruit stands along the roads, my grandparents, aunts, and uncles grew their own tomatoes, cucumbers, squash, okra, corn, peaches, plums, and cantaloupes. Seeing the rolling hills of Texas and my kinfolks after spending a nine month schoolyear in flat Houston was always a treat. If our visit included the Fourth of July, there would also be fireworks, a military parade from nearby Fort Hood, a big outdoor rodeo featuring local cowboys and cowgirls, plus swimming in the creeks, watermelon, and fresh homemade peach ice cream to cool down after 100 degree days. Twenty years later, Fort Hood was one of the places I spent blazing summers maneuvering my tank and firing my cannon day and night. Before it was banned, we had beer out on the firing ranges after we completed our tank crew qualification runs.
The angle of the sun at a certain time of the day and season of the year can bring back memories. This is the time of the year when most of the summer's adventures would soon be over. Not the heat: besides the remainder of August, September is mostly a hot month, and so can October. The stores are already full of school supplies and back-to-school clothing. School no longer has any bearing on my life, although with the fall fashions arriving, summer clothes are on sale. If only I could afford them! Oh well, I'll still be swimming, sunning myself, and wearing skimpy summer clothes for another two months.
Another sign of the season: green chiles from Hatch, New Mexico! Two weeks ago I used the last of the 2011 green chiles in a pot of frijoles, and a few days ago, I fixed a pot of chicken soup with some 2012 green chiles. It is a very good year (like last year) for green chiles!
Inspired by all the great junkartist here, I decided to create a few ray guns,
just for the fun of it! This is my second one: The Harem's Harmonizer.
Mixed materials, approx. 27cm tall, 15cm wide and 16cm high.
Materials used: part from a vintage moped, vase, lid from a vintage wooden carddeck box and some other bits and pieces…
Check out more rayguns at my ray gun shop at raygun.nl
Madre Tierra es capaz de revivir, resucitar, armonizar, recuperar daños del ser humano. Madre Tierra podemos ser nosotros. / Mother Earth is able to revive, resuscitate, harmonize, recover human damages. Mother Earth can be us.
Modelo: Silvia
Place: El Espinar, Segovia
“Panels of mauve plush edged with gold gimp harmonize with redwood walls. Redwood battens and moldings have Gothic profiles. Indirect lighting and diffused light from wall fixtures softly illuminate surfaces and details, while hanging chandeliers sparkle against the dark heights of the roof timbering. Tables of dark oak and chairs cushioned with rose velvet supplement the furnishings selected from the owner's collection of medieval pieces. Wall coverings, light fixtures, and furniture - even the heraldic crest of the owner's initial ornamenting the entrance door - were fashioned from designs by Maybeck.”