Thursday, August 31, 2006


The Raconteurs
London Astoria, London

Live Weekend Music - The Raconteurs Live from London
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from Phish & Chips The Blog

Monday, August 28, 2006


Tributes and farewells running the gamut of Mojo’s musicianly massive...

Robert Plant, lifelong Love votary who played at Arthur’s fund-raising benefit show at NY’s Beacon Theatre on June 23.
“Reaching so far back to those remarkable works of dark beauty then witnessing his wild, unsettling presence in the present, I was convinced there could be no end to Arthur. He careened five minutes then five light years away from gathering the shards of creativity to compete with his unassailable past – a tough call; I believed he could do it; I was waiting. Alas, the Vindicator moves on.”

Bobby Gillespie faxes from his honeymoon. The Primal Scream frontman has championed Love from the moment his band first commanded airspace.
“Forever Changes was the LP that made us want to start a group and seriously write songs, and I'm sure Arthur Lee's music/words/soul will continue to inspire future generations of psychedelic renegades. I once sat playing guitar at The Chateau Marmont in LA as Arthur sang Signed D.C. to me and Andrew Innes. The three of us spent the rest of the night singing classics from Forever Changes, and other Love songs. I feel blessed to have experienced such glory.”

Teenage Fanclub’s Norman Blake began his pop life aping the style and attitude of Love’s lost leader.

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“Before Teenage Fanclub, me and Raymond [McGinley] had a band called the Boy Hairdressers. The [2005 Turner Prize

“Before Teenage Fanclub, me and Raymond [McGinley] had a band called the Boy Hairdressers. The [2005 Turner Prize nominated] artist Jim Lambie was in the band, too, and he was a Love obsessive. We had these photographs taken where we’re trying to mimic the back sleeve shot from Forever Changes – Jim holding a broken jug!

“The unique thing about Love was these really unusual chord structures. If you sit down and play them with a guitar – it’s like jazz. Then there are those odd lyrics – with Arthur, you could never be sure where the song would go to next. The other thing that appeals about Arthur Lee, when you’re a kid starting a band, is that kind of arrogance and aloofness. It really came across that Arthur didn’t give a fuck. The way Love stared at you out of the sleeves of the first two albums – that was a real antecedent of punk, I think. Plus the ethnic mix, the Spanish influence, it gives it a different dynamic.

“Later, they became Creation’s favourite band, but before that, when Bobby Gillespie had the Splash One club in Glasgow – before the Mary Chain or the Primals – they’d play Love and the 13th Floor Elevators. If you see the images of early Primal Scream, the huge belt buckles and Bobby’s bangs – you can see how influenced they were. All the Glasgow bands on Creation were indebted.
“I saw Arthur at King Tut’s Wah Wah Hut a few years ago and it was one of the greatest things I’ve ever seen. A young band and Arthur so charismatic – just the best tambourine playing and an object lesson in garage rock performance. It’s a shame he never really came to terms with Forever Changes, but if you speak to a lot of these guys about their legendary work, they have mixed feelings. It’s like Alex Chilton; to us the Big Star period means great records, but to him it means no money and no acclaim. Arthur, too, was a troubled man, but I saw him a couple of times recently and he looked like he was having a great time. I really hope that was the case.”

Alec Ounsworth from Clap Your Hands Say Yeah represented the new wave of Arthur acolytes at the Doing It For Love benefit in June.
“Arthur was one of the greatest musicians America has produced. To do a benefit show for someone like Arthur Lee was an absolute for me, and the idea of recovery in my mind was optimistically an absolute. However ill I knew he was, I was shocked when he died. He’ll always be alive for me. You can feel the strength of personality coming off those albums. I love listening to the outtakes [notably, on Rhino’s reissue of Forever Changes], where you can hear Arthur demanding things from his band. Arthur Lee’s songs required such precision; he knew what he wanted and demanded so much. Then there’s the juxtaposition of that with the gorgeous melodies and songs about the intricacies of life, but always with an undercurrent of wild emotion and absolute sincere emotion. With any of Arthur’s records, they’re not immediate – he’s not gonna pop up on ya like a David Bowie – but keep going with him and you’ll be rewarded time and time again.”

Monday, August 14, 2006

Chico Hamilton Releases First of Four Albums to Celebrate 85th Birthday

The Big Takeover > news
by Greg Bartalos
30 January 2006
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On January 10th, jazz drummer CHICO HAMILTON released Juniflip on the Joyous Shout! label, in celebration of his his 85th birthday.
Also playing on selected cuts are GEORGE BOHANON, JIMMY CHEATHAM, and BILL HENDERSON who provides vocals for two tracks.
Making a special appearance is LOVE’s ARTHUR LEE, who sings “What’s Your Story Morning Glory?” Amazingly, Hamilton has been recording music since 1952. Lee’s first recordings date back to 1963 (pre-Love). So between these two musical giants you have almost 100 years of recorded material! And they both sound fresh and youthful here.
Check out the flash e-card for more info about the CD, which includes pictures of the recording sessions (Hamilton and Lee can be seen together in photo number seven) and song samples.
You also can learn about the other three albums Hamilton is releasing later this year, one which is slated for April 4th, another on June 27th and the last one on September 19th, just two days before his 85th birthday.

Filed under jazz


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MICHAEL TOMS: John, your recent book is entitled Anam Cara. What does that mean?

JOHN O'DONOHUE: Anam cara is a Gaelic phrase. Anam is the Irish word for "soul," and cara is the word for "friend." So it means "soul friendship." It's one of the most poignant and tender aspects of the Celtic tradition that-despite their profound imagination, their great battle prowess and their great passion-there is at the heart of Celtic wisdom such a beautiful notion of friendship.

A way of explaining it is that between two people such a friendship awakened. It wasn't manufactured or produced or programmed, but it awakened between them in their meeting. It was almost as if an ancient affinity that was latent in their spirit comes awake and comes alive, and that each is joined in an ancient way with a friend of their soul.

John Cassian said that the anam cara relationship couldn't be broken by time or space or anything else. It's important to stress that it wasn't just an ideal or a metaphor for what human relationship should be, but it was an actual social construct of the time. I mean, people did have these anam cara relationships. In the book I've tried to use that image as a lens to look at different aspects of modern consciousness and the incredible spiritual hunger that haunts so many people.

MT: We might encounter someone that we feel we've met before, or someone with whom we immediately feel a rapport. Sometimes we feel that somewhere long ago, we decided to get together now, and here we are.

JO: Exactly. People say that friends are made. I don't think friends are made at all, but rather discovered. If you look back along your life, you will see that at the crucial thresholds, different people were sent to you to help you acknowledge what was going on, to recognize your own responsibility, and to bring you over thresholds. The most creative growth points in our inner journey are all due to the assistance, graciousness and surprise that friendship brings. Friendship has a secret logic and a secret destiny. Something that's startling about one's friends is that the first meeting was so contingent and so seemingly accidental; and yet, if you look back now, your life would be unimaginable without the friends who have helped to shape you and give birth to your soul.

MT: When one thinks about it, it's having friends and being in friendship that is one of the secrets of life, isn't it?

JO: Absolutely. And it was said beautifully by Aristotle in the De Anima, where he devotes several chapters to the concept of friendship. He said, "If one could have all the good things in life but be without friends, one would choose not to have the good things rather than be friendless." Because there's something radically creative in the human spirit and mind, and because that creativity is linked to the contours of absence within us, there are places of incompletion, places where we are hungry within us. And only in the kinship of friendship do we actually become one with ourself.

To put it more pictorially still, it's utterly fascinating to me that no human person ever sees their own face. We look in mirrors and we have images, but we never see our own faces. And we never see our own bodies fully either. A friend is a true mirror in which we begin to get some little glimpse of who we are and the immensity that we carry-and that sometimes haunts us. Friendship is the shelter; and it's not a complacent shelter but a shelter that settles some primal restlessness down within us. It liberates us to get into the dance of our own life.

MT: I think of the Buddhist idea of the other-that looking into the other is looking into yourself, because the other is the mirror of you. That's what I hear you saying.

JO: Yes, that's exactly what I've been saying and intending. Some of the unexpected aspects of our destiny don't actually arise within us at all but are brought along the pathway to the door of our heart by our friends.
Some friendships have brief physical exposure but a long, lingering inner presence that you never lose them in. You hear people say, "My relationship broke up," or "I lost this friend." People do break up and move away from each other, but there is some little corner of the heart, if we've loved a person, that somehow always remains open to them and attached to them in some way. The human heart is an altar of different icons of friends-starting with family and siblings-that we have made. Maybe one of our sacred duties on the Earth is to bring that altar of icons with us through time into the invisible world.

MT: John, what was it like to grow up in the Burren? It is quite an extraordinary place. There is an Irish sensitivity to the land and the Celtic relationship to nature. As a young person, what do you remember of that? Clearly it had a deep effect on you.

JO: It has had, and still has. It's very interesting to look at the work of psychologists like Piaget and Freud, who acknowledge that one's earliest experiences lay down the clay within the psyche. That's usually determined in relationship to parents, siblings and all that. But when you live in a wild, luminous landscape like the Burren, that landscape itself becomes an inner companion. I can remember very clearly my first moments, as a child, of recognition of the mystical wildness of this place, the strangeness of it. When the light was there the stone was white, and you could almost understand that it had been all under the sea at one stage. Then, when a shower came, the whole landscape blackened completely.

I remember going out as a little child, when my father brought me herding with him. I was too small, and I was afraid to cross over the scailps-where there is a division between the stones. He was encouraging me like this: "If you always watch where you're going, you'll never go down between them." It was lovely to walk on the solidity of that stone.

Even still, when I go home and if my head is netted or entangled, I go out into that landscape and stuff drops off me. I feel so free and so clear, because there's a grace and clarity in it, and there's also an incredible imagination in it, because no two stones in it are the same. It's a bare limestone region, so each stone has its own particular presence and shape and incredible luminosity. It's such a kind place to the spirit.

While we are talking of landscape, I wrote a poem several years ago about the death of my uncle, and the landscape of the Burren is very much in the poem because it was his identity. This poem is called "November Questions." November is the month of the dead in the Christian tradition, but in the Celtic tradition it was Mi na Samhna, the month of when the two regions, the mortal world and the eternal world, flowed into each other; the veil between the visible and the invisible was pulled back. So I called this poem "November Questions."

It's in the form of a series of questions addressed to the uncle who has just died, because the loneliest thing about losing someone to death is that you wonder where they are, who they're with, and what's happening to them. At the end of the poem, then, there is a subversion of that whole line of questioning, and it turns the attention another way.

Here's how it reads:
Where did you go
when your eyes closed
and you were cloaked
in the ancient cold?

How did we seem,
huddled around
the hospital bed?
Did we loom as
figures do in dream?

As your skin drained,
became vellum,
a splinter of whitethorn
from your battle with the bush
in the Seangharraí
stood out in your thumb.

Did your new feet
take you beyond,
to fields of Elysia,
or did you come back
along Caherbeanna mountain
where every rock
knows your step?

Did you have to go
to a place unknown?
Were there friendly faces
to welcome you, help you settle in?

Did you recognize anyone?
Did it take long
to lose
the web of scent,
the honey smell of old hay,
the whiff of wild mint
and the wet odour of the earth
you turned every spring?

Did sounds become
the bellow of cows
let into fresh winterage,
the purr of a stray breeze
over the Coillín,
the ring of the galvanized bucket
that fed the hens,
the clink of limestone
loose over a scailp
in the Ciorcán?

Did you miss
the delight of your gaze
at the end of a day's work
over a black garden,
a new wall
or a field cleared of rock?

Have you someone there
that you can talk to,
someone who is drawn
to the life you carry?

With your new eyes
can you see from within?

Is it we who seem

(c) 1994, John O'Donohue

MT: The Celts have an interesting notion about death. They seem to see it as a birth, as part of life, which brings up the idea of what happens at death. Having been raised in an Irish Catholic family, I remember the Irish wake. The death of one of my aunts when I was ten years old was one of my first encounters with death. I remember the wailing that was going on in the room with the open casket and the body, and in the other room there was laughing and joking and telling stories and passing around the beer. It was an interesting juxtaposition. That comes from the Celtic tradition, doesn't it?

JO: I think it does, because the Celtic notion of the afterlife was a place where there was great celebration, plenty to eat and plenty to drink. And it didn't seem at all tarnished or damaged by a negative view of the afterlife. I suppose it also explains the warrior code and their traditions of honor, and how it was more important to endure death rather than dishonor-there wasn't a massive severance going into the invisible world and death. The Irish have a real ability to celebrate death. And one of the lovely things is the wake, as you were saying there now.

The wake is an important reverence, because in the wake it is recognized that the newly dead person shouldn't be left on their own with their new journey. It's a new experience for the body that has carried this life for sixty, seventy, eighty years. But it's also a new experience for the spirit of the person, who is now bodiless and has gone into the air element.

There's a lovely story from the Cork area about the soul that kissed the body. The body had died and the soul was on its way out the door. Just before it went it turned and looked at the body, and it felt such a sense of poignance for the body in which it had lived for seventy years that it went back and thanked the body and kissed it three times before it went on its way.

So the Irish recognize the dual loneliness and the dual novelty there and try, by gathering round that new experience for both body and soul, to shelter it and bless it. It's a great opportunity, and was even more so years ago when they had the keening tradition-the tradition of the wailing for the person who was gone.

I remember just meeting the last bit of that in Connemara, and the wailing of these people who keened the departed one was like no crying I've ever heard. It would go to the bone in you. Any bit of personal sorrow in your own life-even if you weren't related to the dead person-was totally, absolutely released by that. It cut into you. But it also gave the bereaved a chance to absolutely loosen the wells of grief within themselves.

The other part of the wake, then, of course, was the celebration of people telling stories about what the person did when they were young, what has happened-things long forgotten. So in a way the wake was a gathering of the fragments of the memory of the departed one, almost as a shelter to now help her or him on their new journey. It was a very important ritual. Even still, at home, when anyone dies, everyone in the village and surrounding villages always goes to the funeral. I heard of somebody from Germany who was over visiting someone there a few years ago, and three neighbors died in the week. The German went away thinking that the Irish did nothing else but go to funerals.

MT: The invisible world holds great importance to the Celts. Could you talk a little about that?

JO: One of the lonely things in contemporary culture is that that which is not visible is not real. We've equated reality with visibility and with images. For the Celtic consciousness and the Celtic mind, the invisible was just as important as-if not more important than-the actual visible. And for instance in the Thain, which is the nearest the Irish tradition comes to an epic, you have people who materialize, come out of nowhere and are suddenly physically there, and then go into nothingness again.

It reminds me of a story my father used to tell at home of a man who was friends with a priest. And he said to the priest, "Where do the spirits of the dead go when they die?" And the priest wasn't willing to answer him, but the man kept at him anyway. And the priest said, "What I'm about to show you now you will never tell anyone." Needless to say, the man didn't keep his word, but the priest, it was said, raised his right arm, and the man looked out under his arm. And it was said that he saw the spirits of the dead as thick as the dew on the blades of grass, everywhere around.

That's the Celtic tradition, that the dead are not far away, but stay near us. And it coheres very beautifully with the wonderful answer that Meister Eckhart gives to the same question, "Where does the spirit of a person go when the person dies?" And he said, "No place. Where would you be going to?" So that means that the dead are actually all around us and are present with us. Now I'm not talking about spiritualism and all this stuff about mediums, but I think the next big step in our evolution as a species will be that that veil will be drawn further back, and that we will sense the spirits that are here with us.

When I'm praying for somebody who is grieving, I pray that the sore of absence will become the well of presence-that when you stop mourning the person and their physical loss from your life, then very often what you regain is a sense of their invisible presence with you. I think we should pray to the dead as well as praying for them, because they are probably in a rhythm and in a wisdom that they can give us incredible guidance.

Many times in my own life I've been in really hard places and on very sore thresholds, and when I've asked for blessings from my father and my uncle-the Lord have mercy on them-they've always come. The dead probably inhabit a different time rhythm where they can see our future as well as our past. Very often in our journey there are huge boulders of misery poised over our path, and our friends among the dead hold them back until we can pass underneath.

The corollary of that is, of course, that the dead now know more about me than they did when they were living, so it could make for very interesting psychological situations. But I also think that their new knowledge of us is absolutely equal to their new understanding and their new forgiveness, so that they carry no remorse, no regret, and no anger towards the living, but a profound sense of pathos. I'd say it's one of the things that will amaze us when we ourselves come into the eternal world, which is here in the middle of this visible world, and when we will be near to behold those that we love still living. I think the sense of pathos and feeling for them will be overwhelming.

This article has been excerpted from New Dimensions
Program #2666.

Sunday, August 13, 2006

He will sing one last time

For my dear friend M, you are in my thoughts.
In Memoriam of your Arthur Lee.
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The dirt that had blurred the picture.
A thumb wipes away flecks of dust
Where the plains of Memphis
will sway to a soulful lust.

There was never a description
when the harmonica warbled
Echoing voices of glossolalia
Rippling stones through her emotions

Where rain patters on concrete floors
inviting the muse with sad smile
to hear percussion of a heart’s flutter
and listen to songs for a while

Passion draws the moon within
Where wave-like fingers strum,
gliding to the sound of the wind,
curling around the shell of youth

Hearts and minds soldered in bond
And time will drip, drip like the solder
Can you hear the departing bell
kiss on the tears of a beholder

The held hand of the parish priest
and a chapter nearing a close
He leans forward gazing deep
to impart his love before he sleeps.

Eros and Agape are one in two
For both have acted in their scenes
Never were they cued to leave
for Arthur will sing once more to you.

May he rest in peace...

Copyright (2006)

Saturday, August 12, 2006

Love TV Documentary Part 2


So...maybe it's Swedish. Anybody know for sure? Or what the name of the song is? (Reader Dave says "Wow - The first song is 'Doggone' from the Out Here lp and then goes into 'August' from Four Sail.") Thank You Dave!
Love TV Documentary Part
Love TV Documentary Part 2.m4v
Previously on Bedazzled!
Love TV Documentary Part 1
Love Singer Arthur Lee Dies At 61

Love TV Documentary


This is the 1st 11 or so minutes of a Dutch (?) TV Special about Love. Pardon the type right smack in the middle. Arthur talks about the origin of the name (they were originally called "The Grass Roots") and there's a nominally NSFW "promo" video. I'll try and post more of this show in the coming days.
Love TV
Love TV Documentary.m4v
Previously on Bedazzled!
Love Singer Arthur Lee Dies At 61
believe this is Danish rather than Dutch


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Arthur's horoscope for day of his funeral
August 12,2006 11:am Los Angeles Ca.
Taking the initiative **
At this time you feel very self- assured and confident, and you will have the necessary material and physical resources to carry out whatever objectives you have in mind. If necessary, you work very hard to gather people who will work with you and to assure whatever backing you need. You undertake every task with great zeal and energy. And you don't stand about waiting for someone to give you directions. You take the initiative yourself and finish the task swiftly. Also you will contribute everything you have to the effort. You are sufficiently confident of success that you are willing to take risks, and such risks are reasonably likely to turn out well. This process takes place in such a way that you learn more about yourself, and at the same time you are able to let others know clearly where you stand.

The interpretation above is for your transit selected for today:
Mars Trine Med.Coeli
activity period from 10 August 2006 to 13 August 2006.
Other transits occurring today:

Moon Opposition Chiron, exact at 05:26
Moon Square Saturn, exact at 09:36
Moon Opposition Neptune, exact at 12:25
Moon Trine Pluto, exact at 16:54
Moon in the 9th House, exact at 19:47
Moon Sextile Uranus, exact at 18:30
Moon enters Aries, 03:22


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'Arthur '

Personal Portrait
for Arthur , born on 7 March 1945

Sun in Pisces, Moon in Sagittarius * Ascendant in Leo, Sun in the Eighth House * Moon in the Fifth House * Mars Opposition Ascendant * Sun in the Eighth House * Venus in the Ninth House * Saturn in the Eleventh House

The report was generated with the following birth data: male, born on 7 March 1945 at 4:40 pm in Memphis, Tennessee.

Your sun sign is Pisces. This is the sign in which the Sun is in your birth chart. Your Ascendant is in Leo, and your Moon is in Sagittarius.

Partner references which may occur in the text are set for a relationship with a woman.

Sun in Pisces, Moon in Sagittarius

This astrological combination indicates a person who is in a perpetual state of motion. Your nature is excitable, sometimes irritable. You love change and will probably be involved in numerous occupations throughout life. You approach each new project and contract with new enthusiasm. At first, your interest is real enough, but it tends to be fitful. You appear to be a busy worker and have good abilities in a variety of areas. In society you are inclined to be talkative, sometimes enjoying gossip. However, your intentions are always sincere and you have a sympathetic nature. Your most conscious aim in life is to gain understanding and sympathy, but your chances for attaining these are diminished because of the diffuseness of your character.

The key to a harmonious existence lies in trying to concentrate your will in a single direction.

Ascendant in Leo, Sun in the Eighth House

At the time of your birth the zodiacal sign of Leo was ascending in the horizon. Its ruler the Sun is located in the eighth house.

People with Leo in the Ascendant seem to possess a flair for the life of nobility and regality. Your life will be in many ways influenced by decisions you make that have been motivated by your pride, desire for power, for authority, and your need to convince others of your courage.

In life you will act with a rather frank, generous, and amiable disposition. The course of events in your life will unfold themselves swiftly, and a life full of chance and circumstances will be the outcome of your desire to rule, to organize, to hold the keys of authority. You should be aware that as a result of overly strong impulses there is the danger of failures and upsets in life. You will be generally regarded as an amiable, sincere and generous person who, however, has much pride and sensitivity. Egocentricity is one of the prices of being born with the Ascendant sign of Leo. Another aspect of this zodiacal sign is that your personality becomes excessively charged with passion and sexual desire. On the other hand, these zodiacal signs grant in life a large dose of vitality as well as a fine physical shape and a strong, healthy constitution.

Willpower is a characteristic of your personality. You seek opportunities and when you find them you go to it, using both your mind and your emotions to strive for success with zeal and determination. You are very self-assured and you implement ideas with a self- assurance that lets nothing get in your way of success.

It would be beneficial to you, however, if you were not so candid and frank and if you did not expect others to act and feel as you do.

Leo will grant you very sincere and affectionate relationships in which you desire to bring happiness and an overall feeling of charitable spirit and warmth to your loved one. In your sexual relationships you appear as happy, strong, playful and even a little innocent.

You will always act better as a leader than a subordinate.

The main meaning of this house is that of loss and crisis, as well as taboo and occult topics. The eighth house deals with themes that have to do with deep emotional metamorphosis. This may take on forms which you find painful to experience, but with the Sun in this house, it is important to you to find out everything in connection with the eternal cycle of dying and becoming and to deal more consciously with these themes. In that sense a loss of a loved one may be an important, traumatic, and decisive event in your life and can develop a more profound realization of your own nature.

Moon in the Fifth House

The Moon was found in the fifth house at the time of your birth. This indicates that you will participate actively in business speculations with many changes occurring in this respect. You were born with a knack for dealing with people and with the ability to communicate with them, particularly in connection with business enterprises.

Your emotional nature is very much geared to your love of pleasure, and you possess a very curious aptitude which may bring you financial gains as well as pleasures in business.

In spite of the positive qualities you have, the fact of the matter is that in love you are very changeable, unstable, or too preoccupied with trivialities.

Your love feelings are very well developed and lead to strong drives for sensations and passionate tendencies which unfortunately are not directed to one object alone.

It is possible that throughout life you may be connected with small and numerous business investments with a fairly good return.

Mars Opposition Ascendant

Mars opposition the Ascendant shows that you attract people who threaten you. You do not really have that much self-confidence; your aggressive actions are an attempt to convince yourself that you do.

Meeting others in competition is how you learn to assert yourself constructively, with greater self-control and discipline. Naturally argumentative, you are not the easiest person to get along with. You must learn to be more compromising if you want peace and harmony. Making concessions shows strength of character, not weakness, and if you realize this, you will be respected for your maturity.

In personal relationships, your offensive tactics force you to raise your defenses when the going gets rough.

But an attitude of superiority often masks feelings of inferiority or inadequacy. You have a lot of creative energy you should express. Remember, it is what you do rather than what you say you can do that is important. Develop more self-control, or you will run into many troublesome situations that could be extremely difficult to resolve.

Sun in the Eighth House

The Sun was found in your eighth house at the time of birth. This inclines your individuality to be oriented, in one way or another, to the deeper sides of life. Your sexual feelings are long-lasting, intense, and vital. Your inner self seems attracted to unusual matters related to the termination of life-death and its mysteries.

Traditional astrology indicates that near your middle age a crisis will rear its head in your life. If this period is successfully spanned you can expect a prolonged life with a gradual heightening vitality.

Financially, there are definite chances for money inherited from either your partner or from another relative.

Venus in the Ninth House

Venus was found in the ninth house at the time of birth. Your mind appears as very adaptable, gentle, peace-loving and tactful. This position indicates that the secret for your ability to reach a state of harmony and emotional balance may come through the use of your higher mental powers. You have been born with an exquisitely refined, artistic mind which has a very subtle appreciation of all that has to do with culture. Your disposition is kind, congenial, gentle and sympathetic and you have a natural ability to assist other individuals.

This position gives you much social intercourse with intellectual persons and success derived therefrom.

Merely minor disabilities will affect you in your intellectual endeavors. The worst that could happen would be an overly inquisitive, indecisive nature that never seems to be satisfied. However, you have within you the ability to avoid these psychological obstacles.

Saturn in the Eleventh House

Saturn was found in the eleventh house at the time of birth. Psychologically, this denotes a rather hidden and limited view of your personal ambitions, your friendships, and of your future. You're very ambitious, cautious, just, patient, responsible, but perhaps, too serious.

You're an individual with few friends and even there you may find that some of them will assist you with advice rather than with actual help in times of peril.

Arthur (male)
born on 7 March 1945 local time 04:40 pm
in Memphis, TN (US) U.T. 21:40
90w03, 35n09 sid. time 02:40:45
Planetary positions
planet sign degree house motion
Sun Pisces 16°57'39 08 direct
Moon Sagittarius 25°14'16 05 direct
Mercury Pisces 23°25'27 08 direct
Venus Aries 28°07'56 09 direct
Mars Aquarius 16°35'39 06/7 direct
Mars is technically near the end of house 6 and is interpreted in house 7.
Jupiter Virgo 23°18'07 02 retrograde
Saturn Cancer 03°50'07 11 stationary (D)
Uranus Gemini 09°16'45 10 direct
Neptune Libra 05°33'33 02 retrograde
Pluto Leo 08°18'26 12 retrograde
True Node Cancer 16°22'57 11 direct

House positions (Placidus)
Ascendant Leo 18°47'02
2nd House Virgo 12°06'34
3rd House Libra 10°03'53
Imum Coeli Scorpio 12°38'06
5th House Sagittarius 17°03'02
6th House Capricorn 19°36'00
Descendant Aquarius 18°47'02
8th House Pisces 12°06'34
9th House Aries 10°03'53
Medium Coeli Taurus 12°38'06
11th House Gemini 17°03'02
12th House Cancer 19°36'00
Major aspects
Sun Conjunction Mercury 6°28
Sun Opposition Jupiter 6°20
Sun Square Uranus 7°41
Sun Quincunx Ascendant 1°49
Moon Square Mercury 1°49
Moon Trine Venus 2°54
Moon Square Jupiter 1°56
Moon Trine Ascendant 6°27
Mercury Opposition Jupiter 0°07
Venus Sextile Saturn 5°42
Mars Opposition Ascendant 2°11
Saturn Square Neptune 1°43
Uranus Trine Neptune 3°43
Uranus Sextile Pluto 0°58
Neptune Sextile Pluto 2°45
Numbers indicate orb (deviation from the exact aspect angle)

Wednesday, August 09, 2006


Robyn Hitchcock: The Wreck of the Arthur Lee


Love - A House Is Not A Motel

R.I.P. Arthur Lee (March 7, 1945 -- August 3, 2006)

At my house I've got no shackles
You can come and look if you want to
In the halls you'll see the mantles
Where the light shines dim all around you
And the streets are paved with gold
And if you don't think so, you can call my name

You are just a thought that someone
Somewhere somehow feels you should be here
And it's so for real to touch
To smell, to feel, to know where you are here
And the streets are paved with gold and
If you don't think so, you can call my name
You can call my name
I hear you calling my name yeah all right now

By the time that I'm through singing
The bells from the schools of wars will be ringing
More confusions, blood transfusions
The news today will be the movies for tomorrow
And the water's turned to blood
And if you don't think so go turn on your tub
And if it's mixed with mud
You'll see it turn to gray
And you can call my name
I hear you calling my name (less)

Sunday, August 06, 2006


not a piece about man in general; but rather 1 specific Pisces whose soul i've felt assigned to pray unceasinglly for, over many difficult years, that he may obtain eternal life. He's a complicated one and God's love for him is exceedingly great. God loved David dearly we know, and David was much blessed by Our Father. This one not knowing from whence the gift originated set out to acquire what (unbeknownest to him) had already been divinely bestowed. He sought fame and financial favors at crossroads, from the trickster, who left him believing it was the evil one he was indebted to. Turned him inside out.To listeners the songs were so sweet and inspired yet their crafter writ as wit a cynical mocking satire, sardonic sarcasim. He was celebrated rewarded hailed" Genius"one who is trailed by the word "Legend", one who has done it all absolutely in The Wrong Spirit and still it blessed touched and had such great impact on the hearts and souls of so many of its listeners, they weren't aware of the double entendres. He found no joy because he had no respect for his audience, NONE. He couldn't enjoy his achievements because in his mind he had arrived at them in a duplicitous manner. Of course he had no idea that he was living out God's plan, all the talent all the gifts , yet he grew ever more vacant and therefore sought pleasures in taking from others.The pleasure too held no weight, lasted no length, and gained for him nothing more; well, only MORE Karma. Bless him more father , guide him to grace, lead him to everlasting life.
So let it be Written So let it be Done.(thankyou for indulging me)


Frailty informs
our ceaseless sighs
as we drift
numbered daylights

Our strength
at last
all kindness

Buy arrogance
damn snake.
at creation
to live
as a fish

Temporal vanity
robbed him
the ability
to swim.

Restricted to land
always to strike
by desire
to ravish
and suppress

Felled by fear
of love
by his reflection

What has he gained?
all is dust

Lashes of eyes
lovingly curled
in stardust

Possibility and purpose
now dwindle
life passes

Our former zeal

The legacy forsaken
a future
from which
shall spring


Twelve Reasons Why Arthur Lee Was Cool

Friday August 04, 2006 @ 07:00 PM
By: StaffPhotobucket - Video and Image Hosting

Arthur Lee

Arthur Lee, the frontman for the influential but largely overlooked psychedelic rock band Love, died in a Memphis, Tennessee hospital on Thursday afternoon after succumbing to acute lymphoblastic leukemia. He was 61. Rather than dwell on the passing of this idiosyncratic musical figure, we here at ChartAttack want to celebrate aspects of this man's career. Without further ado, here are 12 reasons why Arthur Lee was cool:

1. Love (then called The Grass Roots) became the first rock band to be signed by Jac Holzman's Elektra Records label in 1966.
2. Lee called himself "the first black hippie" and Love were among the first multi-racial rock bands of the '60s.
3. Love's 1966 cover of Burt Bacharach's "My Little Red Book" showed that the legendary pop songwriter also had some rock 'n' roll inside him.
4. Love's biggest hit, 1967's "7 And 7 Is," is considered by many people to be the first punk song.
5. "Revelation," from Love's 1967 Da Capo album, is credited with being the first rock song to take up an entire side of an LP.
6. Love's "She Comes In Colors" was the inspiration for The Rolling Stones' "She's A Rainbow."
7. Lee convinced Holzman to sign The Doors to Elektra.
8. Lee turned down performing at both the Monterey Pop Festival and Woodstock.
9. Mazzy Star covered Lee's "Five String Serenade" on their hauntingly beautiful 1993 album, So Tonight That I Might See.
10. British members of Parliament voted Love "the world's greatest rock band" and their Forever Changes "the greatest album of all time" in 2002.
11. After three rounds of chemotherapy failed to curtail Lee's leukemia, he became the first adult patient in Tennessee to receive a bone marrow transplant using stem cells from an umbilical cord.
12. Several benefit concerts were staged to raise money to help pay for Lee's medical expenses, including one held at New York City's Beacon Theater in June that featured Robert Plant, Ian Hunter, Ryan Adams, Nils Lofgren, Yo La Tengo, Garland Jeffreys and others.

FOREVER changed Pop Music

BY JIM DeROGATIS Pop Music Critic

The following is an excerpt from my history of psychedelic rock, Turn on Your Mind (2003, Hal Leonard).

After the Byrds, the most ambitious L.A. band to put a psychedelic twist on the folk-rock sound was Love, which thrived on the combination of two mismatched songwriters.

Born in Memphis, Tenn., singer Arthur Lee was raised in L.A.'s tough Crenshaw neighborhood. Strongly influenced by Mick Jagger, he presented what critic Lillian Roxon called "an amusing paradox," an African American singing like a white Englishman singing like an old African American.

His partner Bryan MacLean was raised on classical music and Broadway standards. "You hear more of my influence on Arthur than his influence on me," MacLean told journalist Alan Vorda in Psychedelic Psounds. "What you have [in Love] is a black guy from L.A. writing show tunes."

There was also a heaping dose of the Beatles circa "Rubber Soul," folk rock via the Byrds and the lush, orchestrated soundscapes of Hollywood film scores. (The band's use of beautiful orchestral flourishes is the most influential element of its sound today, with Love standing second only to the Beach Boys of "Pet Sounds" as the biggest inspiration for the so-called "ork-pop" or orchestral-pop movement.)

Love debuted in 1966 with a memorable self-titled album that opens with a snarling, speed-freak version of "My Little Red Book," a Burt Bacharach-Hal David tune from the soundtrack to the movie "What's New Pussycat?" Several songs are steeped in druggie imagery, including "Signed D.C.," a warning against heroin use; the foreboding "Mushroom Clouds," and the expansive "Colored Balls Falling."

The album also boasts a cover of "Hey Joe" inspired by the Byrds' rendition on "Fifth Dimension," but much punkier in its execution. Like the Byrds, Love worked hard to present a hipper-than-thou image, and the album cover features the quintet scowling like angry young poets posing before a broken-down chimney in a fire-gutted mansion that was said to have belonged to Hollywood's Dracula, Bela Lugosi.

By 1968, Love was starting to suffer from drug problems, turning from psychedelics to heroin. Lee contends that prejudice also kept the band from the heights achieved by some of its label mates. "I wasn't gonna go eat garbage like the Doors did," Lee told the Bob magazine in 1994. "And then, too, I wasn't white. The cold fact of the matter is birds of a feather flock together."

When Love recorded "Forever Changes," Lee was convinced that his life and his career were coming to an end. (The back cover shows the singer standing with a cracked vase full of dead flowers.)

Of the many lost classics produced during the creative explosion of the late '60s, the greatest may be "Forever Changes." In its startling originality, its elaborate use of symphonic orchestrations and its nods to the vast canon of music that preceded it, "Forever Changes" is everything that's been claimed of 1967's most heralded rock release, the Beatles' "Sgt. Pepper's Lonely Hearts Club Band."

Lee's failure to produce much worthwhile after 1968 has prompted some critics to put him in a class with cracked psychedelic geniuses Syd Barrett, Brian Wilson and Roky Erickson. While he emerged from the '60s bitter about the business and as eccentric as ever, Lee wasn't crazy or permanently damaged.

He largely dropped out of sight after the solo "Vindicator" (1972); though he and MacLean both became born-again Christians, that didn't bring them back together. Lee toured the U.S. in 1994, playing Love's old songs for a new generation of fans, but a short time later, he was sentenced to a 12-year prison term thanks to California's "three strikes you're out" legislation. Freed after six years behind bars, Lee returned to touring the rock underground in 2002.

Love's third album will likely remain his crowning achievement -- the enduring testament that he envisioned 35 years ago.

Singer for psychedelic band Love dies at 61

He died on Thursday at the Methodist University Hospital after a battle with leukaemia.

Arthur Lee, singer and songwriter for the 1960s psychedelic band Love, died on Thursday at the Methodist University Hospital after a battle with leukaemia. He was 61.

Lee formed Love in Los Angeles, and the group was signed to the newly formed Elektra label to release their self-titled debut album in 1966.

The band's most well known album, Forever Changes, released in 1968, is considered a classic of the '60s rock era.

Lee was born in Memphis and had moved back early this year after spending most of his life in Los Angeles. He was diagnosed with leukaemia in February and received a rare umbilical cord blood transplant in May. He had not left the hospital since the transplant, said Ruth Ann Hale, hospital spokeswoman.

"His death comes as a shock to me because Arthur had the uncanny ability to bounce back from everything, and leukaemia was no exception," said Mark Linn, Lee's manager.

Before his diagnosis, Lee was performing original Love songs in Europe and the United States, backed by the local L.A. group, Baby Lemonade.

The Daily Docket: Love's Arthur Lee Passes On

The Daily Docket: Love's Arthur Lee Passes On
Arthur Lee and Love

The Music Machine - Talk Talk

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John Densmore tribute,,CLICK TITLES FOR LINKS

August 7, 2006
1965, the Strip and Arthur Lee
Love's singer was a man in style and substance ahead of his time, a rock hall of famer recalls.

Love-'Hey Joe' Excerpt
(MP3 audio)

By John Densmore, Special to The Times

It was 1965 when I rushed down to the Whisky a Go-Go to stand out front and listen to a group called Love. My band, the Doors, was playing in a dumpy club up the street, and we were on a break. I craned my neck past Mario, the doorman, to get a glimpse of a band that was so far ahead of its time, the public still hasn't caught up.

The first time I saw Love, I was shocked. They were bizarre. Arthur Lee, the African American lead singer, wore rose-tinted granny glasses, and they had a guitar player whose pants were so tight, it looked like he had a sock stuffed inside his crotch. It was a racially mixed group who seemed to be friends. After experiencing Love, I knew I had a ways to go before being hip. Wearing leather capes and pin-striped pants, suede moccasins, paisley shirts and jackets with fringe everywhere, I wondered if they went out on the street like that. Not that they were fashion without substance; as Lee told us all: "And the things that I must do consist of more than style."

This was a revolutionary band, way before Jimi Hendrix. No black man had crossed over from "soul music" into rock before Arthur. I desperately wanted to be in this band. Arthur clearly had tons of talent and charisma, a quality that our singer, Jim Morrison, hadn't developed yet.

When we finally became the house band at the Whisky, Arthur graciously suggested to Jac Holzman, the president of Love's record company, that Jac check out the Doors. Due to Arthur's jump-starting, we got a record deal.

Jim and I would drive down from Laurel Canyon to the Chinese restaurant next to Greenblatt's Deli to get egg fried rice for breakfast. On one of those excursions "My Little Red Book" came on the radio, Love's cover of the Burt Bacharach-Hal David song. "If we could make a record as good as that," Jim said, "I'd be happy."

Love went on to make several albums for Elektra Records, one of which, "Forever Changes," is a masterpiece (and, it should be noted, was produced and engineered by the vital Bruce Botnick). This album defined the '60s and is the "Sgt. Pepper's" of the West Coast, the "Pet Sounds" of psychedelia. One title from that album, "Maybe the People Would Be the Times, or Between Clark and Hilldale," reflects the street life on the Strip, the Whisky being located on Sunset Boulevard "between Clark and Hilldale."


And oh, the music is so loud

And then, I fade into the … crowds

Of people standing everywhere

And here, they always play my


Wrong or right, they come here

just the same

Tellin' everyone about their



Forgive me now, for copying a slew of lyrics from this brilliant record, but better to quote a genius than wax on with helium upstairs.


On racism:

Around my town

Here, everyone's painted brown

And if with you that's not

the way

Let's go paint everybody gray



I've been here once, I've been

here twice

I don't know, if the third's the

fourth, or the fifth's to fix



There's a man who can't decide

If he should fight for what his

father thinks is right


Prophecy (Arthur spent some time in jail years after this was written):

They're locking them up today,

They're throwing away the key,

I wonder who it will be

tomorrow, you or me



This is the time in life that I am


And I'll face each day with

a smile

For the time that I have been

given, such a little while

And for everyone who thinks

that life is just a game

Do you like the part you're




Sitting on a hillside, watching

all the people die

I'll feel much better on the other

side …


Arthur, I hope you're sitting on that hill … in fact, the Doors' lead singer is waiting to show you where that hill is … and I'm sure you'll feel better.

Unfortunately, Arthur smoked so much herb that he was reluctant to leave his house. "Forever Changes" became a critical and chart-topping monster in England, but Lee wouldn't cross the pond. For those of you who are new to the importance of this band called Love, please check it out.

When I heard the news that Arthur died Thursday, I lit some white sage given to me by Native American musician friends, in honor, and to help Arthur Lee with his crossing. He was an extremely talented, tortured artist, not unlike Jim, and the two of them are sitting on that hill.

"Don't ask yourself what the world needs. Ask yourself what makes you come alive and go do that, because what the world needs is people who have come alive."

— Howard Thurman, African American mystic and activist


Densmore, author, essayist and drummer for the Doors, was inducted into the Rock and Roll Hall of Fame in 1993.

The Doors - Moonlight Drive

oonlight Drive del L.A. Woman.
L.A. Woman, April 1971, US #9; UK # 26

Founded in 1965 in Los Angeles, California, after a meeting between UCLA film school students Jim Morrison and Ray Manzarek, "The Doors" became one of the premier acts of the late 1960s. The two had known each other at USUK and met by chance on Venice beach in July 1965. Morrison told Manzarek he had been writing songs and, at Manzarek's encouragement, sang Moonlight Drive. Manzarek immediately suggested they form a band.

Vox-Organ-Player Ray Manzarek was already in the band called Rick And The Ravens with his brothers Rick and Jim while Robby Krieger and John Densmore were playing with The Psychedelic Rangers, and knew Manzarek from shared meditation instruction. In August Densmore joined the group and, along with members of the Ravens and an unidentified female bass player, recorded a six-song demo on September 2. This was widely bootlegged and appeared in full on the 1997 Doors box set.

That month the group recruited talented guitarist Robby Krieger and the final lineup--Morrison, Manzarek, Krieger and Densmore--was complete. Manzarek solved their lack of bassist by playing bass on a Fender Rhodes bass keyboard with his left hand and keyboards with his right hand.

The band took their name from the title of a book by Aldous Huxley, The Doors of Perception, which was in turn borrowed from a line of poetry by the 18th century artist and poet William Blake: "If the doors of perception were cleansed, every thing would appear to man as it is: infinite."

By 1966 the group was playing The London Fog club and soon graduated to the prestigious Whisky A-Go-Go. On August 10 they were spotted by Elektra Records president Jac Holzman on the insistence of Love singer Arthur Lee, whose group was on Elektra. On August 18 the group signed with the label. The timing was immaculate when, on August 21, the band was fired from the club after a profanity filled performance of "The End". In an incident that was a foretelling for the controversy that would follow the group, a tripping Morrison bellowed during the "Oedipal" section of the song "Mother...I want to...fuck you!!!".

Arthur Lee 'the black hippy' dies

Yo La Tengo and Johnny Echols

Yo La Tengo and Johnny Echols

By Andrew Gumbel in Los Angeles
Published: 05 August 2006

Arthur Lee, one of the heroes of 1960s West Coast progressive rock whose band Love recorded the classic psychedelic album Forever Changes, has died of cancer at the age of 61.
Lee, who liked to refer to himself as the first black hippy, led a wild and frequently unpredictable life before waging a public battle against the acute myeloid leukaemia that eventually killed him. He died on Thursday in his home town of Memphis with his wife, Diane, by his side.
"His death comes as a shock to me because Arthur had the uncanny ability to bounce back from everything, and leukaemia was no exception," his manager, Mark Linn, said.
Lee moved out to Los Angeles as a young man and formed Love, the first multiracial band of the era, in 1965. He was both the lead guitarist and lead singer, and the driving force behind the group's three albums. Love's second release, Da Capo, was notable at the time because it featured one song, "Revelation", that took up an entire side of the record.
Forever Changes, which came out in 1967, was hailed as a bold response to the Beatles' Sergeant Pepper album and is regularly ranked by Rolling Stone as one of the greatest albums ever recorded.
Love lost momentum after that, and Lee spent much of the rest of his career feeding off his early successes, most notably with a series of critically acclaimed live performances of his old hits in the past few years to his dedicated fans.
Robert Plant Live 6/23/06

A brief clif of Robert Plant performing Led Zeppelin's "What Is And What Should Never Be" at the Arthur Lee Tribute at the Beacon Theater in New York City on June 23, 2006. Also performing were: Ian Hunter, Nils Lofgren, James Mastro, Andy York, Yo La Tengo, Ryan Adams, Flashy Python & The Body Snatchers, Gavin DeGraw, Johnny Echols & Garland Jeffreys.
Arthur Lee Love Roadmender February 2004 p2

Arthur Lee Love Roadmender February 2004
Arthur Lee Love Roadmender February 2004 - old Man

I created a Youtube group for Arthur videos, so if you have one add it to this group, if you want:-)

Group: Arthur Lee and Love

Old - Man Arthur Lee Love Roadmender February 2004
Calexico - Alone Again Or (LOVE Cover) Rock Werchter 2006

Calexico - Alone Again Or
Live at Rock Werchter 2006.07.01 (Day3)
Great Song, Great Cover!
Original: Arthur Lee's L.A. Folk-Rock Band "LOVE"
Alone Again Or (1968)
The Damned - Alone Again Or

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Love - Alone Again Or (2003)
Love - A Message To Pretty

Love - Your Mind and We Belong Together (Promo Film)

A music video of sorts for the song "Your Mind and We Belong Together". A very rare find considering the original Love stayed out of the spotlight for much of their existance. I would speculate this was filmed in parts of 1967 or 1968 right before the original lineup was fired by frontman/founder Arthur Lee.


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Love - 7 and 7 is - live

7 & 7 IS liver Arthur Lee and Baby Lemonade performing Seven & Seven Is live in London. From the Forever Changes

7 & & IS live

live url self done

Saturday, August 05, 2006


June 22, 2003

By Ruth Ryon,
Times Staff Writer

Xorin Balbes must love Old Hollywood, judging from his redo of the Cedars, a 1926 Los Feliz villa.

The Cedars had been used for decades as a university professor's private book repository. Occasionally, a room or two would be rented out. The house fell into disuse and decay.

Then came Balbes, an L.A.-based designer and developer. After completing the restoration of Lloyd Wright's 1926 Sowden House in the same neighborhood, Balbes took on the Cedars about a year ago.Photobucket - Video and Image Hosting

Never mind that no one can prove that Norma Talmadge, the silent-screen star, lived there or that the villa was a copy of a duke's in Spain or Italy. Like the legend of Talmadge, the Cedars exudes the glamour of Hollywood's golden age, now that Balbes has put his stamp on it. No more musty smell or dingy rooms; no downstairs ceiling seemingly ready to collapse in a few places.Photobucket - Video and Image Hosting

Balbes not only refurbished the house, but he turned it into a showplace worthy of illustrious visitors, some of whom came calling when Balbes recently opened the villa to a fund-raiser for Martin Scorsese's Film Foundation and a pre-Oscar party to raise funds for the United Nations Foundation and Amnesty International.
About this house: Even as it deteriorated, the walled and gated villa was an impressive sight. With its 28-foot-tall foyer, Rococo dome fresco ceiling, gold-leaf-decorated ballroom, adjacent solarium and walk-in fireplaces guarded by statues resembling the MGM lion, the house recalls a former era. Now it's as Old Hollywood might have dreamed of seeing it, with modern conveniences, chandeliers and outside pools and fountains.
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The buyer may apply for a tax deduction by listing the house on the National Register of Historic Places, having the home appraised and donating a conservation/facade easement to a qualifying preservation organization such as the Los Angeles Conservancy.
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Asking price: $6,999,000

Size: There are six bedrooms and 6.5 bathrooms in about 10,000 square feet. The house is on a half-acre knoll.

Features: The villa has a detached guesthouse, a wine cellar, sweeping city views, a rooftop terrace designed for entertaining and a motor court behind a wrought-iron gate. There are stained-glass windows, hand-painted ceilings, arched doorways and distressed floors. There are six fireplaces, a media room and a maid's quarters.

Where: Los Feliz

Listing agent: Joseph Babajian, Prudential John Aaroe in Beverly Hills, (310) 248-6400, and Francis R. Gibbons, Prudential John Aaroe in Los Feliz, (323) 671-1202.

Last Updated March 17, 2000

HOME in Los Angeles Italian Villa - (Built in 1920) 10,000 Sq.Ft.

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16 Rooms & 6 Baths on 3 Levels - This is a replica of a 17th Century Villa Owned by The Duke of Alba in Florence, Italy. The Former residents are Norma Talmadge, Howard Hughes, Ralph Bellamy, the banker Marco Hellman and others. This is perhaps one of the most unusual and unique homes in Los Angeles with its San Simeon-like appearance. The walls are 2 foot thick concrete with immense rooms and is decorated in a most unusual and historical motif. Sitting on about an acre of land atop a hill in the Los Feliz area. There are private patios around the grounds, a fountain with pond at the front-side and wonderful courtyards around the grounds.
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At the door you enter into another time. The entry-foyer is approximately 28 feet high with steps leading up to the multi-level Villa. A Baccara crystal chandelier, rococo dome fresco ceiling, stained glass windows and terrazzo marble floors great you as you come in.

The Living room is approx. 50ft. x 30ft. with a 20-foot ceiling reveling massive decoratively painted wood beams. A walk in Fireplace with 2 large lions resting on the mantel. The floors are solid oak with a herringbone pattern. Off the Living Room is the BallRoom also with stained glass windows, gold leaf columns, gold leaf inlaid ceiling and an outside balcony running the length of the ballroom, library and bedroom.
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The Library has a large fireplace and a bas-relief inlaid ceiling, as do other rooms of the Villa. There are hand painted Fresco's throughout many rooms and a bathroom with 1-inch square tiles covering the ceiling.
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Attention Grips: You'll love this. Easy roof access allows you to do day for night without ladder problems.

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SPACELAND 2004 summer Train wreck

everybody's gotta live red telephone
Photos: The New Guy & Aake Ericsson
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