Whitney Houston just unveiled the album cover for her long-awaited comeback LP, I Look To You, dropping September 1.
What do you think? Is it jazzy enough?
The disc will be the diva’s seventh studio album and represents a return to the industry after a seven-year hiatus that included a divorce from former husband Bobby Brown and [...]
Posts Tagged ‘Houston’
Whitney Houston “I Look To You†Album Cover
Weaving the way
By Jonathan Fildes
Science and technology reporter, BBC News
As Apollo 11 sped silently on its way to landing the first men on the Moon, its safe arrival depended on the work of a long-haired maths student fresh out of college and a computer knitted together by a team of "little old ladies".
Now, 40 years after Apollo 11 landed Neil Armstrong and Buzz Aldrin on the Moon, the work of these unsung heroes who designed and built the Apollo Guidance Computer (AGC) is back in the spotlight.
"I wasn’t so aware of the responsibility at the time – it sort of sunk in later," said Don Eyles, a 23-year-old self-described "beatnik" who had just graduated from Boston University and was set the task of programming the software for the Moon landing.
"I don’t recall the risk and the responsibility and the fact that other people’s lives were to some extent in our hands."
But if Mr Eyles embodied the young, can-do attitude of many of the 400,000 people who are estimated to have worked on the Apollo programme, the "little old ladies" epitomised a more cautious approach.
"Why was onboard navigation a basic requirement for Apollo Well, because the Russians might not play fair"
Richard Battin
Director of the AGC project
The team of ex-textile workers and watch-makers were employed by defence firm Raytheon to "weave" the software into the memory of the computer.
"The astronauts toured the production facilities and got people to realise that it was real and they were real," explained Eldon Hall, designer of the AGC.
"The little old ladies said: ‘that could be my son so I am going to do my job as well as I can’."
Computer Jam
The AGC was a first-of-its-kind device that would become the forerunner of all "fly-by-wire" aircraft systems and the computer that would land man on the Moon.
"The computer was tiny compared to the one in your cell phone," said Mr Eyles. "Tiny in every dimension except size."
The one cubic-foot-sized machine had the equivalent of 160 kilobytes of memory and could do a very simple addition in 24 microseconds.
"That may sound very fast, but compared to modern computers that’s extremely slow," said Mr Eyles. "You have to understand that anything the computer did was made up of thousands if not millions of instructions."
Although relatively lethargic and cumbersome, Nasa realised early on that an onboard digital computer was the only way to guarantee success.
"Why was onboard navigation a basic requirement for Apollo Well, because the Russians might not play fair. They might jam communications," Dr Richard Battin, director of the AGC project, recently told a conference.
In addition, the missions were so complex that the fledgling space agency could see no other way for the astronauts to reach the Moon.
"The pilots could not fly the thing… even though they kept thinking they would," explained Mr Hall.
In fact, some engineers thought that any intervention from the astronauts was completely unnecessary.
"From our point of view the guidance system could be completely without the pilot," Mr Hall told BBC News.
The contract to build the system – between the Massachusetts Institute of Technology and Nasa – was the first of the Apollo programme and was signed just 76 days after JFK outlined his plans, highlighting the importance placed on the machine.
But Mr Hall remembers that many remained sceptical that it would work.
"One you get it wired it’s not going to change without breaking those wires"
Eldon Hall
"The biggest problem was convincing people that a computer could be reliable," he said. "That was harder than designing it."
In the 1960s most computers were still housed in their own building and required huge amounts of power and frequent repairs.
In contrast, the AGC had to be small, lightweight, never fail and consume less power than a 60 watt light bulb. It also had to be designed and built in eight years or less by a team that were themselves grappling with new ideas.
"I only heard the word ‘digital’ once through my entire time at university," admitted Mr Hall.
But the MIT lab had a long history of designing instrumentation for weapons and aircraft and it was felt that the team of engineers were up to the task.
Early on, the constraints of the size and the requirements of the computer forced the team to make some bold decisions.
One of these was to use a fledgling technology known as integrated circuits – today, more commonly known as silicon chips. The first working circuit had only been shown off in 1958.
"It was an extremely courageous decision that was probably vital to the success of the mission," said Mr Eyles.
To simplify the design and manufacture – and, crucially, minimise the risk of failure – the computer used just one type of circuit.
The decision also ensured that the fast-changing silicon industry had an incentive to continue to produce the chips for the whole of the Apollo programme.
"The whole field was changing so rapidly that it was almost a suicide risk to choose one and use that thing to fly to the Moon 10 years later but that’s what we had to do," said Mr Hall.
However, the entire computer was not so hi-tech. In order to make sure that the software was robust it was "woven" into so-called "rope core memories".
These used copper wires threaded through or around tiny magnetic cores to produce the ones and zeroes of binary code at the heart of the software.
Pass the copper wire through the core and the computer read it as a one. Pass it around and it was read as a zero.
"Once you get it wired it’s not going to change without breaking those wires," said Mr Hall.
The rope core memories would become know as "LOL memory" after the "little old ladies" who knitted together the software at a factory just outside Boston.
These ladies would sit in pairs with a memory unit between them, threading metres and metres of slender copper wires through and around the cores.
"It’s an extremely time-consuming process and it meant that the programs had to be finished and fully tested months in advance," said Mr Eyles.
"It’s only now with the perspective of 40 years that Apollo stands out as a unique event, probably never to be repeated in my lifetime"
Don Eyles
"But it is extremely robust – that information probably still exists despite being left on the Moon."
To ensure reliability and the highest possible standards from the ladies, Nasa also chose to go on a PR mission to the factories.
"We used to go to the cafeteria and the astronauts would come in," said Mary Lou Rogers, one of the ladies who worked on the Apollo line.
"They’d explain the Moon shot and thank us for what a good job we were doing.
"Everybody got all excited when they came in – we were a bunch of married women with children."
However, Nasa did not just leave quality control to good will and chance, said Mrs Rogers, who also worked on Intercontinental Ballistic Missile programmes.
"[Each component] had to be looked at by three of four people before it was stamped off. We had a group of inspectors come in for the Federal Government to check our work all the time."
"It was bad when we worked on Poseidon and Trident. But nothing as bad as when we were on Apollo."
‘Spring loaded’
In the end, the attention to detail seemed to have paid off. On 20 July 1969, Neil Armstrong and Buzz Aldrin separated from the command module containing Michael Collins and began their descent to the lunar surface.
But just minutes before Neil Armstrong confirmed to Houston that the "Eagle had landed", the normally cool-headed astronaut was having a slightly more urgent exchange with mission control.
"Program alarm," the ex-fighter pilot called out over the radio.
Armstrong was confronted with a yellow warning light on the AGC, indicating a problem.
"When I heard that the computer was restarting I was very nervous because I thought something serious was going on, really serious," said Mr Hall, who – like 600 million other people – was watching the Moon landing on television.
"I was shaking in my boots. I was very concerned that they would have to abort."
Over the course of the next seven-and-a-half minutes the alarms sounded five more times; the last one went off just 2,000ft above the dusty lunar surface.
Each time Mission Control gave the command to press on with the landing.
Armstrong later explained: "In simulations we have a large number of failures and we are usually spring-loaded to the abort position.
"In the real flight, we are spring-loaded to the land position."
Seven-and-a-half-minutes after the first program alarm, Armstrong uttered the immortal words: "Houston, Tranquility Base here. The Eagle has landed."
But Mission Control had not been reckless. The Apollo Guidance Computer had worked perfectly.
Frantic analysis at MIT and in Houston determined that the alarms stemmed from a mistake in the astronauts’ training.
Although not needed for the landing, the rendezvous radar – used when the astronauts returned to the Command Module – was switched on in case the descent had to be aborted at short notice.
The data had overloaded the computer, which dealt with the problem by shedding "low priority tasks" and keeping life-critical functions running.
"The operating system was designed to handle that kind of problem," said Mr Hall.
"The computer was still functioning even though people still say it was failing," he added. "It was saving the mission."
In the end, the AGC and the sometimes-unlikely list of characters who designed and built the machine had succeeded: they had helped land the first men on the Moon and return them safely to Earth.
"It’s only now with the perspective of 40 years that Apollo stands out as a unique event, probably never to be repeated in my lifetime," said Mr Eyles.</p
This article is from the BBC News website. © British Broadcasting Corporation, The BBC is not responsible for the content of external internet sites.
Woods targeting 15th major title
The 138th Open, Turnberry
Date: 16-19 July
Coverage: Live TV coverage on BBC Two, Online and the Red Button, live on Radio 5 Live and text commentary online on all four days

By Rob Hodgetts
BBC Sport at Turnberry
Tiger Woods seeks a 15th major title and Padraig Harrington a third straight Claret Jug when Turnberry hosts the 138th Open Championship on Thursday.
Woods missed Royal Birkdale last year through injury as Ireland’s Harrington won back-to-back Open titles.
World number two Phil Mickelson is missing from the field of 156 to be with his wife who has breast cancer.
World number three Paul Casey will lead the home challenge as Britain seeks a first major champion in 10 years.
Woods, who won the last of his three Open titles at Hoylake in 2006, is the hot favourite to win on the Ayrshire coast after claiming three titles in his eight strokeplay events since returning from eight months out following knee surgery.
The world number one has also finished no worse than ninth since his comeback and is a confirmed admirer of links golf.
"I just fell in love with being able to use the ground as a friend, as an ally," he said at Turnberry on Tuesday.
"Anytime you have a chance to lift the Claret Jug it’s special."
Woods tees off at 0909 BST on Thursday, playing alongside England’s Lee Westwood and young Japanese star Ryo Ishikawa.
Harrington went on to win the USPGA in Woods’s absence last summer, and would become the first man since Australian Peter Thomson in 1952-54 to win a hat-trick of Opens.
ROB HODGETTS BLOG
But the 37-year-old has been struggling for form and has missed five of his last six cuts as he tries to bed down swing adjustments which he says will make him even better in the long-term.
"I’ve not really shown much form and I’m not really knowing what to expect," he said. "I could only be hopeful, rather than expectant, to put in a good performance this week."
Harrington will begin his quest for a fourth major title at 1420 BST in the company of two former US Open champions, American Jim Furyk and Australian Geoff Ogilvy.
England’s Casey rose to number three in the world after victories in Houston and at Wentworth this season and will spearhead the task of securing Britain’s first major championship since Paul Lawrie won the Open at Carnoustie in 1999.
Compatriot Ian Poulter is also tipped by some to go one better than last year when he finished second behind Harrington at Royal Birkdale.
Another home player being talked up is Northern Ireland’s Rory McIlroy.
The 20-year-old, who became the youngest player ever to reach the world’s top 50 at the end of last year, rose to prominence after a first-round 68 as an amateur in 2007.
Now ranked 22nd, McIlroy is one of the game’s rising stars and could become the youngest winner of the Open since 1900.
Turnberry has staged the Open three times before and on each occasion the man arguably regarded as the best player in the world at the time triumphed – Tom Watson (1977), Greg Norman (1986) and Nick Price (1994).
The 59-year-old Watson, a five-time Open champion, is back this week, as is the 54-year-old Australian Norman, who almost stunned the golfing world when he led going into the final day at Birkdale last year before finishing tied for third.
The Ailsa course has been lengthened since 1994, with 247 yards added to make it a 7,204-yard par-70 test. Several holes have been resculpted, a host of bunkers have been added and the rough has been left to grow long to provide extra defence.
"It’s a great venue, scenic and absolutely stunning," said Michael Brown, chairman of organising body the R&A’s championship committee.
"We think it will be a good and fair test for the players. For the most part they all seem to have liked it in practice and we hope that will continue."
Despite the tough economic climate, which has led to a drop in corporate ticket sales, the R&A are expecting more than 120,000 people through the gates this week, a significant rise on the 114,000 attendance in 1994.
"It’s a fabulous venue and must be kept on the Open rota."
The build-up to the tournament has been dominated by a spat between former Open and Masters champion Sandy Lyle and European Ryder Cup captain Colin Montgomerie.
Lyle, when asked by reporters if his own decision to walk off after 10 holes of last year’s Open had cost him the Ryder Cup captaincy, brought up an incident at the 2005 Indonesian Open when Montgomerie appeared to take an incorrect drop in a bunker after a rain delay.
Scotland’s Lyle, trying to defend his decision to withdraw from the Open because of injury, accused his countryman of cheating.
He said sorry at a news conference on Tuesday but Montgomerie, who was cleared of any wrongdoing at the time, described it as a "rather strange apology".
England’s Paul Broadhurst, New Zealand’s former US Open champion Michael Campbell and 1989 Open winner Mark Calcavecchia of the US are the first group out at 0630 BST on Thursday.
The forecast is for sunshine and showers on Thursday and Friday and drier for the weekend, though Saturday and Sunday could see more breeze. </p
This article is from the BBC News website. © British Broadcasting Corporation, The BBC is not responsible for the content of external internet sites.
One giant leap
In July 1969, astronaut Neil Armstrong’s ‘giant leap for mankind’ was watched by millions of people around the world.
The BBC’s aerospace correspondent at the time, Reg Turnill, reported on the Apollo 11 launch from the Kennedy Space Center in Florida, and later from mission control near Houston.
He is now retired, but here – with the help of archive material from the mission, and the US and UK number one records from that week – he recalls how Nasa rose to the challenge of putting man on the Moon.
Images courtesy Nasa, AP, PA, AFP and Getty Images.
Music by Zager and Evans (US number one at time of moon landing), Fifth Dimension,
Thunderclap Newman (UK number one at time of moon landing) and courtesy KPM Music.
Slideshow production by Paul Kerley. Publication date 16 July 2009.
READ MORE: Apollo 11 special report
Links
NasaThe BBC is not responsible for the content of external internet sites
More audio slideshows
To the Moon and beyond: Nasa at 50 The Information Revolution The art of camouflage</p
This article is from the BBC News website. © British Broadcasting Corporation, The BBC is not responsible for the content of external internet sites.
Steve Earle | 06.19.09 | Texas
Words by: Sarah Hagerman | Images by: Manny Moss
Steve Earle :: 06.19.09 :: Paramount Theatre :: Austin, TX
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In 1972 at The Old Quarter in Houston, a seventeen-year-old was playing to a nearly empty room. In the front row, the songwriter he idolized was sitting with his boots propped on the stage. Although his idol had a reputation for being a quiet, sensitive soul, tonight he was certainly loud and wasted, heckling the young musician to play “The Wabash Cannonball” between each song. Embarrassment growing in his mind, the young musician finally had to admit he didn’t know the song.
“You call yourself a folk singer and you don’t know ‘The Wabash Cannonball’?!” his idol yelled.
The young man gathered his composure and proceeded to play one of his idol’s own songs, and a complicated one to sing at that. Fast forward 37 years later, and the young songwriter has since survived years of dangerously hard living followed by a productive renewal of purpose in his sobriety, his salt and pepper beard now growing long. When he played that same song on stage at the Paramount Theatre in Austin, on a steamy June evening, he ripped into it with a vicious energy, after he recounted this story. When he was done, he looked up at the audience and finished the tale.
“And then he shut up,” he said.
The song was “Mr. Mudd and Mr. Gold,” and the two men in question were Steve Earle and Townes Van Zandt. Van Zandt would become a friend and teacher to Earle after that night, and Earle’s latest album Townes, an entire album of Van Zandt’s songs, is a testament to that artistic and personal influence. Many have covered Van Zandt, who passed away on New Year’s Day in 1997, his heart weakened by years of drug and alcohol abuse. But Earle is in a unique position to share some insight into the man behind the myths.
Steve Earle :: 06.19.09 :: Austin, TX |
Following an opening set by up-and-comer Joe Pug (of whom I only caught a couple songs that both displayed winning lyrical chops with a captivating stage presence), Earle took the stage, dedicating the show to Stephen Bruton, a much-loved Texas guitarist, songwriter and producer who recently passed away. Armed with acoustic guitars, mandolins and a harmonica, Earle wove his own material through Van Zandt’s in the setlist, the stripped down setting letting the hefty words of both songwriters sink in. It was interesting to notice how Earle’s demeanor seemed to subtly change as he performed the Van Zandt songs, his voice taking on a more guttural edge as he shuttered from side to side with possession. Tonight, we also sat down with Earle’s stories. Even if some stories are well repeated, like the story of their first face-to-face meeting at The Old Quarter (Earle had been working up the nerve to talk to Van Zandt for awhile before that, even watching him in awe at a birthday party for Jerry Jeff Walker he crashed, where Van Zandt showed up in the wee hours and quickly lost all his money and a buckskin jacket in a craps game), it was a way to celebrate the artistic legacy of a true genius while bringing him into a flesh and blood creature, bruises, moments of grace and all.
There’s something about Van Zandt’s writing which strikes me as sincere. It doesn’t fuck around. He would forgo heaps of twisting symbolism and artsy word play to keep things lean and deceptively simple, refreshingly naked with flab and pretension stripped away. I find his work is more devastating, more gorgeous, more graceful and more potent for that economy. Van Zandt’s words floor you with stark beauty captured in amber and then absolutely flatten your heart with a weighty fist. Earle really did his language justice in the live setting, lovingly singing the quietly sweeping love song (as much about a woman as the place itself) “Colorado Girl,” and resonating hushed despair with “Marie.” The latter, an upsetting portrait of a drifter couple, always crushes me. Before Earle played it, he said that although Townes himself came from a family with money, he “had a hard time figuring out why some people had so much and some people had so little, through no fault of their own.” Van Zandt used to bring homeless people in to feed them and give them a place to stay (even to other’s homes, when he didn’t have his own place, as Earle explained).
Steve Earle :: 06.19.09 :: Austin, TX |
Earle himself spent some time homeless when he was in the midst of his drug addiction, and Van Zandt even spoke to him about his problem at one point, in a visit during which he played Earle “Marie” for the first time. As Earle described it, it wasn’t a confrontation so much as Van Zandt asking Earle if he was using clean needles, but, as he said dryly, “You know you’re in trouble when Townes comes to your house to give you a temperance lecture.” To introduce “Pancho and Lefty,” he said he decided to record it first for Townes, jokingly likening it to your first day in prison, when you take on “the biggest motherfucker in the yard” to establish your toughness.
Earle has a lot of honesty and self-deprecating humor when it comes to his own life, giving him onstage accessibility and compassion with a no bullshit edge. He would never glamorize self-destruction. His tunes wind around that scar tissue, rising to the surface with a fighting spirit. He stubbornly refuses to accept that things should be the way they are, and thank god for that. Songs like “Rich Man’s War” boil over with anger at the inherent unfairness of the disconnect between who fights and who decides, while “The Mountain” looks at mountaintop removal mining from the eyes of a miner who calls the peak home, a gorgeous mando rolling with its heartbreak. Both songs were powerfully placed in a succession of Earle tunes, including the rousing “City of Immigrants,” which he played on an octave mandolin, and the gripping Celtic string band number “Dixieland,” before he capped off the set with a one-two punch of Van Zandt’s “Lungs” and “To Live is to Fly.”
As Earle said, introducing “Lungs,” “If this doesn’t scare you, you’re overmedicated.” He exhaled its chilling vapor over us:
Well, won’t you lend your lungs to me?
Mine are collapsing
Plant my feet and bitterly breathe
Up the time that’s passing.
Breath I’ll take and breath I’ll give
Pray the day ain’t poison
Stand among the ones that live
In lonely indecision.
Van Zandt’s music is often unfairly characterized as wholly gloomy, and much of it is heavy, even frighteningly so. His blues ran deep. But “To Live is the Fly” shows his gift at capturing illumination as well as darkness, even in the midst of his transitory existence. This song always gives me heartening acceptance, hope in strong proof. We often dwell in our tragedies, run from our mistakes. We fail, fall down, fuck up, but only by lifting ourselves back up do we gain grace.
Steve Earle & Townes Van Zandt |
We all got holes to fill
Them holes are all that’s real
Some fall on you like a storm
Sometimes you dig your own
But choice is yours to make
And time is yours to take
Some dive into the sea
Some toil upon the stone
To live is to fly
Low and high
So shake the dust off of your wings
And the sleep out of your eyes
Shake the dust off of your wings
And the tears out from your eyes
Earlier this year, on the night of Van Zandt’s birthday, March 7, at a wine bar down the street from my apartment, we sat outside and listened to a gentleman playing that very song. Turns out he knew Van Zandt, although not very well, he professed, but he shared a few stories with us (“The last time I saw Townes, he parked his car in the middle of the street in New Braunfels and wandered off with a bottle of vodka in his hand…”). Texans love their mythology, and it seems everyone’s got a tall tale or two about Townes in these parts, especially in these Austin streets haunted by the specter of musical legends. At one point during the show, a gentlemen sitting next to me said, his eyes turning to the Paramount’s ceiling, “You know, they say there’s ghosts in this theatre.” My goose bumps could have been from the air conditioning, but closing my eyes, as I listened to Earle sing his teacher’s enduring words, I wondered if he was right.
Continue reading for a more pics of Steve Earle in Austin…
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Steve Earle is on tour now, dates available here.
JamBase | High, Low And In Between
Go See Live Music!
Danny Huston ‘to star in new Robin Hood film’
‘X-Men Origins: Wolverine’ star Danny Huston has reportedly bagged a role in Ridley’’s Scott’’s new movie, based on the Robin Hood story.
The actor is said to appear alongside Hollywood biggies Russell Crowe and Cate Blanchett in the film, the BBC reports.
He might play the role of King Richard I in the film, opposite the ‘Gladiator’ [...]
Stanford chief ‘to plead guilty’

The former financial officer for Texan billionaire Allen Stanford’s empire is to plead guilty over an alleged $7bn (£4.3bn) fraud, his lawyer says.
James Davis formally pleaded not guilty at a court appearance in Houston.
But his lawyer, David Finn, told the court his client would change his plea to guilty within two weeks as part of an agreement reached with prosecutors.
Allen Stanford last month pleaded not guilty to the charges he faces. He is currently in detention awaiting trial.
They have been accused of involvement in a scheme which persuaded investors to buy $7bn worth of certificates of deposit from Stanford International Bank, located in Antigua.
Prosecutors say they "promised returns that were too good to be true".
Mr Davis, 60, has been charged with conspiracy to commit mail, wire and securities fraud, and conspiracy to obstruct a Securities and Exchange Commission investigation.
He pleaded not guilty to the three charges when he appeared at the court in Houston.
But, his lawyer David Finn, said Mr Davis would return to court to plead guilty to all charges.
He said the temporary not-guilty plea, given in court on Monday, gives officials time to fulfil a 2004 law requiring potential crime victims to be informed of a plea deal, the Houston Chronicle reports.
Once this is done, Stanford Financial Group’s former chief financial officer can change his plea. </p
This article is from the BBC News website. © British Broadcasting Corporation, The BBC is not responsible for the content of external internet sites.
Jonathan Sanchez Pitches First No-Hitter Of The Season
SAN FRANCISCO — On a night when Jonathan Sanchez was nearly perfect, his father chose the perfect time to show up in San Francisco and cheer him. The Giants’ left-hander threw the majors’ first no-hitter of the season Friday night and ca…
Sat Eye Candy: Bernie Worrell
HAPPY FREAKIN’ BIRTHDAY TO THE WIZARD OF WOO!!!
As much (and sometimes more than) George Clinton, Bernie Worrell has been the architect of the Parliament-Funkadelic sound, one of the late 20th century’s most permeating influences, stretching far beyond the corridors of “funk” or “soul” and into music as a whole. Tomorrow, Worrell turns 65 and we want the whole world to sing him a hearty “Happy Birthday.”
His work has touched the Talking Heads, Les Claypool and myriad others (including some REALLY nice work with the Eric McFadden Trio in recent years), and his creativity seems limitless and often unlike any other keyboardist in history. We offer up a tiny smattering of his work in celebration of his birth and encourage y’all to make your funk the P-Funk this weekendÂ…
Let’s jump on an insect and enjoy some quality improvising from Worrell, Warren Haynes, Will Calhoun (Living Colour) and Brett Bass.
While Parliament- Funkadelic is legendary for their sonic Viagra-like jams, it’s Worrell’s arrangements and horn charts that often provide much of the crispness and punch to their trademark sound. To wit, this ditty from Houston in 1976.
Most musicians would be super fortunate to be part of one massively influential band in their lifetime. Bernie Worrell has two, and though never an official member, his role in the Heads in the 1980s was pivotal. Here they are throwing sparks in Germany in 1980.
Bernie has a jester’s wit and a broad sense of play that he brings to the stage. For example, this craziness from back in the day, just one of the broad strokes he helped cook up that had P-Funk filling stadiums in the ’70s.
Worrell’s compositional sense can often be detected most clearly in later period Parliament like this wriggling salute to hitting it from the back, captured in rump-diddly-umptious style in 1981.
Dig this ultra-rare mix of musicians tearing up Creem’s “White Room.” The man keeps heavy company!
A vintage look at the boys at their start. Dig the juxtaposition of show host and this gaggle of super freaks.
No salute to Bernie would be complete without this Widescreen rock epic. This version is tinged with wonderful Pink Floyd patina, proof that Worrell is always listening to what’s happening around him. And then he ingests it for his own sustenanceÂ…and ours.
Things gets weird with this super nutty lineup, which includes Marc Ribot and Arto Lindsey on guitars. Play loud to scrape some paint off the walls.
Let’s boogie off into the weekend with our hands raised high and our spirits to match. Thanks for the music, Mr. Worrell. We think you’re the freakin’ bee’s knees, brother!
And don’t forget, you can eyeball video sweetness 24/7 with JamBase TV.
The Juan MacLean & Field Tour
The Juan MacLean and The Field co-headlining a full LIVE band U.S. Tour
Welcome back intelligent dance music, we’ve missed you. – Music OMH, February 2009
The Juan MacLean |
After releasing the much anticipated The Future Will Come (due 4/21 on DFA Records), Juan MacLean and Nancy Whang take The Juan MacLean on the road this spring. Juan, Nancy and band will be playing tracks live from The Future Will Come, which Filter magazine described as “perfectly orchestrated and directed to achieve maximum mood and dance-ability.” If the weather doesn’t make you sweat, your dance moves will.
The Juan MacLean is co-headlining the tour with Stockholm’s Axel Willner, aka The Field (Kompakt). After breaking out of the “boy and his laptop” mold following a tour with !!!, Willner teamed up with friends – percussionist/bass player Dan Enqvist and multi-instrumentalist Andreas Söderstrom to see what they could accomplish playing together. Modernizing their kraut rock influences, The Field recorded Yesterday & Today, due out May 19 on Anti- Records.
Co-sponsored by Scion and Nooka Toys, this is one dance party you do not want to miss.
Speaking of Nooka Toys, The Juan MacLean will have their very own Nooka Nooka Toy designed by Mike Vadino, who also designed the album cover for The Future Will Come.
The Juan Maclean and The Field US Tour Dates:
05/21: Cambridge, MA @ Middle East Downstairs
05/22: Philadelphia, PA @ Pure
05/23: Washington, DC @ Black Cat
05/25: Atlanta, GA @ The Earl
05/27: Miami, FL @ Liv @ Fountainbleu
05/29: Austin, TX @ The Mohawk
05/30: Houston, TX @ Numbers
05/31: Lobbock, TX @ Cactus Courtyard
06/03: San Diego, CA @ Casbah
06/04: Pomona, CA @ The Glass House
06/05: Los Angeles, CA @ Avalon Hollywood
06/06: San Francisco, CA @ Mezzanine
06/07: Portland, OR @ Doug Fir Lounge
06/08: Seattle, WA @ Nectar Lounge
06/09: Vancouver, BC @ Richards on Richards
06/11: Salt Lake City, UT @ Urban Lounge
06/12: Denver, CO @ Beta
06/13: Aspen, CO @ Belly Up
06/16: Chicago, IL @ Double Door
06/17: Cleveland, OH @ Grog Shop
06/18: Toronto, ON @ Tattoo
06/19: Montreal, QC @ Les Saints




Steve Earle :: 06.19.09 :: Austin, TX
Steve Earle :: 06.19.09 :: Austin, TX
Steve Earle :: 06.19.09 :: Austin, TX
Steve Earle & Townes Van Zandt

The Juan MacLean