2008 – Metallica have just premiered the video for their single “The Day That Never Comes” on their MySpace page. The epic clip was directed by Danish director Thomas Vinterberg and filmed this past July in southern California.
On working with the acclaimed filmmaker, Hetfield explained to MTV.com, “That’s the beauty, I think, of writing vague but powerful lyrics — that someone like a movie director can interpret it in his own way and obviously, someone creative is able to take the metaphors and apply them to whatever he needs in his own life.” Go Watch The Video
The band have also just unveiled another song from their upcoming album Death Magnetic. The hard-charging track, “Cyanide” is now available for sale on iTunes.
The leak: Seems some diehard fans got their hands on the album early and it’s all good with Lars. Blabbermouth has a little on that: Metallica drummer Lars Ulrich has commented on the premature release of the band’s new album, “Death Magnetic”, via a French record store. A shop in Paris reportedly sold a number of copies of the CD this morning well ahead of its official September 12 worldwide release date with illegal “Death Magnetic” MP3 files making their way online by this afternoon.
During a guest appearance earlier today on “The Woody Show” on the San Francisco, California radio station Live 105 (KITS 105.3 FM), Ulrich stated about the French leak, “Listen, we’re ten days from release. I mean, from here, we’re golden. If this thing leaks all over the world today or tomorrow, happy days. Happy days. Trust me. Ten days out and it hasn’t quote-unquote fallen off the truck yet? Everybody’s happy. It’s 2008 and it’s part of how it is these days, so it’s fine. We’re happy.”
2008 – The Times: The story in this morning’s paper is on the ruses various celebrities use to evade reporters outside the main criminal courthouse in Manhattan. Actor Rip Torn, for example, once led paparazzi through a park and past a gaggle of chanting construction workers before jumping into the cab of an occupied 18-wheeler, jumping out again, and rolling underneath the truck. Kirk Jones snuck in a side entrance while his driver successfully impersonated the rapper to photographers, sultry actress Uma Thurman enlisted the help of court officers and producer Sean Combs has a mini secret-service brigade. But the most fascinating courthouse celebrity by far is criminally insane singer Courtney Love, who sashays in and out of the building as though surrounded by adoring fans:
Courtney Love used the sidewalk like a red carpet, chatting and joking with reporters…
Sometimes celebrities do what they do best: bask in the attention. Ms. Love latched onto her lawyer, Scott B. Tulman, as they left the courthouse and gushed as if they were an item:
“Isn’t he handsome? Isn’t he beautiful?” Ms. Love then suggested she was pregnant with Mr. Tulman’s child.
“Are you out of your mind?” Mr. Tulman recalled telling her. “What are you doing?”
Another day outside the courthouse she finished off a partially smoked cigarette that she bummed from a passer-by.
“It’s like having a wild kid,” Mr. Tulman said. “After a while, you just shake your head.”
PR consultant Eric Dezenhall told the Times Love’s antics are fine, since “anything that extends the half-life of her career is probably a net positive.” Uh, sure. Maybe even get charged with more crimes like disorderly conduct and so forth and get spotted outside the glamorous criminal courthouse even more often, maybe!
2008 – Alton Kelley, one of the founding members of the ’60s San Francisco rock scene, died Sunday June 1st, 2008 at his home in Petaluma after a long illness. He was 67.
Mr. Kelley will be remembered as the creator (with his artistic partner, Stanley Mouse) of hundreds of classic psychedelic rock posters, such as the famed “skull and roses” poster for a Grateful Dead show at the Avalon Ballroom. Mr. Kelley and Mouse created 26 posters for just the first year of the Avalon’s operation.
But Mr. Kelley was also one of four people who called themselves the Family Dog and decided to throw the world’s first psychedelic dance-concerts at Longshoreman’s Hall in September 1965, essentially starting the San Francisco scene. The quartet had just returned to the Bay Area after spending an LSD-drenched summer restoring a silver rush dancehall in Virginia City, Nev., called the Red Dog Saloon.
Mr. Kelley, a motorcycle enthusiast since his New England youth who painted pinstripes on bike gas tanks, designed the flyers advertising the original Family Dog shows, but lacked drafting ability. When he met Stanley Mouse, who had recently relocated from Detroit where he made a name for himself doing hot rod art, Mr. Kelley found the draftsman he needed. The two formed Mouse Studios and cranked out art together, Mr. Kelley’s drawing skills eventually improving to the point where left-handed Mr. Kelley would be working on one side of the easel, right-handed Mouse on the other.
“He had the most impeccable taste of anybody I knew,” said Mouse, “He would do the layouts, and I would do the drawing.”
They worked together steadily for 15 years and on and off thereafter. Their Mouse Studios was located in a converted Lower Haight firehouse where Janis Joplin first rehearsed with Big Brother and the Holding Company. They also opened a store called Pacific Ocean Trading Company (POT Co.), one of the first head shops in Haight-Ashbury. Recently, the two collaborated on the cover to the program for this year’s Rock and Roll Hall of Fame induction dinner.
Mouse said they could work for hours in silence. “We knew what to do,” he said. “We didn’t have to talk.”
During the heyday of the Avalon Ballroom, the pair would frequent the public library looking for images they could employ in their poster-making; Edward Curtis photographs of American Indians, illustrations from 19th century novels (the skull and roses was adapted from “The Rubaiyat of Omar Khayyam”), often laughing so loud at what they found the librarians would ask them to leave.
“They thought it was the funniest stuff in town,” said Paul Grushkin, author of “The Art Of Rock.
“The twinkle in Kelley’s eye – he knew it was all a giggle.”
“Stanley and I had no idea what we were doing,” Mr. Kelley told The Chronicle last year. “But we went ahead and looked at American Indian stuff, Chinese stuff, Art Nouveau, Art Deco, Modern, Bauhaus, whatever. We were stunned by what we found and what we were able to do. We had free rein to just go graphically crazy. Where before that, all advertising was pretty much just typeset with a photograph of something.”
The work of Mr. Kelley and Mouse has come to be recognized as a 20th century American counterpart to the French poster art of Henri de Toulouse Lautrec during the Belle Epoque, although the two psychedelic artists never imagined at the time they were creating anything of enduring value, anything more than another crazy poster for this week’s Avalon show.
“We were just having fun making posters,” said Mouse. “There was no time to think about what we were doing. It was a furious time, but I think most great art is created in a furious moment.”
Mr. Kelley continued to make posters all his life, although his artwork in the recent past concentrated on his air-brushed paintings of hot rods and custom cars that was both sold as fine art and reproduced on T-shirts.
He is survived by his wife, Marguerite Trousdale Kelley, and their children: Patty of San Diego, Yosarian of Seattle and China of Sacramento; two grandchildren; and his mother and sister.
Memorial plans are pending.
Contributions can be made to the Washington Mutual Western Street branch in Petaluma for a memorial bench in Sonoma County Park.
2005 – Graying rock legend Iggy Pop is fined by the Swiss city of Lucerne for performing his music too loud at the Blue Balls festival in July. Pop and The Stooges were clocked at 102.5 decibels.
2004 – Dick Clark suffers from a stroke. A spokesman for Clark tells Chart Toppers.com that the legendary television personality “is going to be fine.” Clark turned 75 the previous week.
2001 – Jazz tenor saxophonist Harold Land dies in Los Angeles after a stroke. He is 73. Land gained prominence in 1954 when he joined a quintet led by trumpeter Clifford Brown and drummer Max Roach.
For many performers, working with a string section is a long-held dream. The lush backdrop warmly supports an instrumentalist or a singer, setting the stage for emotional, often unforgettable performances. Listen to orchestral albums by such greats as Charlie Parker, Billie Holiday, Sarah Vaughan, Clifford Brown, and Johnny Hodges, and the beauty and feeling that arise from these situations is soon appreciated.
A Lazy Afternoon is a stellar contribution to this genre. Here, the consummate tenor saxophone artistry of Harold Land, easily one of jazz’s premier improvisers, meets the sumptuous string orchestrations of Ray Ellis, who is best recalled for Lady in Satin, a 1958 session for Columbia Records for which he wrote gorgeous string backdrops for Holiday.
A Lazy Afternoon features ear-pleasing renditions of such evergreens as “You Go To My Head,” “Invitation,” “You Don’t Know What Love Is,” “Nature Boy,” “In A Sentimental Mood,” “Wave,” and the title track, “Lazy Afternoon.” Land and the string and orchestral palette are accompanied by the ace rhythm team of Billy Higgins (drums), William Henderson (piano), and James Leary (bass).
The tenor saxophonist, who will always be remembered for his scintillating performances with the masterful quintet led by trumpeter Brown and drummer Max Roach in the mid-50′s and with the internationally acclaimed quintet he co-led with Bobby Hutcherson in the late ’60s and early ’70s, fits superbly into the context. He employs his rugged, individualistic style and his trademark expressive tone, mixing compelling melody readings with alluring improvisations.
For years, Land had wanted to do an album with strings, having been touched by recordings by Parker and Brown, as well as by Lady in Satin. And his appearances with Tony Bennett in the late ’60s and ’70s also flamed his desire for a string album. Then, he’d join the singer, mostly in Las Vegas, but occasionally on tours of Latin America, serving as the star soloist with the full orchestra that backed Bennett and reaching audiences that might not have otherwise known of his work. “Those appearances were always memorable and helped foster the desire in my soul to make an album with strings,” says Land.
A Lazy Afternoon came to fruition when a story on Land, written by Jason Fine in Option magazine, told of his wish to make a string album. Postcards A&R Director Ralph Simon read the story, liked the idea and, being another fan of Lady in Satin, tracked down Land and then Ellis, both of whom live in Southern California.
Both principals, who had never worked together prior to A Lazy Afternoon, were enthusiastic about the collaboration. “Harold is a beautiful guy, and laid-back, and he plays that way,” says Ellis. “The album feels real good to me.” “Ray’s beautiful writing was so tasteful and romantic — that’s a good word,” says Land. “The album worked out the way I wanted. With the turbulent state of affairs in this country, as well as the world, I would hope this album would manifest a little peaceful feeling, a positive effect, to all who hear it, as opposed to the negativity we are bombarded with every day. That feeling of peace is something I have been trying to express through music for a long time and, hopefully, this album will be a continuance of that effort.”
The saxophonist and the arranger have lived fulfilling artistic lives. Land, born in Houston and raised in San Diego, moved to Los Angeles in the early ’50s. In 1954, he joined the famed Brown-Roach quintet, with which he toured the United States and recorded several albums for EmArcy (all of which are available as reissue CDs). After two years with the ensemble, Land felt the need to be closer to his family, which was in Los Angeles, and so he returned and has resided there ever since. Land recalled the mid-to-late ’50s, when LA was teeming with jazz. “That was a very healthy period here,” says the tenorman. “A lot of clubs around the city had a six-night-a-week policy, and most musicians were working.”
He soon began to establish himself as one of the most singular and powerful of jazzmen, making albums with bassists Red Mitchell and Curtis Counce and then, in 1958, making his 12” LP debut (he had recorded four selections in 1949 that were released by Savoy). Harold in the Land of Jazz was issued on Contemporary Records, and was followed a year later by The Fox, on HiFi Jazz (available as a Contemporary Records reissue), which many consider his best early recording. He also began performing with Gerald Wilson’s orchestra, and with pianists Hampton Hawes and Carl Perkins, becoming an essential cog in the wheel of Los Angeles jazz. Nonetheless, the saxophonist didn’t really get much exposure outside LA until he formed a quintet with vibist Bobby Hutcherson in the late ’60s. The band recorded for Blue Note and toured the US and Europe. “There were a lot of similar things that Bobby and I responded to emotionally and musically,” Land says.
Also during the ’60s, Land, like so many saxophonists, became enamored with John Coltrane, and he found that both his smooth sound and his approach to improvising changed during this period. “John definitely inspired me with his intense spirit, and I usually say that spirit moved me so much that I became a little more intense in my own musical presentation,” says Land. “At the same time, I was trying to maintain a certain individuality that I hope I have managed to do.”
In the late ’70s and ’80s, Land joined the Timeless All-Stars, which also included Higgins, Hutcherson, Cedar Walton (piano), and Curtis Fuller (trombone). In and around performances with the Timeless band, Land fronted fine quintets that featured trumpeters Blue Mitchell (their Mapenzi, on Concord Jazz, is a classic) and Oscar Brashear (documented on Xocia’s Dance on Muse). Land remains one of the most impressive and deep improvisers in jazz. As is said in the Penguin Encyclopedia of Popular Music, “Land is a fine musician who has not received the fame he deserves.”
Ellis, a Philadelphia native, was originally a tenor saxophonist who taught himself to write while serving in the Army band during World War II. His first commercial charts were crafted in the mid-’50s for pop singers such as the Four Lads (“Moments to Remember,” “Standing on the Corner” — both Billboard Top 10 pop chart hits) and Johnny Mathis (“That Certain Smile,” “Wild Is the Wind”). Later, during his tenures at Columbia, MGM, and RCA Records, he wrote arrangements for hit records by Connie Francis (“Where the Boys Are”), Bobby Darin (“Splish Splash”), Clyde McPhatter (“Lover’s Question”), Brook Benton (“It’s Just a Matter of Time”), and Tony Bennett (“Firefly”). “I think I was a success because I figured out how to write what the producers wanted,” he says.
But the biggest record of Ellis’s career is the timeless Lady in Satin, on which Holiday sang such torch songs as “You’ve Changed” and “Violets for Your Furs.” “Billie picked the tunes and they were all stories of unrequited love — the story of her life,” Ellis recalls. The recording, done in three sessions at Columbia’s then-fabled 30th street studios in New York, was mostly a series of first takes. Her raw talent and emotional quality were astounding, and really moved Ellis. “It was great,” he says of her ability to give the songs meaning. And the album has held up, he feels. “It still sounds contemporary, and people keep calling me because of it,” says Ellis, who has also scored for television, including a theme for NBC’s “Today” show which has run from the ’70s into the ’90s.
Now, Ellis has written the kind of arrangements that have moved Land to deliver powerful performances. It seems clear that people will be talking about, and listening to, A Lazy Afternoon for years to come as well.
Harold Land Discography (as a leader)
Grooveyard (Contemporary) 1958
Harold in the Land of Jazz (Contemporary/OJC) 1958
The Fox (HiFi Jazz/OJC) 1959
Eastward Ho! Harold Land in New York Jazzland (OJC) 1960
Westcoast Blues! Jazzland (OJC) 1960
Hear Ye! Harold Land Quintet with Red Mitchell (Atlantic) 1961
The Peacemaker (Cadet) 1967
Take Aim (Blue Note) 1969
Jazz Impressions of Folk Music (Imperial) 1971
A New Shade of Blue (Mainstream) 1971
Choma (To Burn) (Mainstream) 1971
Damisi (Mainstream) 1977
Total Eclipse (with Bobby Hutcherson) (Blue Note)
Mapenzi (Concord Jazz) 1977
Xocia’s Dance (Muse) 1981
A Lazy Afternoon (Postcards) 1995
Promised Land (Audiophoric) 2001
1999 – Madonna sues her accounting firm for breach of contract and malpractice. Padell, Nadell, Fine, Weinberger & Co. declared she was a resident of California on her tax return, forcing her to pay a whopping $2 million in New York state taxes.
1998 – Recording artist George Michael pleads no contest in Beverly Hills Municipal Court to committing a lewd act in a park restroom. Michael, who does not appear in court for arraignment on the misdemeanor charge, is fined $810, given 80 hours of community service and ordered to undergo counseling.
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