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• Frank Zappa List of Members of the Senate
• Frank Zappa List of Members of the House
  
• The Onion Real World News. I get all my info here.
• Citizens Against Government Waste
• Three StoogesI get a lot of good info here.

A few of the Ye Ole Villagers and wayward citizens of the mind.

• Recipes From The Chefs Kitchen Recipes!
• Canvas Films Florida Commercial and Film Production from Director Phil Ruesch
  
• Grady Sain CEO Positive Fields, nonprofit community-based arts tech education center Positive Fields.org
• Paul Remo creator of NightLight Studio and his new venture Atomic Television Las Vegas https://atomic-tv.com/
  
• Bon Harris the driving force behind Nitzer Ebb. Lookup his videos, here's a Interview Bon Harris Interview
  

• Garage Films a garage, some film, you get quality. From director Gary Halpin.
  
• Architectural Ceramics Shelly Neymark
  
• Post Logic Hollywood I used to work here, I used to be cool.
• Dave "DavyForce"Foss Master Animator
• Chicago House Music pioneer Rocky Jones DJ International
  
• Jeff Pittle ANIMATOR ex tror dinaire Pittleworks.com
• Tony Fitzpatrick Artist from Villa Park Tony Fitzpatrick Studio Store Gallery
  
• Christian White Final Cut Pro Editor
• JBTV Music Television Jerry Bryant TV Chicago
• Dean Lyon at imdb and Dean Lyon Splinter Studio
• Bill Wildt MotorSports Unltd Motorsports TV Chicago
• Gary Halpin - Moto TV Network. Customizable In-Store Television. Moto TV Network.com 
  

The Ozark Music Festival 1974 who remembers that train wreck? Giant Music Festival in the 1970's, what could go wrong with that... the comments are a time capsule! 

XTC - www.chalkhills.org

Computer Tech Radio Shows

• Kim Komando COMPUTER TIPS TRICKS

Cool Movie Posters Movie Posters! Be careful this is addicting.

Jon Stewart The Daily Show Archives

Musical Links Like get your Dub at World Dub-
World Dub and here some Dub mon Dub Flash

Afro Pop Worldwide with Host Georges Collenit

Joan Armatrading www.JoanArmatrading.com

People Finder Search (Free) https://www.fastpeoplesearch.com

Everybody and his cousin wants to come to America. Our Border can only accommodate a certain number. How do we decide who to help? Ukraine needs our help. Israel needs our help. The women in Somalia, Ethiopia and Sudan need our help. What about Haiti and Burkina Faso, they need us badly. The Republic of Congo deserves help, I think they got screwed over more than anybody over the centuries if we're doing a triage here.

Every activist and Help Group thinks they are the priority. If you say No they'll say, "I got photos" like that automatically means they are number one. They are. And so is everybody else. What do we do, print more money? Oh wait we already do that. There has to be something we can do. Somewhere we can start. I have an answer. It's called SUKHI 222.

Why do we spend over 50 billion dollars a year on bottled water? Go visit SUKHI 222 and look at their Water Filter and how its changing every country, every person, everywhere in the entire world.

The Declaration of Independence declared in 1776 from now on people are born with the right to life and can pursue happiness. Everyone in that room was born before 1776. So everyone born before 1776 wasn't born with the right to life? That's not what the Bible says. Good thing I was born way after 1900. It further declares I was born with Liberty free from oppressive restrictions imposed by authority on one's way of life, behavior, or political views. Isn't that more about where I was born rather than how I was born? If I was born with this Liberty this protection from false arrest, torture, and political murder then I should be safe wherever I go because I was born this way. Okay.

If I get abducted will the kidnappers know I'm bulletproof? I'm worried if my kidnappers don't believe in God then they will consider human rights just another political opinion, meaningless basically. Maybe God is like the Blockchain. Whether God is real or not isn't the main point, the point is that we need something to "verify" that we are in the same club. The club that recognizes human rights. If God uses Blockchain crypto algorithm SHA256 bit encryption we should be authenticated and safe from "false Gods."

That way if we recognize each others 256 bit crypto hash then we know the other person is in the human rights club. It's like "God Currency." Paper fiat currency is just a human social construct that is made-up, it's not a real thing, it's not backed by Gold or anything anymore. This is why BitCoin is a threat to Fiat paper currency. You ever notice that people who don't believe in the same God or the same culture, government or society are more than willing to use the same money.

I invented just the thing. It's called Geospatial Health Psychology Crypto Currency. Except I don't use SHA 256 encryption. I use a organic algorithm. It's much more powerful than SHA 256 or any digital algorithm.

It took until 1776 so that means for a thousand centuries leaders and rulers never told us about this stuff. Even in 1776 nobody piped up. Until, Tom Jefferson who said something like, "dang blammit I've had it with this folly, time for a new idea" and he wrote it down. In school we're never taught why this took so long. I want reparations. Could've been done a long time earlier. Everybody has an excuse and a ruse to cover history. Thank God Al Gore invented the internet so we could look this all up.

The contradiction between the claim that "all men are created equal" and the existence of American slavery, including Thomas Jefferson himself owning slaves, attracted comment when the Declaration of Independence was first published. Before final approval, Congress deleted nearly a fourth of the draft, including a passage criticizing the slave trade. At that time many other members of Congress also owned slaves. Even today politicians always try to change or erase history. If America did not come along would it be another 1,000 years before someone brought it up? What was the rest of the world thinking?

Do the dead outnumber the living?

By Wesley Stephenson BBC News

The population of the planet reached eight billion in October, according to the United Nations. But what's the figure for all those who have lived before us?

The living do not outnumber the dead. Not even close. I dunno why the BBC asks such a silly question. How many people ever were here, ever? Jerry Garcia is no longer with us. The dead, I mean all the people every last one of them who have has ever lived ever, is in the several 10s of billions. Alice Cooper said, "I Love The Dead.

Well I have the Chart Of The Dead. It shows the major moments in all of history where the most number of humans died like the Black Plague. I have to find the Chart. Before I die. I made it like 10 years ago.

Scientists say the number of people who have ever lived ever from the beginning of humans is between 60 and 105 billion. Thats quite a spread. My question is, in all that time what was the majority cause of death? Disease, war, incest, murder, incest along with murder, what. Cleopatra was the last generation of the Ptolemaic Dynasty, it died out from incest and family murder. The point is more often than not the cause of demise was something human related. That says alot. Stay out of your own way and life will favor you! How do you do that? It's all right here in
Decoding Bruce Lee

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CHICAGO: Studio Run And Gun circa 1992

It was the 1990's the world was changing. Who knew.

Now what . . . a documentary about Run And Gun and the 1990's?
Yes it's the Run And Gun Duelin' Firemen Documentary oh boy here we go.

What is Duelin' Firemen?
It's sort of a campy humor highly stylized ridiculously absurdist surreal primary hue stocked to the gills with cultural leanings and pop psychology in a almost virtual reality that is hitherto unknown to the young people today.

This could be the greatest documentary ever told (not greatest story that's the Bible) why the greatest documentary ever told? Because the 1990's is the exact divide in the roughly 80 year transition from the analog world to the digital world. We are the last generation in human history to touch up against the analog world. In a hundred years they will look back at us as in one of the greatest transitions in all human history. In the analog world everyone was innocent until proven guilty. In the digital world it is somewhat the opposite, everyone is suspect until verified. You no longer answer the phone, the phone answers the phone and then you decide whether to talk. Never before in history did everyone know what everyone is doing. It's the birth of the digitization of information for the verification of authentication. That's a fancy way of saying it's the democratization of reality, fact, and truth. No longer kept by a select few at the top. For 30,000 years there never was a definition of health. It was always if you woke up in the morning you were healthy. If you made it to Friday you were successful. You rarely made it past 30 or 40 years old. Then suddenly out of the millennia, our 1990's generation, for the first time ever human life expectancy has doubled and tripled. Is the human mind ready for this sudden expansion? (No it isn't) Health has changed more in the past 50 years than the past 5,000 years. Lifespan was always capable of 90 or 100, life expectancy could never get that far. Until now. In the analog world you never had a way to authenticate information you just had to believe whatever anybody told you. In the News they'll have you believe "truth" is somehow going away when its the exact opposite. Truth, Fact, Reality, is coming down upon us like rain and many people are not happy about this hence their view "truth" is going away. In other words every year it gets harder to just make shit up. In the 1990's the internet changed reality. Reality is not a thing it's a Time Constraint. A moving target. Time is (was always) a analog measurement of the past to present. The idea of a clock revolves around making observation more accurate, all that does is create more observations -that you’re lucky to see, if you have the time. The idea of digitization means EVERYTHING can be seen (tagged). Nothing is invisible anymore. Everything can have a digital ID and also a grid coordinate. A car, a cup, a conversation, a thought, a fart, a dog, a reaction, groups and sub groups, the sky’s the limit to what can be “tagged” and once its tagged (give it a grid too) you put it into a database. Now each ID/Grid-Coord is a Layer on a Map. Layers never seen "together" are now seen together. Suddenly you can SEE the past move along the Map thus enabling you to guess (predict) the future. The more combinations, the more accuracy. Humans are more predictable than not. This used to be secret military stuff not too long ago (end of the 90’s). Meanwhile it was thought impossible to predict the future. Today this is not only possible it's become a business model. Netflix, Google, Amazon, Walmart, etc. Predicting what we will watch, buy, eat, where we will go, before even we do. This “geospatial intelligence” is no secret anymore its everywhere and expanding. This all started in the 1990's. We were right there.

Duelin' Firemen Documentary and the History of Run And Gun

Duelin' Firemen cast o characters
Mark Mothersbaugh Devo Muzak
Timothy Leary Harvard Professor he swoops so high he swoops so low he knows exactly which way to go, Timothy Leary.
David Yow The Jesus Lizard Band Chicago yes he is.
Steve Albini Producer
Rudy Raymoore Actor, where were you in 1975? Rudy Raymoore was DOLEMITE! He rocks.
Chris Carter Author. Animator. Producer. Musician wannabe. Editor. Dreamer. Pro Crasstinator.

See members of Run and Gun here in the Wheelie Circus- First Episode

Step inside Duelin' Firemen - ENTER THE 3DO GAME FROM CHICAGO
Here is some history of Duelin' Firemen- HISTORICAL INFORMATION

Yes you seen that correct, that is the infamous Banjo Gyro!
From Director Grady Sain

You have never seen anything like this before. Buckle up and check it out.

Play Grady Sain's Banjo Gyro right now click here quickly!
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HERE WE HAVE BILL BURR ON CONAN EXPLAINING HOW THINGS WORK. JUST WATCH THIS-

R. Crumb Artwork and Museum

R Crumb and his early experience with women
R Crumb Official site
R Crumb Museum
R Crumb Exhibition
R Crumb Sketches and Covers

Allan Watts on psychedelic drug use, "When you get the message, hang up the phone."

HISTORY OF PROMOTION COMPANY "CELEBRATION CONCERTS"
Music exec Bruce Kapp dies at 57. Concert Promotion Touring industry veteran Bruce Kapp, who is credited with helping to develop the concept of national gigging, was born with concerts on the brain: While in high school, he booked bands in and around his hometown, Chicago. After receiving a degree in marketing from Northwestern University (Evanston, Ill.), Kapp opened his own talent agency, which booked bands throughout the Midwest.

By the 1970s, he formed Celebration Concerts, a concert-promotion company whose clients included the Super Bowl of Rock series at Chicago's Soldier Field stadium featuring Emerson Lake and Palmer, Pink Floyd, Ted Nugent and Peter Frampton. "Celebration-Flipside" promoted many top acts of the 70's. Crazy Frank worked there and he had no drivers Liciense, so the deal was, give him a ride to the Show and you get backstage Passes! Crazy Frank RIP

JBTV Music Video This Show is and always was about MUSIC. NO corruption, no corporate PlayList, no payola. The record companies used to bring all the artists to JBTV that MTV wouldn't play. Yes MTV used to actually play Music Videos! Long time ago. The first half of the 90's MTV was dying but it wasn't dead yet. They had a very tight VooDoo formulae to get things on the playlist. JBTV benefited off this and had some excellent Music Videos in the period I worked there from 1990 - 1995. By the end O the 90s I would say MTV was all was completely brain dead. It's playlist excluded 90 percent of the Music videos out there. Because of that many people have mistakenly gone so far as to say that Music Video is a limited artistic medium, even claiming it's ruined the music business. The corrupted playlist of MTV has always been cited as proof. The fact is the music business was dooming itself just fine without including the folly of MTV's narrow corporate playlist. Contrary to what a lot of people say including some musicians themselves "Music Video" is not a limiting medium. It can be! That doesn't mean it IS.

FRANK ZAPPA ON POLITICS
Politics is like the 1,000 clowns at the circus who get out of the tiny car, and you're supposed to be amazed. That's what politics is. They don't really stick their heads in the tiger's mouth. Politics is a bunch of show and blow for people who don't understand. The real decisions are not conducted at the polling place; they're conducted over a glass of Perrier in some luxurious resort where people with lots of bucks decide how they're going to chop up the world.

FRANK ZAPPA ON POLITICS
"Politics is the entertainment branch of industry" Politics is bullshit, basically, it's salesmanship.
We have a diverse population in the United States, with all kinds of different needs that have to be taken care of. That is the righteous function of government.
Government is about statesmanship not salesmanship. If you are making political statements, remember, you are not addressing the real needs of government. You're just talking about the Madison Avenue aspect.

What does it mean when people say they don’t believe in science? Or they do but they say that science is always changing? As the great Voltaire once said, “If you wish to converse, define your terms.” Is it science the verb or science the noun? The verb means an approach to knowledge, to philosophy as methods for developing an understanding of reality. The noun means some sort of truth “proven.” In other words science is a map and science is a destination. That’s two different things.  

A good algorithm can provide both. Some ambiguity, complexity, statistics and details of scientific evidence as well as in combination with -confident narratives and heartwarming testimonials (that contain far less real evidentiary value).  

The latter without the former gives faith-based explanations a significant public relations advantage over science and skepticism. But the fact remains that truth is messy and full of uncertainty, and if someone is selling telling you something as extremely simple, clear-cut, and too good to be true, they probably are selling you a hope or a fantasy, not a reality. Nothing wrong with hope! Just don’t bet the Farm on it. 

We were just talking about Pet products that will kill your dog and cat. Flea Collars! Don’t use them, it’s a scam, and can be dangerous. For good info look at this "Science Based Pet Health" website. Not just Pets it has a great explanation / definition of science in general. It says science means anything and everything can and does change. But that's not how we live our life. We live life with propositions that achieve a level of supporting evidence that makes any serious doubt about their truth perverse and irrational. 

Wow that’s just very profound. All your nutty friends that have a problem believing in science send them here to this page -

What Does “Scientifically Proven” Really Mean?

The Skeptvet - What Does Scientifically Proven Really Mean

Useful Technology tips. Founded in 2007, MUO "Make Use Of" has grown into one of the largest online technology publications on the web.
Make Use Of
https://www.makeuseof.com" target="_blank">

Bogart 9 Presents the Matt O'Neil Wheaton Central Denver Art Exhibit
Denver artist Matt O'Neil sets himself apart from the crowd by inviting his friends from High School to his Denver Studio.

The Clash 1980 album Sandinista
THE CLASH - SANDINISTA
This one goes way back.

....... Bungle in the Jungle......
of course
JBTV Chicago
Christian White Editor and Director

Howie Samuelson Production House in Glencoe, Illinois. Owner and legendary activist Howie Samuelson founded the company to produce his ’70s Ch. 26 series “Underground News.” Mark Tulloss has been Production House managing producer since 1988. Chicago Tribune article on Howie Samuelson

90's Indie film Raging Hormones produced by Canvas Films, Fort Lauderdale.

History of radio station WXRT Chicago
In the 1960's and early 70's for some reason all songs on the radio had to be under 3 minutes, and they HAD to have vocals. No instrumentals allowed. There were exceptions but few and far between. Did the industry think people were too dumb to comprehend anything beyond 3 minutes? And if it didn't have vocals it wouldn't keep their tiny brains attention?

I have a feeling that was not true. The real reason I think, it was not profitable to get people out of their comfort zone. Better to keep them where they are, and rake in the ratings. Let people "grow" themselves on their own dime, not on the station budget. Same story today, that's why we got the crap on TV and radio.

In the 1960's I was listening to Chicago AM Radio, WLS had Clark Weber, Dick Biondi. Larry LuJack had CHICKEN MAN and THE TOOTH FAIRY yyhahh those were great. Larry LuJack had his sidekick "Lil Tommy" they did ANIMAL STORIES. There was no FM Radio! Progressive Rock FM. It wasn't invented yet, even though there was all that cool music in Record Stores where the albums were only $3 dollars! WXRT FM rock radio was not here yet.

WXRT Radio started in 1972 and only came on at night it was Spanish Programming all day until 9pm. I had to sneak up at night with the Headphones (on that Grundig Stereo system) and secretly listen to Jimi Hendrix All Along The Watchtower and King Crimson. My parents would see me passed out late and yell at me to get to bed. It was so exciting to hear that then because the radio would not play it. Some weird songs are still stuck in my head like Manfred Mann Father of Day Father of Night. EVentually WXRT came on at 6pm then it broke thru to 24 hour programming. Terri Hemmert is the only original WXRT DJ she is still there today.

By 1970 little radio stations sprung up through the cracks in the sidewalks like little weeds struggling for the light of day. WXRT Chicago was one of them. They began in 1972 restricted to nights only, Spanish during the day. They daringly took BIG chances by playing the uncut full version of "Frankenstein" by Edgar Winter Group and "Hocus Pocus" by Focus. Classic rock stations still today cut those songs short. What a joke. I don't know who to blame for the lunacy of 3 minute songs. Radio stations are a Business, I guess they have to pay the rent. Anyhow we have the internet now days so who cares. We are finally free at last. Radio went down first, then the record industry collapsed. Now its all swallowed up into one mass. Hopefully the internet will not get taken over by toll booths and roadblocks for awhile yet.

ALt Rockers "The Posies" were just on the radio the other day (back in 2009) saying how they STILL owe the record company from 10 years prior. When they signed to a major label. The record company doesn't tell you that you're going in deep debt like a slave. It's supposed to be up to you and your Manager to notice that all kinds of garbage is being charged to YOUR accounts while you are out on stage thinking your Rock Gods. That's show business. If you don't watch out you'll end up chock full of leeches that eventually suck all your blood out. It's bad enough the system sucks you dry, VH1 Behind The Music shows your own Manager is more likely to be doing you in as well.

How come the radio would not play Black Sabbath? Ozzie Osbourne and the boys laughed all the way to the bank.

DJs from THE FOX radio station go to WXRT. WJKL was "The Fox" radio station in Elgin Illinois. "The FOX radio".. Fox River Valley. Hardly a Valley, more like a steep driveway. Chicago's WXRT's Tom Marker landed a job at WJKL where he worked from 1975 to 1980. Soon after Norm Winer became ‘XRT’s program director in 1979. Tom Marker was one of his first hires.

CHICAGO AM RADIO. On May 2, 1960, WLS transformed into a top 40 radio station for the first time under the programming of Sam Holman. Early jocks of this emerging format at WLS were Clark Weber, Bob Hale, Gene Taylor, Mort Crowley, Jim Dunbar, Dick Biondi, Bernie Allen and Dex Card. Two WLS jocks, Ron Riley and Art Roberts each interviewed the Beatles. Clark Weber became morning host in 1963, two years after joining the station. He was Program Director from 1966 until 1968 when John Rook arrived. Weber then moved to WCFL for a few years and then did a series of other Chicago radio gigs for many years.

WLS still aired several news programs during the early sixties to meet FCC requirements. WLS rose to the top three during this period along with WGN and WIND. Dick Biondi did nights for three years then ended up at KRLA in Los Angeles but later returned to Chicago at WCFL.

In 1965 WCFL switched from labor news to top 40 as "Super CFL," bringing competiton to WLS, which billed itself as "Channel 89" and then "The Big 89." WLS emerged as the victor by 1967 under the direction of Station Manager Gene Taylor. A new jock line-up was brought in that included Larry Lujack in mornings, Chuck Buell, Jerry Kay and Kris Erik Stevens. Program Director John Rook tightened the station and by 1968 WLS was number one and won a "station of the year" award from The Gavin Report. Larry LuJack had "Chicken Man, Animal stories with Lil Tommy and The Tooth Fairy.

The only time Super CFL beat WLS in the top 40 battle was in the summer of 1973. It led to changes at WLS as Tommy Edwards advanced as PD and Fred Winston moved from afternoons to mornings. New talent was brought in that included Bob Sirott, Steve King and Yvonne Daniels. By the Fall WLS was back to number one. WCFL dropped the format in 1976 as WLS continued its dominance until the late seventies.

WLS-FM (94.7) was previously WENR FM. It became WLS-FM in 1965 ?? playing "beautiful music" and sports programming????? In 1968 it began simulcasting the WLS-AM morning shows Clark Weber (6a-8a) and Don McNeill's Breakfast Club (8a-9a). In September 1969 ABC decided to change the FM's format to progressive rock after an experimental show called "Spoke" tested well. WLS-FM became WDAI in 1971 while remaining progressive. Steve Dahl started solo around 1977, he later partnered with Gary Mier.

In 1978 the format completely switched to disco. Steve Dahl was let go so he went across town to WLUP with partner Garry Meier, having great success. Meanwhile, the disco trend only lasted a few years and by 1980 WDAI-FM had burned out, so it switched format to oldies in 1980 briefly as WRCK then as WLS-FM again, which began simulcasting the AM's evening show. In 1986 WLS-FM became WYTZ (Z-95) as a top 40 competitor of B96 (WBBM 96.3). The call letters shifted back to WLS-FM again in 1992 and became a full-time simulcast of the AM, which had moved completely to a talk format in 1989. From 1995 to 1997 it was country station WKXK (Kicks Country), up against rival WUSN. Then it changed again in 1997 to classic rock as CD 94.7 under the Programming of Bill Gamble, who had success leading Q101 as an alternative station. In 2000 CD 94.7 became The Zone," moving more toward alternative music.

WXRT (93.1) Norm Winer had previously programmed WBCN in Boston and did mornings at KSAN in San Francisco before arriving as head of programming for WXRT. In 1991 ownership changed hands from Daniel Lee to Diamond Broadcasting. In 1995 the station was acquired by CBS Radio, which later merged with Infinity Broadcasting. In the nineties, when the alternative format had its highest ratings, Q101 (WKQX) was one of the top alternative stations in the midwest. Throughout the eighties it was a top 40 station owned by NBC, who sold it to Emmis in 1988. The station kept the call letters but flipped to alternative in 1992 under the programming of Bill Gamble, who jumped across town five years later.

Chicago's top morning show from the mid-nineties through early 2000s was Mancow Muller. He had come from top 40 station Z95 in San Francisco, in which he had made national news by getting arrested for holding up Bay Bridge traffic - as he got a haircut. It was a stunt that lampooned an incident involving President Clinton. Muller first came to Chicago in July 1994 at rock station WRCX. The show was called "Mancow's Morning Madhouse." The show expanded to national syndication in 1997. The following year Mancow moved his morning show to Q101. In 2001 Mancow's show came under intense scrutiny by the FCC, resulting in several fines concerning the show's content.

WLS-AM's flip to talk radio in 1989 was a symptom of the fact that by the eighties, music fans had moved to FM. Other AM talk stations at the time included WLUP (1000), WVON (1450) and WJJD (1160). WIND (560) had also done talk before being sold and going Spanish. It's interesting to note that even though music fans primarily moved to FM in the eighties, the top station in town at the end of the decade was adult contemporary station WGN-AM (720), owned by Tribune. WBBM-AM (780) also soared to the top three by the late eighties as a news station. Although its sister FM, B96, was the leader in contemporary hits, WGCI (107.5) and WVAZ (102.7) ranked higher in the ratings with their urban formats. Evergreen's WLUP (97.9) also did well as a rock station. Then it sold to Bonneville, in which it failed as an adult contemporary station but returned to rock in July 1997.

WXRT Radio Current Programming Personnel:
Norm Winer (Vice President Adult Rock Programming) John Farneda (Operations Manager/Music Director) Marty Lennartz (DJ/Creative Assistant to Programming/Host of the Big Beat/Going to the Show with A Regular Guy) Mike Pentz (Production Director) Lin Brehmer (Morning show host) Mary Dixon (News anchor) Marc Alghini (morning show producer/DJ) Terri Hemmert (DJ/Host of Breakfast with the Beatles) Frank E. Lee (DJ) Jason Thomas (DJ) Tom Marker (DJ/Host of Blues Breakers) Wendy Rice (DJ/Host of Saturday Morning Flashback) Richard Milne (DJ/Host of Local Anesthetic) Barry Winograd (Host of Jazz Transfusion) Leslie Witt (DJ) Johnny Mars (DJ) Ken Sumka (DJ) Doug Levy (DJ) Bill Artlip (DJ). Norm Winer, who worked at pioneering progressive rock radio stations WBCN in Boston and KSAN in San Francisco , has been the XRT Program Director for over 25 years.

Special Effects studio "Boss Films"
Richard Edlund
Special Effects Studio 
Boss Films Corp


Director Martin Weisz did the X-Files video "One" classic Three Dog Knight song by the band Filter. I worked on that video!
The X-Files director, "Chris Carter"

The Cut Hut, Brentwood. The later great producer Shursen and director Joseph Kahn did Brandy's video for 1998's platinum selling hit "The Boy Is Mine" with Monica. Brandy was nominated for 2 MTV Video Music Awards with Monica for Best R&B Video. I rotoscoped Brandy in that video oh yes i did.

In the 90's Post Logic Studios in Hollywood had the computer system "Inferno" by famous Montreal VFX company Discreet Logic which is now part of AutoDesk.
Digital artist Chris Carter used that Inferno to do film restoration for the BBC Films contract to Warner Brothers DVD restoration at Post Logic Studios.
The film restorations that I worked on are  "Rebel Without A Cause" starring James Dean. "My Fair Lady." Audio Video Revolution calls this restoration, "a gorgeous DVD, crystal clear in both image and sound."  I worked on was the John Ford classic Mister Roberts. The last Warner Brothers DVD release, I worked frame by frame through all Humphrey Bogarts cigarette smoke in "Casablanca." It's been called the second-best American film ever made. BBC Reviewer Almar Haflidason said-

The Casablanca classic restoration and transfer onto DVD of this film is superb and it brings an essentially great drama right up to date on a technical level.

Holy Cow remember these Cards? I used to Live for these WXRT Featured Artist cards. I remember getting them often at Flipside records on Finley Road in Lombard. Flipside had the the three Genesis records "Foxtrot, Nursery Cryme and Tresspass" for $3.95 each. That was the going rate for albums in the 1970's.
This WXRT card is Aug. 1979

Founded by musician Rocky Jones, DJ International records was the right label in the right place at the right time. Chicago in 1985 was a city which was moving to its own particular beat and that beat was House Music. The key movers and shakers in the clubs were Frankie Knuckles at The Warehouse and Ron Hardy at the Music Box, who were responsible for influencing a whole new generation of Chicago-based artists who were experimenting with the unique rhythms they were hearing at these two Chicago clubs.

Before long a steady stream of new artists began to emerge from Chicago club land and inevitably they beat a path to the hottest new label with the coolest name in town, DJ International. The list is like a who's-who of House Music and includes Steve "Silk" Hurley, Chip E, Fingers Inc, Tyree, Farley "Jackmaster" Funk, Kenny "Jammin" Jason, Bam Bam, Sterling Void, Joe Smooth, Adonis, Fast Eddie and veteran Frankie Knuckles amongst many other names like "Nick The White Knight"one of the first white boy rappers.

The impact which DJ International had upon the spread of House Music internationally cannot be understated. They scored a No.1 UK Pop hit with Steve "Silk" Hurley's "Jack Your Body? and a top 10 UK smash with Farley "Jackmaster" Funk's "Love Can't Turn Around" as well as being the first label to take their artists to the UK and Europe thus putting House Music on the global map. Following over 200 releases across no less than 4 different labels within the group, DJ International ruled the early era of House and it's legacy survives to this day with virtually all of the releases now commanding huge prices on the 12" collectors circuit and it's ideas being routinely sampled and copied by today's new producers and artists. DJ International has always remained privately owned by Rocky Jones and he is proud to announce that the label will be promoting it's first new record on DJ International since the early 1990's.
Written by- Ian Dewhearst

Who is Karl Pilkington? A crazy man, or is it just an act? It's no act. He is weird. An interviewer for The Daily Telegraph concluded that Pilkington's persona is genuine. 

Karl Pilkington gained prominence as the producer of Ricky Gervais and Stephen Merchant's radio programme on Xfm. He appeared on The Ricky Gervais Show, presented the Sky travel comedy series An Idiot Abroad and made his full acting debut (following a cameo appearance in the final episode of Extras) on Gervais's 2012 comedy–drama series Derek. Pilkington is a co-founder, along with Gervais and Merchant, of RiSK Productions, a television production company. Pilkington also starred in the Sky 1 travel documentary comedy series The Moaning of Life (2013–2015). In 2018, Pilkington starred in a new scripted comedy series, Sick of It.

Pilkington's presence on The Ricky Gervais Show podcasts significantly increased his fame. He has often been mentioned in interviews given by Gervais, and is often the victim of Gervais' practical jokes. After Pilkington said "I could eat a knob at night" (rather than for breakfast) on the podcast (in relation to I'm a Celebrity contestants eating a kangaroo penis), Gervais encouraged his listeners to sample the sound bite and mix it into dance music. The phrase spawned several dance music mixes, T-shirts and other merchandise. Many of Pilkington's quotes have since gained publicity, particularly on the Internet. Reuters described Pilkington as a "phenomenon" who had made "Internet history."

On 23 November 2010, while appearing live on Richard Bacon's Radio 5 Live afternoon show, Gervais surprised Pilkington with an on-air phone call. This led to a conversation in which Pilkington, who claimed to have been interrupted while grouting his kitchen, claimed that he had not yet been paid for his work on An Idiot Abroad and concluded the interview with an off-the-cuff link into the hourly news.

Pilkington has worked independently of Gervais and Merchant on several projects. He appeared as a guest on the shows Flipside TV and The Culture Show, and appeared in several short films as part of the Channel 4 project 3 Minute Wonders.

Merchant and Gervais have repeatedly denied claims that Pilkington's persona is their creation. In an on-air response to similar claims made by Chris Campling during a broadcast on Xfm, Merchant stated that he would be "ashamed" if the radio show had been scripted, and added that "I would not have squandered a character that good on this poxy radio station." Gervais concurred, pointing out that writing a single series' worth of six half-hour episodes of shows such as The Office and Extras consumed as long as a full year of their time. An interviewer for The Daily Telegraph concluded that Pilkington's persona is genuine.

Chicago Radio WLS with Larry Lujack Show

Larry Lujack of WLS in Chicago was the first to air the series. Dick Orkin, an award-winning voice actor and commercial radio producer, created the Chickenman series in the late 60's while working at WCFL in Chicago. The series, with the famous catch phrase, "He's everywhere! He's everywhere!" spoofed comic book heroes and was loosely based on two original TV series of the 60's - Batman and Get Smart.

In the early 70's, as a follow-up to his Famous Chickenman Radio program, Dick Orkin created The Secret Adventures of the Tooth Fairy, a 325-episode, 2 1/2 minute, radio serial. Larry Lujack of WLS in Chicago was the first to air the series.

Both Chickenman and Tooth Fairy have aired in more than 3,000 cities across the U.S., Canada, Australia, and Worldwide via the Armed Forces Radio, making them the longest running radio serial of all time. Chickenman continues in broadcast syndication today via the Chicago Radio Syndicate, Inc. in the U.S. and by Grace Gibson Productions in Australia.

"Distributing the Chickenman and Tooth Fairy radio programs is a great example of how we strive to diversify our catalogue with new content outside of the music realm," says Michele Ito, VP of Labels at BFM Digital.

"New and old fans alike email us all the time and ask how they can get copies of the Chickenman and Tooth Fairy programs for themselves. And in this digital age, BFM is the perfect vehicle by which we can honor those requests", says President of Radio Ranch, Sandy Orkin. " These programs have always appealed to listeners of all ages."

The first episodes of Chickenman and Tooth Fairy are now available Worldwide for download at the Radio Ranch- https://radio-ranch.com

WHO OWNS THE DEFINITION OF REALITY? Larry Lujack?

If you’re a stickler for reality you can dive into the 2006 two volume set by professor Margaret A. Boden called, “Mind as Machine.” It’s billed as the most comprehensive account of the history of the cognitive sciences yet to appear. While you’re looking for that I’ll give the short answer. Cognitive science is the study of the mind, intelligence, and learning. This would include psychology, philosophy, linguistics, and artificial intelligence. I think the really short answer is, “How you talk to yourself.” That covers what you think you’re doing, which leads to how you see the world. It turns out everybody lives in their own little custom version of reality. Obviously there is not enough overlap between our little reality bubbles or there would be peace on earth and harmony amongst everyone. This begs the question, “Who owns the latest definition of reality”? Whoever was last in charge, basically. Okay let’s backup a little bit. Chicago 1978. 

Scholars interested in the history of cognitive science agree some sort of cognitive ‘revolution’ took place during the 1950s. It was a eureka moment coinciding with the invention of computers, artificial intelligence and linguistics. The eureka moment was rejecting behaviorism as the explanation for why we do the nasty things we do. The theory was that knowledge comes only or primarily from sensory experience. If you didn't see it, hear it, or read it, then it wasn't real. What happen in 1968  basically amounts to a radical departure from BF Skinner behaviorist psychology and its general rejection of mental states as explanatory of behavior.

Why is linguistics involved? Noam Chomsky told me some stuff about universal language that we all speak, culture and religion is an attempt to verbalize this inner language.

Wait a minute wasn't all this brought up by Socrates, Aristotle, Plato and friends back in ancient Greece? Yes. Back then this was philosophy. It was not science. Today it is science. The history of the study of the mind has been the province of philosophy and or behaviorism until very recently. The 1950's. At that time the 1950's to 1970's people like Noam Chomsky, Jiddu Krishnamurti, Alan Watts, Bruce Lee, and many others were part of this cognitive revolution where the study of the mind began to switch from philosophy over to science.  

The cognitive revolution broke the 10,000 year grip of the "narrative" philosophy and mystery "facts" that held 95% of the population. Today it's less than 50% that are still stuck in the past. For 10,000 years the theory was that knowledge comes only or primarily, from sensory experience. If you didn't see it, hear it, or read it, then it wasn't real. Philosophy became so academic so that didn't help out. Academics in general are a very recent arrival. Pretty much nobody went to college before 1940, the year Bruce Lee was born. He went to college and studied philosophy. In 1975 only 67% of the workforce had a high school diploma. Alan Watts told me about most of this stuff. Bruce Lee was a big fan of Alan Watts. Jeet Kune Do was to be a template people could use to figure this stuff out. It was a work in progress that for the most part was barely just getting started. To use it as it was in 1973 for 2021 takes some special effort. That's the goal of the Decoding Bruce Lee Project.  

The Planet Has Links

• • Martial Arts Tools
    

    • Steve Lee Swift Wing Chun Master
      
    • Jeet Kune DO of Lost Angeles
    • Bruce Lee Official Site by Shannon Lee
      
      Martial Arts Information
      
    • Joe Rogan Robert Downey (get out of your own way)
    • Jeet Kune Do of Lost Angeles
    • Robert Downey Jr. (martial arts improved my life)
      
    • Bruce Lee Official Site by Shannon Lee
    • Dr. Phil Joe Rogan (stay in your lane)
      Here we have Dr. Phil and Joe Rogan talking about how things can be taught but not standardized because everyone has different needs. Bruce Lee said that in 1970. 
      

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WELCOMEN
to the 563rd Combat Engineer Battalion. If you were in Germany stationed in Stuttgart at Ludendorf Kaserne Kornwesthiem in 1979 - 1982. e-mail so we can contact you about the reunion party we're putting together for everyone who served in that period. Some of the people who we're looking for, (who's "we" anyway?).
Visit the 563rd EN BN page here.

PRINCE DECLARES THE INTERNET IS OVER

This Is What It Sounds Like When The Internet Cries
by Chris Willman & Lyndsey Parker

So this week, while all the blogosphere was abuzz about George Michael's SEVENTH car crash, LeAnn Rimes' controversial canoodling pics with boyfriend Eddie Cibrian, Crystal Bowersox's new teeth, Liz Phair's credibility-killing new musical direction, and the Grammys' revised eligibility rules, the World Wide Web itself was under attack by Prince, aka The Artist Formerly Known As The Internet's Biggest Supporter. Yes, online readers, according to His Purple Majesty's new royal decree, the Internet is kaput. Over. Finished. You may as well turn off this website and go back to your abacus now.

"The Internet's completely over," Prince declared to England's Daily Mirror, sounding like he's ready to party not quite like it's 1999, but more like '79. "I don't see why I should give my new music to iTunes or anyone else [digitally]. They won't pay me an advance for it, and then they get angry when they can't get it....All these computers and digital gadgets are no good. They just fill your head with numbers and that can't be good for you."

Prince's rejection of all thing Interweb came as quite a shock, considering that the man was once seemingly completely besotted with the digital revolution. For a man who very publicly battled with his record label, Warner Bros., because he wanted to release more product than Warner was willing to, a guy with hundreds of unreleased songs under his purple belt, it seemed like the perfect means to get all that music to the fans, eliminating the middleman.  
So after Prince escaped from the clutches of Warner Bros. in the mid-'90s, he released a series of increasingly little-heard albums on his own label, NPG Records--some of which were only available through (you guessed it) the Internet. And even as recently as March 2009, Prince was introducing a heavily promoted new subscription website,

LotusFlow3r.com; for an annual membership of $77, fans would theoretically not only get the digital version of the three-CD set he was releasing through Target at that time, but loads of new and unreleased material unavailable anywhere else. But as the Wall Street Journal reported this past April, the website turned out to be a bust, at least for the disgruntled followers who never got the stream of rarities and bonuses they were expecting. And just as the mercurial Prince put the kibosh on his New Power Generation Music Club subscription site back in 2006, early this year he gave the order for the LotusFlow3r.com site to be shut down as well.

And now it seems like Prince wants ALL sites to be shut down--including iTunes!

While Forbes writer Quentin Hardysurprisingly sided with Prince (in an article self-explanatorily titled "Prince Is Right. The Internet Is Over."--which, ironically, was widely read on THE FORBES.COM WEBSITE), most musicians weren't so quick to turn their backs on the entire Interweb. Even soft-jazz saxophonist Kenny G--a man no oneever thought would seem cooler than Prince--spoke out against Prince's remarks, jokingly telling the Associated Press: "If the Internet is dead then I must be dead too, 'cause I use it all the time. Maybe I've got a sixth sense, and I only see dead people." The very-much-alive Mr. G then expressed every intention to continue distributing and promoting his new album, Heart & Soul, digitally. Additionally, many other, hipper artists who've embraced online distribution--Radiohead, Trent Reznor, Beck, and Lil' Wayne and countless other mixtape-popularized rappers--hardly jumped to Prince's defense, and not even Metallica's Lars Ulrich, once Napster's most angry opponent, spoke up.

Maybe all this is a sign o' the times, so to speak. After all, it's understandable in this post-Napster age that artists might no longer be in favor of a completely open Internet, since many industry pundits argue that it is illegal file-sharing and even legal free downloads and streams that are responsible for their music biz's current slump. Still, it seems a little silly to expect people to abandon their "digital gadgets" and the online distribution methods (iTunes, Rhapsody) via which the majority of avid music fans play and receive their music nowadays. But, IF Prince is right, then what is going to replace the Internet?

Will Prince will release his next album on 8-track, wax cylinder, or in the "smoke signal" format long favored by traditionalists? No, in all seriousness, the distribution model Prince is now favoring is...giving his music away free with newspapers.

Yes, Prince's latest CD, 20Ten, will be included with July 10 copies of the Daily Mirror in the U.K. and Daily Record in Ireland, as well as other print publications in Belgium and Germany. For someone making the argument that music is undervalued, Prince has a funny way of proving its integrity when he gives CDs away like shampoo samples. (Maybe, somewhere along the way, he confused his Parade album with the Parade magazine included in many Sunday papers.)

There's no plan yet to distribute 20Ten in America, but Prince is reportedly in talks with his old label, Warner Bros. (yep, the aforementioned "slave"-drivers who allegedly held him so captive that he was forced to carve S.O.S. messages into his sideburns) for a future U.S. release. Apparently Prince is so convinced that the Internet is over, he's not the least bit concerned about hundreds of thousands of Europeans, who will receive free copies of 20Ten this weekend, leaking the album online for all interested Americans to hear.

And, highly ironically, right now three preview samples from Prince's new CD are available for streaming on...the Daily Mirror's website. So maybe the web isn't obsole te after all. But just in case, check the songs out by clicking here...quick, before the Internet self-destructs!

• Report unauthorized activity immediately to the credit bureaus
  Experian
• 800-397-3742   [Click to Call number]
• 
  TransUnion
• 800-680-7289    [Click to Call number]
  
  FTC identity theft site

Dean Lyon's Computer Graphic's History
As told to me in Hollywood, by Dean himself.

ColorGraphics was formed in 1979 as a partnership between Terry Kelly and Richard Daly. Kelly and Daly had both worked in theUniversity of Wisconsin's Space Science and Engineering department, developers of the McIDAS weather display system. McIDAS used downloaded satellite cloud cover images and superimposed them on locally generated maps. Designed for the National Weather Service, McIDAS was a high-end system well beyond the budget of a television station.
Kelly's idea was to adapt the McIdas concept for lower cost home computer systems that were appearing in the late 1970s. Their first system, "LiveLine", was based on the Apple II. Its graphics system could not be genlocked, so a TV camera had to be pointed at the screen to send the video into the production systems. This initial system was soon replaced by a similar one running on Cromemco computers using a modified version of their Dazzler color-graphics card. In spite of its simplicity and low resolution, the fast production and "high tech" look caught on, and by the mid-1980s the system was almost universal, replacing bluescreen systems on cardboard maps that had previously been used. The company notes that 70% of the top 50 TV markets were using the system by 1982.
In 1982 the company was purchased by Dynatech, an expanding electronics company. The Colorgraphics system started being used by the Post production Industry. Before it could make real headway Dynatech purchased Cromemco and rolled the two companies together and divested all of its media properties in the early 1990s. Kelly and Daly purchased the rights back from Dynatech in 1994, operating under the Weather Central name. In 1995 they introduced the new "GENESIS" platform on Silicon Graphics computers, which later moved onto Hewlett-Packard workstations.
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Dean Lyon's History of Computing and VRE Timeline
As told to me by Dean in a bar in Las Vegas

Profile: Arthur Lyman

The Mood Merchant of Exotic Music casts his Spell Again in Waikiki
by Rick Carroll

A conch shell honks, bamboo sticks rattle, a jungle bird cries out.

It's 1958 all over again: Arthur Lyman is making the music that made him oh so famous and rich so very long ago.
He's doing it in Waikiki on weekends now before silvery-haired Mati-tip sipping couples who sit holding hands, proof old mood music still works.
Now 67, the vibraphonist Time magazine once called the "mood merchant," of exotic music, casts the same tropical spell that captivated the nation more than four decades ago.
Old favorites like "Yellow Bird, "the Haitian folk song he turned into an American standard and nostalgic selections from his first album, "Taboo," which sold 2 million copies and still haunts anyone over 50.
He still keeps time with parrot squawks, bamboo sticks and temple bells but it's been a long time since Lyman was No 1 on the nation's pop charts. "Arthur who?" he laughs. With Diamond Head crater over his shoulder and Waikiki's azure waves lapping the golden shore, Lyman looks like he just stepped off one of his old album covers.

"Isn't it beautiful," he says, "that's why I like to play here." Here is the open air bar of the New Otani Kaimana Beach hotel on Waikiki's quiet side. He plays private parties and regular gigs in Waikiki for $100- a-night, a bargain for the exotic music maker man who once commanded thousands. "I never thought my music was exotic," he laughs. "It was natural to me-the crash of the waves, the rustle of the palm trees, the birds." Over vodka in the afternoon he reminisces about the glory days. "It was rough," he said, "three months on the road, back here, three months on the road." He ran though four piano players, four bass players and three wives. Got married once on Valentine's Day in Las Vegas after appearing with Harry Belafonte. His bride, a nightclub camera girl, became his manager. "She was a good manager," he said "but we had problems when she started to tell me what to play."

Alone now, a survivor of 11 banner years on the road, he's back in Hawaii and happy, neither broke nor rich. "Wives," he said, "they got all my money. I never smelled it." On a toy piano he plunked out "You Are My Sunshine" when he was only five. "My father said, 'You're going to be a musician and he made me practice, practice, practice. He was blind and he would kick me in the butt when I hit a wrong note." At 8, Lyman made his public debut on the "Listerine Amateur Hour" on Honolulu radio station KGMB (now K-59), playing "Twelfth Street Rag." "I won a bottle of Listerine," he laughed. He turned pro at 17, playing in a Kakaako club called Leroy's. "I went to school days and played nights with a group called The Gadabouts. We did George Shearing stuff, cool jazz. I got $45 a week.

"When I got out of McKinley High School in '51, I finally told my father, I quit. I went to Halekulani Hotel and worked there as a desk clerk. "That's where I met Martin Denny," he said, "He'd heard I played vibraphone. I was making $280 a month as a hotel clerk. He said, 'You'll be making $109 a week playing for me.' I went back to music.

In late 1956, he formed his own band with John Kramer on bass, Allan Soares on piano, Harold Chang on drums and Augie Colon on bird calls. They opened at the Hilton Hawaiian Villages' Shell Bar and might be playing there still except for millionaire golfer France Ii Brown. He invited Lyman and the band to California's Pebble Beach to play for a private party during what was then called the Bing Crosby Pro-am Golf tournament. Some very important people at that party liked what they heard and suddenly Arthur Lyman had a big-time Mainland gig. "We played Vegas the next week," he said. "And then New York, Chicago, San Francisco, Tokyo and..."

In 1962, the year he turned 30, he earned $120,000, same as Willie Mays, big money in those days. He was headlining Chicago's Edgewater Beach Hotel, playing two sets a night, six nights a week. That same year he produced six albums in 45 days.

Five years later, exotic was old hat, the Beatles were hot, and Arthur Lyman was out of a job. The band broke up in Vegas in 1968-the year Janis Joplin appeared on Newsweek's cover-and they all came home to early retirement in Hawaii.

In his meteoric 12 year career, Arthur Lyman and his band produced 33 albums, won three gold records, and recorded 396 songs that even today conjure up dreamy island images of tropical escape. "We always tried to do that," Lyman said, "to get people to come here so we wouldn't have to go there but, funny thing, we were never as popular here in the Islands as we were on the mainland." He's up for a mainland tour, he said, but until that happens you can only see Arthur Lyman on the beach in Waikiki.

Arthur Lyman

Born 2 February 1932, Kauai, Hawaii
Died 24 February 2002, Honolulu, Hawaii
Considered by many to be at the top of the pantheon of exotica artists, Lyman got his start as a vibes player in Martin Denny's combo and can be heard on Denny's legendary first album, "Exotica."

Lyman's family moved to Honolulu after his father was blinded in an accident. Arthur began playing with a toy marimba and from playing along with records, was able to reproduce Lionel Hampton solos note for note. His performing career began early, when he won a talent contest on Honolulu radio station KGMB. By the time he graduated from high school, he was playing professionally with a small combo called "The Gadabouts," imitating the piano/vibes sound of George Shearing and Cal Tjader.

In 1951, he was hired to play in the bar at the Halekulani Hotel, where Martin Denny met him in the early 1950s. Denny hired him, and the two remained together for the next five years.

Denny's breakthrough success with his cover of "Quiet Village" paved a path for Lyman as well. Shipbuilding magnate and Hawaiian developer Henry J. Kaiser (of Kaiser Aluminum and Liberty Ship fame) hired him to replace Denny in his Honolulu nightclub. Soon after, Hi Fi Records in Los Angeles capitalized on Liberty's success with Denny and hired Lyman as their featured artist.

Even though the two men were competitors on vinyl, they remained close friends until the end. "He had a keen ear for music and a great imagination," Denny once remarked,"and I would say that his success and exposure paralleled mine. There were debates on who came first, but as far as I'm concerned we did it together." After both had ceased to record, Denny and Lyman often appeared together at performances on Oahu. And when Lyman entered a hospice as he entered the last stages of his fight with throat cancer, "Martin would take Arthur out in the sunshine and give a private show," according to a family friend.

Lyman's style was softer than Denny's, but he went much further in his use of exotic environmental sounds. The combination of macaw shrieks and gentle vibes was a vein Lyman mined consistently for over 30 albums. Unlike Denny, whose heavy touring schedule often forced his label to use a stand-in pianist on his albums, Lyman recorded almost exclusively in Hawaii. His Hi-Fi albums were usually recorded in Kaiser's Aluminum Dome auditorium in Honolulu, and still stand out for their superb audio qualities.

Lyman's combo included John Kramer on bass, guitar, and other stringed instruments, Alan Soares on piano and other keyboards, and Harold Chang on percussion. In between tours, the group played the Shell Bar at the Hawaiian Village Hotel for nearly 10 years, and reunited on a number of occasions thereafter. Hawaiian-born jazz vocalist Ethel Azama also appeared with Lyman in the early 1960s, and her version of "Lullaby of the Leaves" can be heard on the The Leis of Jazz.

The group appeared on numerous television variety shows in the 1960s, including "The Red Skelton Show," "The Andy Williams Show," and "The Steve Allen Show." But their best-known TV appearances were their guest spots on "Hawaiian Eye," the Robert Conrad - Connie Stevens private eye show set on Oahu. The show regularly featured the main characters hanging out at a mock-up of the Shell Bar and listening to Lyman playing one of his favorite numbers.

Lyman's signature tune was his cover of "Yellow Bird", which spent 10 weeks on Billboard's Top Ten chart in 1961, reaching #4. When his contract with HiFi ended in 1968, Lyman broke up his combo after an appearance in Las Vegas, and headed back for the islands. He was happy to leave the touring life behind: "It was rough," he once said, "three months on the road, back here, three months on the road." He went on to perform at most of Waikiki's best-known clubs, including Don the Beachcomber and the New Otani Kaimana Beach Hotel.

A Time magazine article from 1962 describes a typical stateside performance at the height of Lyman's fame:

A conch shell wailed, the conga drums thump-thumped, the bamboo sticks clattered," the magazine wrote. "The four men on stage were constantly on the move — clacking wooden blocks, scratching a corrugated gourd, flailing away at Chinese gongs, weaving rhythms that were insistent, sinuous and hypnotic. Occasionally, when the spirit moved them, they barked like seals or whooped like cranes. The happy audience at Chicago's Edgewater Beach Hotel rattled the rafters whooping back.
Lyman was a much more accomplished instrumentalist than his usually relaxed playing style suggested. He usually played with four mallets at once, a much more difficult technique than the standard two-mallet approach, more like playing a piano. Denny once called him "The best in the islands, maybe the best in the world."

He never took his success too seriously, though. He was just as proud of his awards for paddling in canoe races. His four marriages left him with little in the bank, which is one reason he kept performing until felled by throat cancer.

Lyman's many friends and fans said their final farewell by paddling canoes out from Waikiki to scatter his ashes upon the waters of Honolulu Bay. At the ceremony, Denny offered a last salute: "You are the true spirit of aloha, and may God speed you to your celestial vibes."

CD label Ryko released immaculate reissues of Lyman's best Hi-Fi albums in the late 1990s. Check them out!

TRACK LISTING

1. Andy Partridge & Harold Budd “Ceramic Avenue”
2. Marconi Union “Sleepless”
3. Brian Eno & Jah Wobble “Like Organza”
4. Brian Eno “Triennale”
5. Djivan Gasparyan “7th December 1988”
6. Brian Eno “Blissed”
7. Harold Budd “Widows Charm”
8. Brian Eno “Neroli”
9. Harold Budd “The White Arcades”
10. Roger Eno “Winter Music”
11. Djivan Gasparyan “Brother Hunter”
12. Jon Hassell “Out Of Adedara”
13. Vacabou “Russia In White”
14. Brian Eno “Fractal Zoom”
15. Brian Eno & John Cale “Cordoba”
16. Roger Eno “Fleeting Smile”
17. John Cale “Do Not Go Gentle Into That Good Night”
18. Harold Budd “Marion Brown”

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BANDS WEBSITE LIST

This list is evolving as bands disappear, maybe it's
just webmasters disappear!

1. www.Supergrass.com
2. www.GreenPlastic.com Radiohead
3. www.DepecheMode.com
4. www.Marillion.co
5. www.Nirvana.com
6. www.thedickies.com
7. www.melodymakers.com
8. www.theProdigy.com
9. www.PeteTownshend.com
10. www.GrandFunk.com
11. www.Sting.com
12. www.PearlJam.com
13. www.9inchnails.com
14. www.Coldplay.com
15. www.nin.com
16. www.Slipknot.com
17. www.bunnymen.com
18. www.SugarRay.com
19. www.ChristinaAguilera.com
20. www.EddieVedder.com
21. www.chumbawamba.com
22. www.Gorillaz.com
23. www.Eminem.com
24. www.TheCharlatans.com
25. www.NickCave.com
26. www.sexpistols.com
27. www.DavidBowie.com
28. www.AlanisMorissette.com
29. www.PrimalScream.com
30. www.ElvisNews.com
31. www.whitestripes.com
32. www.undergroundhouse.com
33. www.robbiewilliams.com
34. www.ministryofsound.com
35. www.thedjlist.com
36. www.AliciaKeys.com
37. www.GeriHalliwell.com
38. www.radioheaditalia.com
39. www.elvis.com
40. www.DefLeppard.com
41. www.ChemicalBrothers.com
42. www.biggie.com
43. www.SarahPalin.com
44. www.history-of-rock.com
45. www.MartinBarre.com
46. www.SimplyRed.com/
47. www.Suede.com
48. www.BobMarley.com
49. www.Shaggy.com
50. www.Zooropa.com
51. www.AndyTaylor.com
52. www.Beyonce.com
53. www.TheBeatles.com
54. www.Beatles.com
55. www.Virgin.com/megastores
56. www.Coldplay.com
57. www.Weezer.com
58. www.Bjork.com
59. www.Aerosmith.com
60. www.ManicStreetPreachers.com
61. www.Blur.com
62. www.Lush.com
63. www.Nirvana.com
64. www.Radiohead.com
65. www.DuranDuran.com
66. www.GeorgeMichael.com
67. www.Madonna.com
68. www.Spicegirls.com
69. www.Vangelis.com
70. www.JimmyPage.com
71. www.Moby.com
72. www.SexPistols.com
73. www.MercuryRev.com
74. www.JBTV.com
75. www.Lollapalooza.com
76. www.RollingStone.com
77. www.JeffBeck.com
78. www.HocusPocus.com
79. www.JohnnyRotten.com
80. www.JohnLydon.com
81. www.HawkWind.com

  Percentage of Usage of Long-Term Care HealthCare

47.8 million: Number of Americans over age 65 in 2015.

87.9 million: Number of Americans who will be over age 65 by 2050.

6.3 million: Number of Americans over age 85 in 2015.

18.9 million: Number of Americans who will be over age 85 by 2050.

52%: Percentage of people turning age 65 who will need some type of long-term care services in their lifetimes.

8%: Percentage of people ages 65-74 who need long-term care services, 2018.

17%: Percentage of people ages 75-84 who need long-term care services, 2018.

42%: Percentage of people older than age 85 who need long-term care services, 2018.

47%: Estimated percentage of men 65 and older who will need long-term care during their lifetimes.

58%: Estimated percentage of women 65 and older who will need long-term care during their lifetimes.

33%: Percentage of people turning 65 who will need nursing-home care at some point in their lifetimes.

70%: Percentage of people in nursing homes who are women.

80: Average age of admission for women in long-term care settings.

48%: Percentage of people receiving long-term care who need care for less than one year.

19%: Percentage of people receiving long-term care who need care for between one and 1.99 years.

21%: Percentage of people receiving long-term care who need care for between two and 4.99 years.

13%: Percentage of people who will need long-term care for longer than five years.

22%: Percentage of individuals over 65 in the highest income quintile who will have a long-term care need of two years or longer. 

31%: Percentage of individuals over 65 in the lowest income quintile who will have a long-term care need of two years or longer.

The Role of Dementia
10%: Percentage of Americans over age 65 who have Alzheimer's dementia.

38%: Percentage of Americans over age 85 who have Alzheimer's dementia.

64%: Percentage of Americans with Alzheimer's dementia who are women.

145%: Percentage increase in the number of people who died from Alzheimer's dementia, 2000-17.

-9%: Percentage decrease in the number of people who died from heart disease, 2000-17.

8-10 years: Average life expectancy following an Alzheimer’s diagnosis.

2.8 years: Average length of time between when symptoms begin and when an Alzheimer's dementia diagnosis is made.

Cost of Care
$137 billion: Long-term care expenditures in the U.S., 2000.

$208 billion: Long-term care expenditures in the U.S., 2015.

63%: Estimated percentage of individuals age 65 today who will have no out-of-pocket long-term care costs during their lifetimes.

13%: Estimated percentage of individuals age 65 today who will incur out-of-pocket long-term care costs of between $0.01 and $50,000 during their lifetimes.

11%: Estimated percentage of individuals age 65 today who will incur out-of-pocket long-term care costs of between $50,000 and $150,000 during their lifetimes.

4%: Estimated percentage of individuals age 65 today who will incur out-of-pocket long-term care costs of between $150,000 and $250,000 during their lifetimes.

9%: Estimated percentage of individuals age 65 who will incur out-of-pocket long-term care costs of more than $250,000 during their lifetimes.

$350,174: Estimated lifetime cost of care for someone with dementia.

$19,500: Median annual cost for adult day care (five days/week), 2019.

$48,612: Median annual cost for assisted-living facility, 2019.

$52,624: Median annual cost for a home health aide (44 hours/week; 52 weeks/year), 2019.

4.55%: Change in annual cost for a home health aide since 2018.

$102,200: Median annual nursing-home cost, private room, 2019.

1.82%: Change in annual nursing-home cost since 2018.

$161,148: Average annual nursing-home cost, private room, Manhattan, 2019.

$58,400: Average annual nursing-home cost, private room, Monroe, Louisiana, 2019.

$24.224: Median annual income from all sources for individuals who are 65 or older.

$41,125: Median annual income for households headed by people 65 or older.

19%: Percentage of long-term care costs that were paid out of pocket, 2013.

8%: Percentage of long-term care costs that were paid by private insurance, 2013.

Caregivers
34.2 million: The number of Americans who have provided unpaid care to an adult 50 or over in the past 12 months.

15.7 million: The number of caregivers for someone with Alzheimer's or other dementia.

$470 billion: The estimated dollar value of long-term care provided by unpaid caregivers, 2013.

69.4: Average age of care recipient.

49.2: Average age of caregiver.

62.3: Average age of spousal caregivers.

34%: Percentage of caregivers who are age 65 or older.

>75%: Percentage of caregivers who are female.

33%: Approximate percentage of caregivers to people with Alzheimer's or other dementias who are daughters.

25%: Approximate percentage of caregivers to people with Alzheimer’s or other dementias who are “sandwich generation" caregivers, providing care to children as well as older adults.

33%: Percentage of people providing care to people age 65 or older who describe their own health as fair or poor.

63%: Percentage of dementia caregivers who say their responsibilities have led to working different hours, leaving work unexpectedly, and worrying about finances.

83%: Percentage of care provided to older adults that is delivered by friends or family members.

30%: Percentage of the population aged 65 or older who will rely on family-provided long-term care for two or more years.

34.7: Average number of hours per week worked by unpaid caregivers who have jobs in addition to caregiving.

70%: Percentage of caregivers who suffered work-related difficulties due to their caregiving duties.

44%: Percentage of caregivers who say that their work supervisor is unaware of their caregiving responsibilities.

10%: Estimated percentage of older adults who have suffered from some form of elder abuse.

7%: Estimated percentage of elder-abuse cases that are reported to authorities.

State and Federal Funding
51%: Percentage of long-term care services and supports that were provided through Medicaid, 2013.

21%: Percentage of long-term care services and supports that were provided through other public sources, 2013.

62%: Percentage of nursing-home residents whose care is provided by Medicaid.

20%: Percentage of Medicaid funding that went to pay long-term care costs in 2016.

38%: Expected increase in Medicaid spending for long-term care between 2016 and 2026.

$126,420: Maximum “countable” assets that a healthy spouse can retain for the other spouse to be eligible for long-term care benefits provided by Medicaid, 2019. (Actual amounts vary by state.)

$2,000: Maximum “countable” assets allowable for single individuals who are applying for long-term care provided by Medicaid. (New York state has a higher threshold: $15,450.)

$3,000: Maximum “countable” assets allowable for married couples who are applying together for long-term care provided by Medicaid.

$585,000: Maximum amount of home equity that a healthy spouse can retain, in addition to countable assets, for the other spouse to be eligible for long-term care benefits provided by Medicaid, 2019. (The limit is higher in certain states, such as California.)

$3,160.50: Maximum amount of monthly income that a healthy spouse can receive for the other spouse to be eligible for long-term care benefits provided by Medicaid, 2019. (Actual amounts vary by state.)

100: Days of care in a skilled nursing facility ("rehab") covered in full or in part by Medicare following a qualifying hospital stay.

Long-Term Care Insurance
11%: Percentage of adults 65 and older who have long-term care insurance coverage, 2014.

57: Average long-term care policy issue age.

55.1%: Percentage of long-term care policies purchased by women, 2018.

20.8%: Percentage of long-term care policies purchased by single people, 2018.

15%: Percentage of long-term care policies that were sold through workplace, 2018.

95.1%: Percentage of just-issued long-term policies that include home-care benefits that are at least equal to the in-facility benefit.

125: Number of insurers offering stand-alone long-term care policies, 2000.

17: Number of insurers offering stand-alone long-term care policies, 2016.

750,000: Number of individual long-term care insurance policies sold, 2002.

56,288: Number of individual long-term care insurance policies sold, 2018.

13.1%: Percentage drop in number of long-term care policies sold, 2017-18.

228,000: Number of hybrid life/long-term care policies sold to individuals, 2015.

461,000: Number of hybrid life/long-term care policies sold to individuals, 2018.

16%: Percentage of life insurance sales that are hybrid life/long-term care policies, 2017.

$1.87 billion: Annual claims on long-term care insurance policies, 2000.

$11 billion: Annual claims on long-term care insurance policies, 2017.

64%: Percentage of long-term care claims that were paid to women.

$2,169: Average annual premium, all in-force long-term care policies, 2018.

0.5%: Percentage of all businesses offering long-term care insurance to their employees.

52.2%: Percentage of long-term care claims paid to claimants between ages 81 and 90.

22%: Percentage of long-term care applicants ages 50-59 who were declined coverage.

30%: Percentage of long-term care applicants ages 60-69 who were declined coverage.