tag:blogger.com,1999:blog-322053772024-02-20T05:12:36.196-07:00TODAY IS FOREVER" NO ONE HAS BEEN LATE FOR DEATH, EVERYBODY'S DIED ON TIME,"ARTHUR LEE
<br>This page is in his memory <br>
videos songs and articles
thanks to all sources including;youtube,torbenskott,the bryan maclean page,garage hangover,and everyone i've gathered source material frompoisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.comBlogger193125tag:blogger.com,1999:blog-32205377.post-89341138593947647432013-12-10T07:43:00.001-08:002013-12-10T07:43:23.356-08:00Love - Forever Changes - Uncut.co.uk<a href="http://www.uncut.co.uk/love/love-forever-changes-review#IjkGYH0LQRzXpAZu.15">Love - Forever Changes - Uncut.co.uk</a><br />
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<div style="background-color: #ffffbf; border: 0px; color: black; direction: ltr; font-family: arial, sans-serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; height: auto; line-height: normal; margin: 0px; padding: 0px; text-align: left; width: auto; z-index: 99995;"></div><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-81872351700307383412013-12-10T07:42:00.001-08:002013-12-10T07:42:23.179-08:00Love: Love Story - Uncut.co.uk<a href="http://www.uncut.co.uk/love/love-love-story-review#DuJkY6GZO80cpjRY.15">Love: Love Story - Uncut.co.uk</a><br />
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<div style="background-color: #ffffbf; border: 0px; color: black; direction: ltr; font-family: arial, sans-serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; height: auto; line-height: normal; margin: 0px; padding: 0px; text-align: left; width: auto; z-index: 99995;"></div><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-10718174264371529972013-12-09T19:06:00.003-08:002013-12-09T19:06:58.458-08:00The Man Who Recorded America talks about "Love"....
<iframe width="560" height="315" src="//www.youtube.com/embed/8A-kR9BMnmY" frameborder="0" allowfullscreen></iframe><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-41617613167622940652013-12-07T16:30:00.001-08:002013-12-07T16:30:07.468-08:00The Kinks - I'm Not Like Everybody Else<iframe allowfullscreen="" frameborder="0" height="270" src="//www.youtube.com/embed/mmb7TU0OrOI" width="480"></iframe><br />
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<a href="http://photobucket.com/" target="_blank"><img alt="Photo Sharing and Video Hosting at Photobucket" border="0" src="http://i71.photobucket.com/albums/i127/poeia3/ARTHUR%20LEE/love-3.gif" /></a><br />
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So You Are So Shall I Be<br />
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© Tia Shaunece Royal Rhem<br />
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The breath of you is the breath of me.<br />
The eyes you have I use to see.<br />
The beat of your heart is the beat of mine.<br />
Our thoughts that we think at the same time.<br />
The tears we cry are the ones we share.<br />
Your comfort and love is my trust and care<br />
Your tender kisses strong embrace,<br />
as we stand together, face to face.<br />
side by side here we lay,<br />
wishing for another day.<br />
hearts are stopped neither one of them beat,<br />
motionless bodies from our head to our feet<br />
All around our tears are shared.<br />
we never knew how much they cared.<br />
The tops are closed no one can see<br />
in the ground are you and me.<br />
together we lay dead and cold,<br />
as the pastor preaches, "GOD REST THEIR SOULS"<br />
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<br /><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com2tag:blogger.com,1999:blog-32205377.post-22308826809144312032013-08-01T21:46:00.001-07:002013-08-02T10:17:36.725-07:00 VIDEO 'The Cedars' historic Los Feliz mansion THE CASTLE<br />
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<a href="http://www.antiquesandfineart.com/articles/article.cfm?request=802">http://www.antiquesandfineart.com/articles/article.cfm?request=802</a><br />
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<a href="http://movielanddirectory.com/tour-location.cfm?location=33834">http://movielanddirectory.com/tour-location.cfm?location=33834</a><br />
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<div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-50087481895900977442013-08-01T20:38:00.000-07:002013-08-03T11:01:36.923-07:00THE CASTLE<br />
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Tonight July 23 2013 I've just viewed BRAVOS Property Envy with Jeff Lewis and several others originally aired July 17th about THE CEDARS (original name) in Los Feliz later in the 60's Arthur Lee and LOVE lived there and called it THE CASTLE.<br />
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It appraises today for 18 million, Johnny Echols told me. "All the members of Love lived there for over a year and a half, we were offered the house for fifty thousand dollars back in the day, but the inspectors said it would need massive repairs and should be condemned. The Castle is like Woodstock, if all the people who claimed to have been there actually were... the place would have collapsed from the sheer numbers..."<br />
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<span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">Allegedly haunted:<i> THE CEDARS located at 4320 Cedarhurst Circle, Los Angeles 90027.</i></span></h4>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;"><i>The history behind 4320 Cedarhurst Circle varies widely from person to person. In fact it is hard to</i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;"><i>separate fact from legend. </i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;"><i>The Cedars actually has two other nicknames: THE CASTLE and THE TALMADGE ESTATE . The former name was given around the 1960's and the latter has no real origin because there is no record of any of the Talmadges ever living there. THE CEDARS was the property's name going back to at least 1931.</i></span></div>
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Some websites claim that the house was built by M-G-M for Norma Talmadge in 1920, which can’t possibly be true for three reasons: 1. Talmadge didn’t move to Los Angeles until 1922; 2. Talmadge owned her own production company; 3. M-G-M was created in 1924.</div>
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According to a 1931 Los Angeles Times article, the mansion was built for pioneer movie director Maurice Tourneur on a larger acreage known briefly as Tourneur Park.</div>
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Trulia states that the house was completed in 1927. However, a Tourneur biography states that the director may have left the United States in 1926. </div>
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Maurice Tourneur, born in France, had previously found success as a painter, before discarding it for the stage and later, film where he became a major and influential pioneer in the 1910s. In the 1920s, however, as Hollywood began to make streamline movies, Tourneur began to grow bitter over the “star system” and studio-made, cookie-cutter movies. His advocacy for creating high-brow movies based on classic themes and literature were largely ignored. </div>
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In 1924, Tourneur was described as a person who was highly intellectual, did not feel comfortable in social situations, did not drink much, never danced or cared for sports, but was fascinated with psycho-analysis and the classical arts. He was somewhat reclusive, preferring to read and spend time with his dogs. </div>
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Tourneur appeared to be restless, dissatisfied with his success. In 1924, he stated that he had been contemplating a move to Europe. </div>
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Tourneur’s last job in Hollywood came to an abrupt halt in 1926 when he was either fired or quit the production of The Mysterious Island. Tourneur sold his mansion to one of his friends, silent movie star Madge Bellamy, before leaving the United States. </div>
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Madge Bellamy had achieved stardom in Tourneur’s “Lorna Doone” (1922) and was under contract to Fox at the time of sale. The Los Angeles Times claimed that the Cedars was started by Tourneur and completed by Bellamy, indicating that the house was under construction before Tourneur sold it in 1926 (or 1927).</div>
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Bellamy was known to be a little wild. In January 1928, after a short courtship, she eloped to Tijuana to marry a stockbroker only to separate four days later. By April, her husband was granted a divorce on grounds of cruelty.</div>
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While living at The Cedars, Bellamy suffered a string of box-office disappointments leading to the end of her contract with Fox in 1929. Following the stock market crash and no job offers, the Cedars (and its furniture) were sold at auction in April of 1931. At the time of the sale, the property was occupied by her parents, Mr. and Mrs. Philpott and the furnishings were estimated to be worth $100,000.</div>
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It is not clear who purchased the Cedars. However, decades later, it was discovered during renovation that at some point in the 1930s, a fire had broken out in one of the upstairs guest rooms. </div>
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The following article spends a lot of time, describing the restoration (and current owner) as well as touches on the history and legends surrounding the property. The lion motif continues to be a mystery. Obviously, Tourneur and Bellamy would not have added lions as a tribute to M-G-M. If Joe Schenk and Norma Talmadge had lived at the house and were the ones responsible for adding the lions as the legend goes, it would have had to have been before 1934, when the couple divorced. </div>
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However, Norma and Joe were building a house off of Benedict Canyon shortly before their divorce, a house that Norma Talmadge kept until 1945.</div>
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At any rate, the name Talmadge Estate seems a little undeserved unless further evidence surfaces.</div>
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The reason why I’m laying all this info out now is because the article below doesn’t mention Madge Bellamy at all, so I wanted to set the record straight ahead of time. </div>
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I made very minor edits which are noted by either brackets or stars. Otherwise, I enjoyed the article and the photos are unbelievable:</div>
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Hollywood Babylon Revisited</div>
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by Lynn Morgan with photography by Erhard Pfeiffer</div>
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">"A neglected house gets an unhappy look; this one had it in spades." Joe Gillis, the doomed screenwriter protagonist of Sunset Boulevard, could have been talking about The Cedars in an earlier incarnation, when he said those words. Indeed, some interior scenes from the classic film noir were shot in the house, which was built in 1926 for film director Marcel Tourneur. The hilltop villa in Los Feliz, which looks over Los Angeles, has been, variously, a home, rock stars' play pen, movie location, and a book repository before being rescued by its present owner, fashion designer Sue Wong.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">The Cedars comeback was initially orchestrated by Xorin Balbes, a real estate developer and designer who specializes in restoring historic or architecturally significant houses. He bought the house in 2003, and began the restoration process, reinforcing the structure of the property and updating its plumbing and the electricity; turning back the tide of decay, and reviving its livability. Sue Wong has artfully completed the process by restoring the original aesthetic beauty of the house and preserving its intricate frescoed and bas-relief ceilings, gilded columns, and massive fireplaces. </span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">***The mantel displays the first of many emblematic lions seen throughout the residence. "They're supposed to represent the MGM lion," explains Sue. "There are over 140 of them in the house." The room is lit by natural light as well as by wrought-iron chandeliers; the torchieres were used to dress the set of the movie Titanic. ***</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">The elegance of the living room is complemented by an exquisite rococo throne; one of a suite of three in the room. Originally from Europe, the chairs were deaccessioned from a museum in Canada. Sue purchased the chairs from a French antiques dealer and brought in Artisan Restoration to restore the frames and gold leaf. Sue designed the gold metallic hand-embroidered fabric.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">An affinity for Hollywood's golden age and the creativity that characterized the early twentieth century drew Sue to The Cedars, and inspired her to restore its faded grandeur.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">"The 1920s and 1930s are my favorite decades. I do a lot of period adaptations in my work, I'm a romantic at heart," explains the diminutive China-born designer whose gowns are known for their alluring, timeless style that mix fantasy and feminine beauty. The evocative mood of The Cedars is the perfect complement to Sue's design sense, and, since her line speaks to the Hollywood glamour of yesteryear, she frequently uses the house as a backdrop for her fashion shoots.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">Locals call the sprawling Venetian-inspired house "The Talmadge Estate" in honor of actress Norma Talmadge who reputedly lived there. Talmadge was a top box office draw in the early days of cinema, acting in the first silent version of "Camille" among other films. She and husband, Joseph Schrenk, formed the Talmadge Film Corporation, becoming one of the nascent industry's first power couples, with Schenck ultimately becoming the president of United Artists. Talmadge also spent time in New York because there she had easier access to the best clothing designers on Seventh Avenue. She helped to create the enduring nexus between Hollywood and fashion, and became one of the first celebrity style icons.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">[MY NOTE: Just to reiterate, there are no records of Talmadge living there. If she had, it was brief. Very brief. And she probably would have rented.]</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">The arched colonnade between the living room and solarium is echoed in the windows looking out over the hills of Los Angeles.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">This history appealed to Sue Wong. "I'm in the business of glamour: of creating it, of selling it; I'm immersed it in," she says. Even in desuetude, the residence spoke to that sensibility; so she purchased the house in 2004 and committed herself to restoring the house to its full glamour.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">In late 2004, Sue embarked on a two year creative odyssey and commissioned Zoltan Papp, whose Los Angeles-based company, Artisan Restoration, specializes in repairing, restoring, and re-creating fine antiques, art, and historic buildings and interiors.2 A skilled artisan, Zoltan's meticulous approach appealed to Sue, known herself for the technical excellence and ornate detailing present in her gowns. The results of this close collaboration are breathtaking, with the rebirth of six ceilings, the creation of a new ceiling, and all of the intricate aesthetic beauty reinstated.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">***The entrance to the living room features an elaborate vaulted and painted ceiling, from which hangs a baccarat chandelier original to the house.***</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">Zoltan Papp is more than a restorer, he's a wizard. Trained at the Hungarian Fine Arts School in Budapest and later apprenticed to Friedrich Ott Smith in Vienna, Zoltan has restored chateaus and churches in Europe, and furniture, porcelain, paintings, and statuary for clients around the world. Recalling his first visit to The Cedars, Zoltan says, "It needed lots of attention, structural restoration had been done, but nobody had cleaned the ceilings in decades. This is fortunate because the layers of dirt had preserved the painting beneath." Zoltan and his team removed layers of grime from the ceilings, uncovering elaborate frescoes and peeling gold leaf, repainting and regilding where necessary. He added a mantelpiece to the library fireplace to match its counterpart in the living room, and worked closely with Sue to custom build furniture, including an ormolu-mounted Second Empire-style console table for the living room.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">***Doors of wrought iron and frosted glass, original to the house, lead into the dining room…As one climbs the stairs from the foyer to the second floor, the stained glass window, original to the house, leads the eyes to an elaborate twenty-eight-foot tower, decoupaged with Old Master paintings and ornamented with thousands of gold cherubs. A Baccarat crystal chandelier, original to the house, is suspended from the tower ceiling. ***</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">The interior and furnishings of The Cedars provide the perfect backdrop for Sue's elegant fashion designs. </span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">The house is very much a theatrical construct. "The 1920's and the silent era were the hey-day of art direction and set design," says Sue, an avid student of history and art. "Movies weren't shot on location as much as they are today, so studios had artists and craftspeople on staff who could design and build anything: whatever was necessary to fabricate any reality the directors wanted to put on screen." The art directors and designers who were the creative forces behind The Cedars -- reputedly inspired by a Venetian palazzo owned by the Duke of Alba -- were responsible for many of the fanciful houses that still dot the surrounding hillsides and canyons. Integrating elements of Venetian architecture and Byzantine flourishes in a playful pastiche, the house was a Hollywood fantasy for its original owner, Marcel Tourneur. As a director, Tourneur was an influential theorist, instrumental in defining film as an art form separate from theatre, with its own techniques and aesthetics. With a background in fine art and art direction, and access to the industry's top studio artists, it is no surprise that Tourneur's home was a visual masterpiece.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">The fact that its original architect and designers are unknown lends a touch of mystery to the house, an atmosphere in which Sue clearly revels. From the twin stone figures of Kuan Yin, the Buddhist goddess of compassion, flanking the front door, to African fertility figures, the house is filled with slyly invoked spiritual and mythological references that cross epochs and cultures. There is a strong Jungian subtext to her design of the house, with its recurring themes of goddesses, Deco Green Men, guardians, and heroes.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">Sue created the furnishing plan herself, working on it, she says, "In small increments of stolen time" when she was not busy designing the intricately embroidered and beaded cocktail dresses and ball gowns that bear her name. There is a direct connection between the aesthetic of her clothing and the interior of the house: it is the natural habitat of flappers and philosophers, sirens and vamps.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">Sue's extensive knowledge of fabrics and design served her well during the restoration. She designed the opulent draperies in the living room and library: hand beaded velvet panels embroidered in Borghese gold thread, custom-made by the same artisans in China who create the textiles for her gowns. She also designed the elaborately scrolled gold embroidered velvet fabric used to reupholster a suite of three rococo thrones once owned by European royalty, now in her living room. A round, tufted banquette, upholstered in cerise velvet, and a black velvet "ziggurat" sofa, trimmed in burgundy bullion and swags, were designed by Sue for the living room. Other pieces were acquired at auction or on shopping trips to Paris. "I couldn't find the Art Deco pieces I wanted in Los Angeles," she explains."I did a lot of research and found that examples are still available in France, so I went on some wonderful shopping sprees there. Paris is my favorite city on the planet; it has great architecture, beauty, and a wonderful sense of romance."</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">One of several guest rooms] was very difficult to restore," Sue recalls. "A fire back in the 1930s left a thick layer of smoke and soot that had never been properly cleaned. You couldn't see all the small painted details before Zoltan restored it. He brought all the colors back to life and made it glow." ***</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">Sue delights in the rich lore that surrounds The Cedars. "Errol Flynn practiced his 'wicked, wicked ways' here," she says. "Marilyn Monroe was a frequent party guest; Howard Hughes played the grand piano in the solarium. Johnny Depp lived here to do research for his role in Ed Wood because Bela Lugosi had lived here. The wrap party for Easy Rider was held here; Dennis Hopper shot some of the scenes for the movie here. It was also a big rock 'n' roll party pad. Arthur Lee of the band Love lived here for a while, and he told me he couldn't find his way from his bedroom to the kitchen because the place was so full of groupies and assorted hangers-on! Lou Reed and the Velvet Underground also stayed here for a while, as did Jimi Hendrix."</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">The wild times came to an end when the house was purchased by a UCLA psychology professor, who used it mostly as a library and repository for his books. Sitting in the ballroom of The Cedars, listening to Sue Wong recount stories of the rock stars and reprobates who have passed through its gates, the history of the house is palpable. The patchouli oil, incense, and marijuana scent are gone, yet the house is still a piece of pure Hollywood Babylon.</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">*** A Moroccan-themed room with a vaulted ceiling painted a faded shade of desert rose serves as another guest bedroom. It adjoins an authentic 1920s bathroom with original tile, the only period example remaining in the house. Once painted a vivid purple, the room remains a playful memorial to the late rock star Jimi Hendrix, who allegedly composed his drug-addled classic, "Purple Haze," while locked inside.***</span></span><br />
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">"When you buy a house of this nature, you have the feeling that you have a responsibility to preserve it for the next generation. I am merely its temporal caretaker," she says. "I am very honored to be chosen for that role."</span></span><br />
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<a href="http://abclocal.go.com/kabc/video?id=6049319">http://abclocal.go.com/kabc/video?id=6049319 </a></div>
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The Haunting:</div>
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Well, as you can imagine, with all of the legends attached to the house, there has to be a ghost story as well, right? </div>
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The following excerpt comes from “Forever Changes, Arthur Lee and the Book of Love” by John Einarson:</div>
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“The place reminded me of the house in the television show The Munsters. when we first moved in there, a friend of mine named David Bialle came over — on acid — to feel the vibes in the place: if they were good or bad. He and his girlfriend, Carol Green, came by and David went to search things out. There was a place upstairs we called the Porthole Room, and David headed that way. Carol and some others were walking around, tripping on how big the place was, and after about 20 minutes she asked, “Where’s David?” I said I didn’t know, so she went looking for him. She found him in the Porthole Room. When she came back downstairs, she had him by the hand. He was as white as a sheet, and asked him how were the vibes and he gave me a look that I can’t explain. His mouth moved but he didn’t say anything. He just shook his head as if to say ‘No good.’ Talk about a haunted house!”</div>
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During the shooting of the silent independent film “Return to Babylon” a few years ago, director Alex Monty Canawati shot part of the film at what he referred to as the “Talmadge Estate.” Canawati claimed that he had heard beforehand that the mansion was haunted, adding that cast and crew felt uneasy at times while shooting at all of the haunted locations used for the film.</div>
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That being said, Canawati later received a little media attention by making the claim that supernatural forces caused his cast members’ appearance on film to morph in and out of ghoulishness and, on occasion, appear to sport Christ-like beards. He even had one “expert,” Dr. Donald Ryles, authenticate his morphing claim as being indeed “paranormal” by saying: “ How could this manifest on its own? We must come to conclude rationally that there is some Higher Power that is behind this phenomenon."</div>
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In an interview with True-Magazine, Canawati added: </div>
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“The only logical explanation since Christ images are running amok, is that there is factual evidence the ghost/Holy Ghost world collided with the dead silent movie stars of the day and decided (for some reason Return To Babylon) to make a statement. They are a powerful and irreversible force. Once an actress has morphed, there is no way she can be "turned back" to her normal self (a bit unnerving as an actress uses her image as her artistic instrument). This is very serious and scary stuff.”</div>
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However, according to IMDB, a less paranormal explanation was offered:</div>
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Because this film used hand-cranked film cameras [MY NOTE: a 16mm camera modified to become a hand-cranked] using black and white film, the speed varied between 16 and 18 frames per second. The transfer of the film negatives to the standard 24 frames per second during the editing process and ultimately the 60 frames on the NTSC standard television monitor, a number of images were transferred to some still "frames" on the DVD copies, causing a form of "morphing" to occur. In some instances a quick nod of the head placed a "phantom" eye in a forehead from a previous frame. In others, an actor with long hair would turn and create facial hair in another frame. This was a side effect due to the slower exposure time the old cameras were capable of capturing during the transfer to the rapid frame rate of modern film and video. This same effect can be seen on most any classic silent films if still-framed on DVD.</div>
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So, if Canawati’s claim can easily be debunked, is the Cedars “haunted?” I can only answer with the tongue-in-cheek response: "If it isn’t, it should be."</div>
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CLICK BELOW AND GO DIRECTLY TO THE CASTLE VIA GOOGLE MAP LINK</div>
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<a href="https://www.google.com/maps/preview#!data=!1m8!1m3!1d3!2d-118.284177!3d34.111114!2m2!1f117.92!2f98.65!4f18.21!2m4!1e1!2m2!1sAAAAAAAAAAAAAAAAAAAAAA!2e0&fid=5">https://www.google.com/maps/preview#!data=!1m8!1m3!1d3!2d-118.284177!3d34.111114!2m2!1f117.92!2f98.65!4f18.21!2m4!1e1!2m2!1sAAAAAAAAAAAAAAAAAAAAAA!2e0&fid=5</a></div>
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">OUT TAKES FROM ARTICLE ABOVE;</span></span></div>
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">Sue delights in the rich lore that surrounds The Cedars. "Errol Flynn practiced his 'wicked, wicked ways' here," she says. "Marilyn Monroe was a frequent party guest; Howard Hughes played the grand piano in the solarium. Johnny Depp lived here to do research for his role in Ed Wood because Bela Lugosi had lived here. The wrap party for Easy Rider was held here; Dennis Hopper shot some of the scenes for the movie here. It was also a big rock 'n' roll party pad. Arthur Lee of the band Love lived here for a while, and he told me he couldn't find his way from his bedroom to the kitchen because the place was so full of groupies and assorted hangers-on! Lou Reed and the Velvet Underground also stayed here for a while, as did Jimi Hendrix."</span></span></div>
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<span style="font-family: Helvetica;"><span style="font-size: 12px;">The wild times came to an end when the house was purchased by a UCLA psychology professor, who used it mostly as a library and repository for his books. Sitting in the ballroom of The Cedars, listening to Sue Wong recount stories of the rock stars and reprobates who have passed through its gates, the history of the house is palpable. The patchouli oil, incense, and marijuana scent are gone, yet the house is still a piece of pure Hollywood Babylon.</span></span></div>
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Sorry about that little yellow glitch, I've worn myself out trying to figure out how to remove it, to no avail. Mea culpa<br />
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<div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-17124805269385678312012-12-12T18:33:00.000-08:002012-12-19T17:42:40.607-08:00TODAY IS FOREVER: Documentary on Arthur filmed 89<a href="http://poisgoneforever.blogspot.com/2011/10/documentary-on-arthur-filmed-89.html">TODAY IS FOREVER: Documentary on Arthur filmed 89</a><br />
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<br /><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-44359894335856486122012-12-12T18:27:00.000-08:002012-12-12T18:27:02.752-08:00Arthur Lee & Love - You Set The Scene - Later With Jools Holland<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/wBidwdGUekc" width="420"></iframe><br /><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com0tag:blogger.com,1999:blog-32205377.post-33355588369268085712012-08-03T08:47:00.002-07:002012-08-03T08:57:59.828-07:00YOU ARE SO MISSEDLong Enough<br />
<br />
<br />
BY RICHARD HOFFMAN<br />
<br />
<br />
You would have thought it foolish to speak to the dead,<br />
but I have lived two decades longer now than you<br />
and all this time I have carried you in my head<br />
<br />
so I think I have the right to question what you said,<br />
dear teacher. My religious upbringing's residue,<br />
you would have thought it foolish. To speak to the dead,<br />
<br />
however, is sometimes necessary, especially haunted
by all the things<br />
I know you hoped I'd do<br />
with all this time that I have carried you in my head.<br />
<br />
In a dream last night I followed where you led<br />
until you asked me in a loud voice what I knew.<br />
(You would have thought it foolish to speak to the dead,<br />
<br />
but I was dreaming and could not refuse.) I said
that you were wrong,<br />
that I could see your bitter view<br />
(since all this time I have carried you in my head)<br />
<br />
for what it was, and you for who you were. Instead<br />
of dreaming your reply I woke as you withdrew.<br />
You would have thought it foolish to speak to the dead<br />
but all this time I have carried you in my head.<br />
<br />
<br /><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com2tag:blogger.com,1999:blog-32205377.post-91336942525902475242012-04-20T18:53:00.001-07:002012-04-20T18:55:42.564-07:00Arthur Lee & Love - You Set The Scene - Later With Jools Holland<iframe width="420" height="315" src="http://www.youtube.com/embed/wBidwdGUekc" frameborder="0" allowfullscreen></iframe><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com2tag:blogger.com,1999:blog-32205377.post-30360725793376517782012-04-20T17:54:00.002-07:002012-04-20T19:18:30.760-07:00He never changed ,he was always the same, he was always deep<iframe width="560" height="315" src="http://www.youtube.com/embed/M9fXT_HmhAY" frameborder="0" allowfullscreen></iframe><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com2tag:blogger.com,1999:blog-32205377.post-76322479718230554452012-04-12T04:50:00.000-07:002012-04-12T04:51:38.236-07:00"Live and Let Live" - LOVE w/Arthur Lee - Athens, Greece April 4, 2003Published on Apr 6, 2012 by jazmaan<br />LOVE w/Arthur Lee at the Rondon, Athens, Greece 4/4/03
The lighting is a bit dark, but the sound quality is excellent as is the performance.
"Served my time, served it well. You made my soul a cell."<br /><br /><br /><iframe width="420" height="315" src="http://www.youtube.com/embed/Rk2oqe-HO58" frameborder="0" allowfullscreen></iframe><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com0tag:blogger.com,1999:blog-32205377.post-63428866542658237562011-10-08T13:01:00.004-07:002011-10-08T14:41:16.137-07:00MY LITTLE RED BOOK ebook BUY IT TODAY<a href="http://photobucket.com" target="_blank"><img src="http://i71.photobucket.com/albums/i127/poeia3/308668_2022985136087_1287739996_31681195_1532702342_n.jpg" border="0" alt="LOVE LITTLE RED BOOK ARTHUR LEE"></a><br /><br /><br />MY LITTLE RED BOOK - LOVE DAY-BY-DAY 1945-1971<br />"My Little Red Book" by Bruno Ceriotti and with the forewords by Johnny Echols and Michael Stuart-Ware, is the most comprehensive, compelling, complete, immensely detailed, impeccably researched, and meticulously compiled account ever published about LOVE, one of the most influental bands in the history of rock. The ebook collates eye-witness accounts, tour dates and gig locations, record releases and reviews, recording studio data and contemporary interviews, and is illustrated with a rare collection of period photographs and print memorabilia. All this is woven into an absorbing day-by-day narrative format that tells the story of LOVE in a way that will surprise and delight even their most dedicated fans!!!. This book tells the band’s story, but also describes the life story of each of the members of LOVE: where they came from, what their roots where, how they see their time with the band, and what they experienced afterwards. It has been written with the close participation of LOVE's former members: Johnny Echols, Michael Stuart-Ware, Alban 'Snoopy' Pfisterer and Craig Tarwater. This is a truly TERRIFIC book to treasure. This book will stay by your side like an encyclopedia which you will study and refer to for years to come. The author traces LOVE's story in a maniacally detailed chronology and leaves no stone unturned!!!. "My Little Red Book" is available only in digital editions (ebook, 133 pgs, 91 photos) only through the official website: http://mylittleredbook.weebly.com/<div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com4tag:blogger.com,1999:blog-32205377.post-88626282261442166362011-10-06T05:51:00.000-07:002011-10-06T05:51:39.813-07:00Love with Arthur Lee - Alone Again Or [VHS]<iframe width="459" height="344" src="http://www.youtube.com/embed/BBD8hh7t_Uk?fs=1" frameborder="0" allowFullScreen=""></iframe><br /><br /><a href="http://photobucket.com" target="_blank"><img src="http://i71.photobucket.com/albums/i127/poeia3/ARTHUR%20LEE/love-3.gif" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-59956173045666631492011-10-06T04:56:00.002-07:002011-10-17T10:41:39.288-07:00Documentary on Arthur filmed 89<iframe src="http://player.vimeo.com/video/27562328?title=0&byline=0&portrait=0" width="400" height="300" frameborder="0" webkitAllowFullScreen allowFullScreen></iframe><p><a href="http://vimeo.com/27562328">Love</a> from <a href="http://vimeo.com/user4702417">Django's Ghost</a> on <a href="http://vimeo.com">Vimeo</a>.</p><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-19862168859786869312011-09-20T21:17:00.000-07:002011-09-20T21:17:20.091-07:00Soundcheck: Love Lost...And Found - WNYC<a href="http://www.wnyc.org/shows/soundcheck/2011/sep/13/#.Tnlk_qkF1Gs.blogger">Soundcheck: Love Lost...And Found - WNYC</a><br /><br /><a href="http://photobucket.com" target="_blank"><img src="http://i71.photobucket.com/albums/i127/poeia3/ARTHUR%20LEE/love-3.gif" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-82870058850311883022011-08-31T19:17:00.001-07:002011-08-31T19:21:57.117-07:00VANITY FAIR
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<br />VANITY FAIR
<br />by Bruce Handy 12:30 PM, AUGUST 26 2011
<br /><a href="http://photobucket.com" target="_blank"><img src="http://i71.photobucket.com/albums/i127/poeia3/cn_imagesizearthuronstage.jpg" border="0" alt="Photobucket"></a>
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<br />Love is one of those great 1960s bands that rock critics rhapsodize about and not nearly enough normal people have heard. And yet, unlike the Incredible String Band or the Shaggs, say, or even the late-period Monkees, Love is actually a pleasure to listen to. A fixture on the Sunset Strip in Los Angeles, the group released several terrific albums and, in 1967, one absolute masterpiece, Forever Changes, which if you’ve never heard you must listen to right away: no album better distills the weird mix of paranoia and exaltation that marked the 60s, and Love did it simply, with gorgeous melodies and compelling musicianship—and nary a phased guitar, backwards tape loop, trippy sound effect, cod raga, or reference to gnomes.
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<br />Love went through numerous roster changes, rivaling Fleetwood Mac in that regard, but the constant was Arthur Lee, the group’s lead songwriter and singer, and one of the few African-Americans then or since fronting a band in what had become a “white” idiom—rock. Lee was one of the era’s most singular songwriters and performers, as original as Dylan or Lennon-McCartney. Maybe more so: few lyricists can be as simultaneously obtuse and evocative. (Though, of more recent vintage, Steven Malkmus comes to mind.)
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<br />Oh the snot has caked against my pants
<br />It has turned into crystal
<br />There’s a bluebird sitting on a branch
<br />Guess I’ll take my pistol
<br />I’ve got it in my hand
<br />Because he’s on my land
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<br />That reverie—one of my all-time favorite openings to a song—is from “Live and Let Live,” off Forever Changes. As you might have just surmised, Lee would have trouble with drugs and the law in later life and, as was the case with a lot of 60s artists, his muse would become more elusive in the 70s. He hopped around between labels, making records with diminishing artistic and financial returns, tried a solo album, and then, in 1972, put together a new incarnation of Love and set about recording what might have been a memorable comeback album but for the fact that the new label Lee had signed with, Buffalo Records (funded by one of the producers of Hair), folded. Aside from a handful of recordings, Lee wasn’t much heard from across the next three decades, until he was released from prison in 2001 after serving five and a half years on charges of illegally possessing a firearm. He spent the last five years of his life touring with a reformed Love to enthusiastic audiences and critical acclaim before dying of leukemia in 2006.
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<br />This brief episode of Behind the Music has been preface to the news that the aforementioned Love comeback album, Black Beauty, is finally getting an official release on High Moon Records (and with much better sound quality than the many bootleg versions). This is not the first coming of Smile or even Chinese Democracy, but it’s an excellent album and a welcome addition to the Love discography, occupying a kind of compromise between the fluid psychedelia of Forever Changes and the heavier, Hendrix-influenced sound of latter-day Love.
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<br />Here is an exclusive preview from the album, the aptly named “Product of the Times.” It’s a live cut from 1970 that Lee intended as the album’s coda. In this critic’s carefully considered opinion, it rocks.<div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com0tag:blogger.com,1999:blog-32205377.post-21088055498665053302011-08-31T18:49:00.002-07:002011-08-31T19:08:45.472-07:00BLACK BEAUTY NPRArthur Lee: Freed From The Vaults
<br />by MARC SILVER
<br /><a href="http://photobucket.com" target="_blank"><img src="http://i71.photobucket.com/albums/i127/poeia3/arthur-lee.jpg" border="0" alt="LOVE ARTHUR LEE BLACK BEAUTY"></a>
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<br />Herbert Worthington
<br />From a 1973 album that was never released, psychedelic rocker Arthur Lee offers a bit of homespun philosophy in "Beep Beep."
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<br />CD: Black Beauty
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<br />Genre: Rock
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<br />April 26, 2011
<br />The club of African-American psychedelic rockers is pretty small, with Jimi Hendrix and Arthur Lee serving as two charter members. Hendrix, as everyone knows, rose to great fame. Lee had a brief spell of celebrity with his group Love and his 1967 album Forever Changes, kept on making music but never broke through again, served six years in jail on firearm-related charges and died of leukemia in 2006 at age 61.
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<br />In 1973, while still in his prime, Lee recorded an album called Black Beauty that was never released. Now, the music has been freed from the vaults, and it reveals an Arthur Lee who could not only rock hard, but also had other offbeat musical personalities. Consider "Beep, Beep" — psychedelic rock it is not. The rhythm veers between reggae and calypso, while a neighborhood guy contributes a lilting steel-drum line. Lee is on the harpsichord and at the mic, singing in a faux island accent and offering the kind of homespun advice you'd expect to hear from a back-porch philosopher: "Slow down, man, 'cause you're going too fast." Later in this cheery and charming song, Lee declares, "I'm going to be what I want," and it's clear that what he wanted to be was a musician who could break down barriers — and who was perfectly at ease stretching the boundaries of his music to encompass the sounds of the world at large.<div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com0tag:blogger.com,1999:blog-32205377.post-58322174650642424242011-05-21T19:18:00.001-07:002011-05-21T19:18:54.330-07:00BETWEEN CLARK AND HILLDALE<iframe width="425" height="349" src="http://www.youtube.com/embed/Qa32txV5nDk" frameborder="0" allowfullscreen></iframe><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-57143842393622650292011-05-20T09:58:00.001-07:002011-05-20T09:59:38.873-07:00LOVE LA's Best Band<a href="http://photobucket.com" target="_blank"><img src="http://i71.photobucket.com/albums/i127/poeia3/ARTHUR%20LEE/LAW_logo_news_257x65.gif" border="0" alt="Photobucket"></a><br /> <br />THE DOORS? BLACK FLAG? THE CHILI PEPPERS? NOPE. L.A.'S BEST BAND WAS LOVE.<br />The more things change . . .<br />BY JEFF WEISS<br />Wednesday, May 7, 2008 - 12:00 pm<br />Let’s talk greatest Los Angeles bands for a second. Depending how you’re wired, there are roughly a dozen candidates for the throne. If you tend to spend a small but significant minority of your time swallowing spoonfuls of liquid acid on Venice rooftops, the Doors, the Beach Boys, the Byrds, Buffalo Springfield/CSNY and maybe even Sublime make your shortlist. If you’ve rocked a green Mohawk and/or owned a Henry Rollins spoken-word record, you’d probably lean toward Black Flag, X, the Minutemen or the Germs. If your personal hairspray use has emitted enough CO2 to wreak serious havoc on the ozone layer, there’s Van Halen or Guns N’ Roses; if you’re inclined toward Latin music, Los Lobos looms, and if you’re into being wrong, there’s always the Red Hot Chili Peppers.<br /><br /><a href="http://photobucket.com" target="_blank"><img src="http://i71.photobucket.com/albums/i127/poeia3/ARTHUR%20LEE/214590841.jpg" border="0" alt="Photobucket"></a><br />Love accurately rendered everything that makes L.A. wonderful and everything that makes it warped.<br /><br /><br />Love accurately rendered everything that makes L.A. wonderful and everything that makes it warped.<br />Then there’s Love, the least commercially successful and arguably the greatest of the bunch, a band whose reputation rests largely on the strength of one perfect document: 1967’s Forever Changes, perhaps the most quintessentially Los Angeles record there is, a seamless summation of the town’s fun-house angles and myriad complexities. Unlike the aforementioned groups, whose masterpieces tended to be manifestations of particular Angeleno subcultures, Love’s picture of Los Angelesis very much a native vision. Frontman Arthur Lee divines dark prophecies that pull from the pulse of L.A.’s noirish underworld; its Hispanic heritage emerges in plangent pinpoint trumpet blasts from a Tijuana brass band. The sepia tones of the old Sunset Strip spring to life: California blonds in sundresses and flatironed hair, hippies in Day-Globeads and kaleidoscopic color, flailing in long-forgotten nightclubs, starkly contrasting with images of the riots in the streets and the flatfooted fury of the crewcut, pug-nosed Parker police force.<br /><br />Love’s third effort contained multitudes precisely because the band’s geographically scattered and racially diverse composition mirrored the city of a million scenes. Lee and lead guitarist Johnny Echols grew up in South L.A., attended Dorsey High, developed a Booker T. & the MGs fixation and were well-known in the local club scene by the time they formed Love in their early 20s. Rhythm guitarist-vocalist Bryan MacLean, the author of “Alone Again Or” and “Old Man,” grew up in Beverly Hills, the son of an architect to the stars. He liked show tunes and counted Liza Minnelli as his first girlfriend (apparently, the two of them used to sing “Somewhere Over the Rainbow” together while sunning themselves poolside). Meanwhile, despite a Sarasota upbringing, Love bassist Ken Forssi had already played on the Surfaris’ “Wipe Out,” the seminal West Coast surf-guitar song. With such inherent tension built in, the only possible outcome was disaster, particularly considering the ravages of heroin addiction, Lee’s megalomaniacal genius and an ill-fated idea to cohabitate a hilltop Los Feliz mansion nicknamed “the Castle,” previously owned by Bela Lugosi.<br /><br />Sure enough, the initial June ’67 sessions for Forever Changes infamously flamed out when the band’s disarray forced Elektra to recruit session men to record “Andmoreagain” and the Neil Young–arranged “The Daily Planet.” But when they regrouped that September, something changed. According to legend, stirred by the realization of their own expendability, Love played with a newfound sense of urgency and hunger. The quote most frequently cited about Forever Changes is that Lee thought he’d die immediately upon its completion; it’s difficult not to interpret it as an early requiem for the troubled singer-songwriter, who passed away last year from leukemia. Just 22 years old, Lee seemed spooked by revelation. On “A House Is Not a Motel,” he foresees “the news of today [being] the movies of tomorrow.” On “The Red Telephone,” he blithely croons about “sitting on a hillside watching all the people die,” before finishing with a flourish about getting locked up with the key thrown away, foreshadowing the legal struggles that would haunt his future.<br /><br />But other than the winking homage to the strip of land adjacent to the Whisky a GoGo on “Maybe the People Would Be the Times or Between Clark and Hilldale,” Love veered away from any concrete evocation of Los Angeles. Instead, Forever Changes captures the way the city feels,the cadences of its sunny, stuttering locomotion, the halcyon sand-and-surf California of the imagination clashing with smog, stripped resources and stark realities. The undercurrent of fear and alienation sluicing through a city where the stakes seem so high and the odds so stacked. Its timelessness stems from the notion that as much as L.A. changes, it will always retain certain immutable qualities that Love’s music captures: the baroque excess evidenced in the airy strings that buoy Lee’s celestial wail, the furious fusion of styles and sounds, the laidback folk-rock melodies and the latent, orchestral anger.<br /><br />That’s why Rhino can reissue Forever Changes for the second time this decade, with the only new material on this latest edition a few unreleased acoustic demos, a half-assed cover of “Wooly Bully” and a much-vaunted alternate mix practically indistinguishable from the original. It really doesn’t matter. What does is the accuracy with which Love rendered everything that makes this city wonderful and everything that makes it warped. So that even today, with their Los Angeles a faded memory, few greater joys exist than slipping Forever Changes into your CD player on a bright spring morning after a cold, clean rain, when Los Angeles glows with a gold and green tint.<br /><br />Start at the intersection of Sunset and César Chávez, let the rich metal rain of “Alone Again Or” dazzle you, horns scattering in synchronicity with the Mariachi strains buzzing off of Olvera Street; angle past the band’s old stomping grounds in Los Feliz. Let the album loop through Beverly Hills, the platinum light flooding your car, careening past the salmon-colored walls of the Beverly Hills Hotel, only blocks away from MacLean’s childhood home. Ride this strange bullet out all the way to the beach, where if you’ve looped it just right and the traffic gods have smiled on you, you might just hear the fragile fatalism of “You Set the Scene” slap up against the roaring waves of Sunset Beach — with the tacit understanding that not everything changes.<div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com0tag:blogger.com,1999:blog-32205377.post-39455277769094875742011-05-17T00:41:00.001-07:002014-03-25T05:22:51.605-07:00A GOOD READSon of the source<br />Jonathan Wilson and California as muse<br />Kandia Crazy Horse<br /><br /><br />California my way: Pacifica in all her roaring glory; "Bluebird"; Gene Clark suffering for his art at the Troubadour; Arthur Lee perched atop Laurel Canyon as dark magus of the Sunset Strip; "Free Huey!"; George Hunter and the Charlatans giving birth to the '60s in Frisco and Virginia City; redbones holding it down at Alcatraz; Barry White's boudoir epics vs. War's low rider country-funk; r.i.p. Nudie Cohn; surf-and-skate as spiritual practice and Third World coalition builder at street level; "We'll Get By"; Mary Ellen Pleasants; Sly Stone's pop hoodoo; "¡Viva Cesar Chavez!"; the Watts Towers as organic temple and pan-African signifier; Iron Eyes Cody; the impenetrable alien secrets of Joshua Tree; Citizen Kane; Country Joe McDonald in a helmet ripping "Section 43" at Monterey; Jack London's and Charles Manson's erudite racism; rebellions yielding the "black Woodstock," Wattstax; Skid Row tacos; alas, poor Ishi; is Mount Shasta really an Atlantean portal?; "Snakes on Everything"; RTX; a great big wave looming to wash away Neil Young and his spindly wood home from Topanga Canyon; Chet Helms, my hero; really tall red trees — and the glossy harmonies of the Mamas & the Papas, much beloved favorites of my mother before she left upon her starship. Their masterpiece "California Dreamin'" was on my mind as Indian summer gave way to autumn and the 40th anniversaries of polarized cosmic events such as the man on the moon, Woodstock, the Manson murders, the late Michael Jackson's pop debut unfolded apace.<br />Harvey Kubernik, a keenly clued-in and cosmically sensitive Pisces born in Hollywood, just dropped this season's key entry chronicling that era and its ever-lingering aftereffects: the fine Laurel Canyon study Canyon of Dreams (Sterling, 384 pages, $29.95). Much of what made California north and south such a prime destination to escape the limits and cruel lacunae of Manifest Destiny in the 1960s went down in the postwar boomtowns of San Francisco and Los Angeles and their ex-urban satellites. Kubernik focuses on the tall tales of L.A . He reveals how the creativity, social experimentation, and mystery yearning of the denizens of canyons on L.A.'s west side changed America as it was teleported on the airwaves and on the backs of freaky-deak human hosts. The elite and cult acts that largely power Kubernik's fables — Gene Clark; Arthurly; Gram Parsons; Lowell George; John and Michelle Phillips; the magicians of Crosby, Stills, Nash and Young — have left towering sonic, sartorial, and spiritual legacies. Yet Kubernik is not mired in the misty mountain-hopping of yesteryear — he's keen enough to close Canyon of Dreams with a portrait of one of that halcyon era's most important heirs: Jonathan Wilson.<br /><br />Y'all can ken whether Wilson deserves to be the coda of Kubernik's book when his Emerald Triangle Tour featuring Jonathan Rice, Farmer Dave Scher, and local light Andy Cabic rolls into town. Yet the evidence is there in his extant albums — 1998's The Ballad of Hope Nicholls (by his former band, North Carolina's Muscadine); 2007's Frankie Ray, and 2008's Gentle Spirit — and his myriad contributions to the projects of friends. I can hear, see, and most important, feel some measure of all that makes California utopian, the South home, and America an ideal worth fighting for, despite their respective horrors, in Wilson's music.<br /><br />New York, N.Y., with its epic filth, noise, and madding crowds, was not so kind to Wilson when he made the inevitable leap from North Cackalack. Still, he excavated a great artifact of the artist-as-young-man from the experience: Frankie Ray.<br /><br />With the move to California, that recording's odes to heartbreak and alienation gave way to shimmering hymns to nature arrayed across no less than four unreleased song cycles and counting. Gentle Spirit simply displays Wilson as revelation, but it was his cover of an innocuous Madonna hit (first offered to Michael Jackson) from the mid-1980s that truly convinced me of his indelible gifts. He transfigures "La Isla Bonita" beyond recognition — it starts out as an Allman Brothers outtake and slowly, steadily evolves into a 3-D spaghetti western, then a metallic, mountain-ringing treatise of electric guitar evangelism. His forthcoming covers album, I'm Covered, OK?, should make plain the wonders of his rare gift for interpretation.<br />To quote the once-mighty Pointer Sisters as they backed Wilson's fellow underrated North Carolina maverick Betty Davis: "Y'all got to believe, believe in sumthin' ... Why not believe in me?" This grandbaby of a Southern Baptist preacher from southwest Georgia would never steer your ears or asses wrong. I was once accused by a former editor of dancing around my keyboard as I wrote (and what's wrong with that?). I don't; I have "spells" like Harriet Tubman, like Joseph Smith in the upstate New York woods, or Edgar Cayce's automatic writing — as with this piece. Yes, I want to convert you, get you onboard the underground smellroad to Glory. I follow the Spirit and my black ass — and the loose booty's hollerin': make pilgrimage with Jonathan Wilson and 'nem up the coast if you're magical and mystical friends of the road.<br /><br />THE EMERALD TRIANGLE TOUR<br /><br />Mon/2, 8 p.m. (doors at 7:30 p.m.), $15<br /><br />The Independent<br /><br />628 Divisadero, SF<br /><br />www.independentsf.com<div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com0tag:blogger.com,1999:blog-32205377.post-21632037581896626752011-05-03T13:22:00.000-07:002011-05-03T13:23:12.975-07:00AUGUST 1970<iframe width="425" height="349" src="http://www.youtube.com/embed/nmTkBB5yxr0" frameborder="0" allowfullscreen></iframe><div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1tag:blogger.com,1999:blog-32205377.post-30255426327623005842011-05-02T13:25:00.005-07:002011-06-11T17:41:54.280-07:00LOVE FAMILY TREERock Prosopography 102<br />a lengthy footnote to 'Rock Prosopography 101 blog'<br />Saturday, December 11, 2010<br />LOVE FAMILY TREE - PERFORMANCE LIST<br /><br />This story is the work of Bruno Ceriotti. Help in putting this together has been provided by Johnny Echols, Alban 'Snoopy' Pfisterer, Bobby Beausoleil, Michael Stuart-Ware, Ed Toussaint, Michael P Selinsky, Bill Walton, Gerard Daily, Chris Simondet and Mark Smigel, to whom I'm most grateful.<br /><br /><br />THE AMERICAN FOUR #1 (aka THE WEIRDOS #1) (ca. FEB 1964 - MAY 1964)<br />1) Arthur Porter 'Po' Taylor (aka Arthur Lee) vocals, organ, rhythm guitar<br />2) Johnny 'Iceberg Slim' Echols lead guitar<br />3) John 'Fleck' Fleckenstein bass<br />4) John Jacobson drums<br /><br /><br />ca. February - ca. April 1964: Cappy's, Los Angeles, CA<br /><br />ca. February - ca. April 1964: Beverly Bowl, Montebello, CA<br />The band played in this bowling alley as house band, six days a week, for several months. Sometimes they were billed as 'The Weirdos'.<br /><br /><br />THE AMERICAN FOUR #2 (aka THE WEIRDOS #2) (MAY 1964 - APR 1965) / THE GRASS ROOTS #1 (APR 1965 - JUL 1965) <br />1) Arthur Lee<br />2) Johnny Echols<br />3) John Fleck<br />4) Don Conka drums<br /><br /><br />ca. May 1964 - ca. January 1965: Cappy's, Los Angeles, CA<br /><br />ca. May 1964 - ca. January 1965: Beverly Bowl, Montebello, CA<br />The band played in this bowling alley as house band, six days a week, for several months. Sometimes they were billed as 'The Weirdos'.<br /><br />ca. February - ca. March 1965: California Club, 1759 West Santa Barbara Avenue, South Los Angeles, CA<br />Supposedly future Love’s flautist and sax player Tjay Cantrelli sat-in with The American Four a couple of times. Also on the bill were The O’Jays and The Isley Brothers, both with Jimi Hendrix on guitar. Arthur Lee remember (wrongly?) that Jimi Hendrix played there with The Furies (???). Footnote: Jimi Hendrix picked up Johnny Echols guitar. <br /><br />April - July 1965: Brave New World, 7207 Melrose Avenue, West Hollywood, CA<br />The Grass Roots played there as house band six days a week. <br /><br /><br />THE GRASS ROOTS #2 (JUL 1965 - AUG 1965)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) John Fleck<br />4) Don Conka<br />5) Robert Kenneth 'Bobby' Beausoleil six-string rhythm guitar<br /><br /><br />July - August 1965: Brave New World, 7207 Melrose Avenue, West Hollywood, CA<br />The band played there as house band six days a week.<br /><br /><br />THE GRASS ROOTS #3 (AUG 1965)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) Johnny Fleck<br />4) Don Conka<br />5) Bobby Beausoleil<br />+<br />6) Bryan MacLean vocals, six-string rhythm guitar<br /><br /><br />August 1965: Brave New World, 7207 Melrose Avenue, West Hollywood, CA <br />The band played there as house, six days a week, sometimes with former The Byrds's roadie Bryan MacLean filling in for Bobby Beausoleil, because at that time the band was just thinking to replace Bobby with Bryan. When they tried out Bryan, Bobby was not on stage, So although they were in the same room together, they never played on stage at the same time as some sources wrongly claimed. They were considering using two rhythm guitars but never did, and after the try-outs they let Bobby go. <br /><br /><br />THE GRASS ROOTS #4 (AUG 1965 - OCT ??, 1965) / LOVE #1 (OCT ??, 1965 - NOV 1965)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) Don Conka<br />4) Johnny Fleck<br />5) Bryan MacLean<br /><br /><br />August - October 1965: Brave New World, 7207 Melrose Avenue, West Hollywood, CA<br />The band played there as house band six days a week.<br /><br />October 1965 - November 1965: Bido Lito's, 1608 North Cosmo Street, Downtown Hollywood, CA<br />The band played there as house band.<br /><br /><br />LOVE #2 (NOV 1965)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) Don Conka<br />4) Bryan MacLean<br />5) Michael 'Mike' Dowd bass<br /><br /><br />November 1965: Bido Lito's, 1608 North Cosmo Street, Downtown Hollywood, CA<br />The band played there as house band.<br /><br /><br />LOVE #3 (NOV 1965)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) Don Conka<br />4) Bryan MacLean<br />5) Doug bass<br /><br /><br />November 1965: Bido Lito's, 1608 North Cosmo Street, Downtown Hollywood, CA<br />The band played there as house band.<br /><br /><br />LOVE #4 (NOV 1965)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) Don Conka<br />4) Bryan MacLean<br /><br /><br />November 1965: Bido Lito's, 1608 N Cosmo Street, Downtown Hollywood, Los Angeles, CA<br />The band played there as house band.<br /><br /><br />LOVE #5 (NOV 1965 - JAN 23, 1966) <br />1) Arthur Lee<br />2) Johnny Echols<br />3) Don Conka<br />4) Bryan MacLean<br />5) Kenneth Raymond 'Kenny' Forssi bass<br />+<br />6) Alban Pfisterer (aka Snoopy) drums<br /><br /><br />November - December 1965: Bido Lito's, 1608 North Cosmo Street, Downtown Hollywood, CA<br />The band played there as house band, sometimes with Snoopy filling in for Don Conka, because the latter was somewhere, high on LSD. One night Jac Holzman of 'Elektra Records' saw the band (with Snoopy) there and after the show signed the band for his label.<br /><br />January ? - January 2?, 1966: Bido Lito's, 1608 North Cosmo Street, Downtown Hollywood, CA<br />The band played there as house band, sometimes with Snoopy filling in for Don Conka, because the latter was somewhere, high on LSD.<br /><br />January ?-?, 1966: The Trip, 8572 West Sunset Boulevard, West Hollywood, CA with Paul Butterfield Blues Band<br />The band, with Snoopy on drums, filling in unbilled for the advertised The Byrds for a couple of gigs. At one of this show guitarist David Crosby of The Byrds sat-in with Love during the song: 'John Lee Hooker'.<br /><br /><br />LOVE #6 (JAN 24, 1966 - AUG 2?, 1966)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) Bryan MacLean<br />4) Kenny Forssi<br />5) Snoopy<br /><br /><br />January 2? - March 2?, 1966: Bido Lito's, 1608 North Cosmo Street, Downtown Hollywood, CA<br />The band played there as house band. One night, right before the show, Kenny Forssi, Johnny Echols and their friend Billy Doherty (bass player of The Lost Souls) were talking outside the club when, at some point, they were approched by a guy who looked like an “Hells Angels” that, even without saying a word, put in the hands of Kenny, Johnny and Billy, some flyers and then disappeared. This flyers promoted a show somewhere in L.A. called “Acid Test” and performed by a band that nobody knew at that time called The Grateful Dead. Ah, by the way, the “mysterious” guy who gave them the flyers was the great late Grateful Dead's keyboardist Ron 'Pigpen' McKernan (!!). <br /><br />February 22 - March 10, 1966: Whisky a' Go Go, 8901 Sunset Boulevard at Clark Street, Sunset Strip, West Hollywood, CA with The Leaves<br />Love were advertised from February 22 but may not have played until February 25.<br /><br />March 10-11, 1966: Bido Lito's, 1608 North Cosmo Street, Downtown Hollywood, CA<br /><br />March ??, 1966, Bido Lito's, 1608 N Cosmo Street, Downtown Hollywood, Los Angeles, CA with Sons Of Adam<br /><br />April 8-9, 1966: Fillmore Auditorium, 1805 Geary Boulevard at Fillmore Street, Fillmore District, San Francisco, CA with The Sons Of Adam, The Charlatans "A Dance Concert"<br />The band was billed as 'The Love' on the poster. <br /><br />May 12-14, 1966: Brave New World, 1644 North Cherokee Avenue, Downtown Hollywood, CA with The Doors<br />The club closed sometime after this shows. <br /><br />May 20-22, 1966: Avalon Ballroom, 1268 Sutter Street at Van Ness Street, Polk Gulch, San Francisco, CA with Captain Beefheart and His Magic Band (20-21), Big Brother and The Holding Company (21) "Hupmobile-8 A Freewheeling Vehicle"<br />The Sunday (22) show was cancelled due to poor tickets sales.<br /><br />May 28 - June 1, 1966: Whisky a' Go-Go, 8901 Sunset Boulevard at Clark Stree, West Hollywood, CA with The Doors<br /><br />June 11, 1966: Earl Warren Show Grounds, 3400 Calle Real, Santa Barbara, CA with Neil Diamond<br />Only 765 people were in attendance (!!).<br /><br />June 18, 1966: 'American Bandstand', ABC-TV, ABC Television Center, Los Angeles, CA with Steve Alaimo (broadcast date)<br />The band lip-synched: 'A Message To Pretty' and 'My Little Red Book'.<br /><br />June 23, 1966: 'Where The Action Is', ABC-TV, ABC Television Center, Los Angeles, CA with Keith Allison, Gene Pitney, Steve Alaimo (broadcast date)<br />The band lip-synched: 'My Little Red Book'.<br /><br />June 25, 1966: Hollywood Bowl, 2301 North Highland Avenue, Los Angeles, CA with The Beach Boys, The Byrds, The Lovin Spoonful, Chad & Jeremy, Percy Sledge, The Sunrays, Neil Diamond, The Leaves, Sir Douglas Quintet, Captain Beefheart and His Magic Band, The New Motown Sound "Beach Boys Summer Spectacular"<br />The show was promoted by Irvin Grantz and radio station KRLA. The attendance figure is 12,400 and the box office gross is 51,000 dollars. The Beach Boys net 16,000 dollars for the show, while the rest of the bands split the remaining 12,000 dollars after venue rent, police fees, and Irving Grantz are paid. About that show Johnny Echols remember: “I won a hundred bucks from Percy Sledge.... He thought he could play poker, he tried to bluff Iceberg Slim with a pair of fives. That's a non starter!”.<br /><br />July 3, 1966: Fillmore Auditorium, 1805 Geary Boulevard at Fillmore Street, Fillmore District, San Francisco, CA with Grateful Dead, Group B "Independence Ball"<br /><br />July 15-16, 1966: Avalon Ballroom, 1268 Sutter Street at Van Ness Street, Polk Gulch, San Francisco, CA with Big Brother and The Holding Company<br />The shows were cancelled but the reason/s are unknown to me.<br /><br />July 22, 1966: Rollarena, East 14th Street, San Leandro, CA<br />There certainly would have been other local acts on the bill, but they are unknown to me.<br /><br />July 23, 1966: Strand Theater, 10th Street, Modesto, CA with Them, The Immediate Family, The Grassroots, The Ratz, The Canadian Fuzz, The Nimitz Freeway, Peter Wheat & The Breadmen<br /><br />August 5-6, 1966: Fillmore Auditorium, 1805 Geary Boulevard at Fillmore Street, Fillmore District, San Francisco, CA with Everpresent Fullness<br /><br />August 10-21, 1966: Whisky a' Go-Go, 8901 Sunset Boulevard at Clark Stree, West Hollywood, CA with The Doors<br />The band was originally advertised from August 10-27. Arthur Lee and Love’s manager Ronnie Haran convinced Jac Holzman of 'Elektra Records', to sees The Doors during the Wednesday (10) show.<br /><br />August 19-20, 1966: Marigold Ballroom, Fresno, CA<br /><br />August 27, 1966: Longshoremen's Hall, 400 North Point, Fisherman's Wharf, San Francisco, CA<br /><br />Summer 1966: Fifth Estate (?), northwest corner of Curry Road and Scottsdale Road, Tempe, AZ <br />Love turned down an invitation to play there because Arthur Lee said: "Tempe, Arizona? It's so fucking hot there". <br /><br />unknown date, 1966: It's Boss, 8433 Sunset Boulevard, West Hollywood, CA<br /><br />unknown date, 1966: Pierside Pavilion, 300 Pacific Coast Highway, Downtown Huntington Beach, CA<br /><br /><br />LOVE #7 (AUG 2?, 1966 - DEC 2?, 1966)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) Bryan MacLean<br />4) Kenny Forssi<br />5) Snoopy keyboards, organ, harpsicord, tamburine <br />6) Paul Michael Stuart-Ware (aka Michael Stuart) drums<br />7) John Barberis (aka Tjay Cantrelli) sax, flute<br /><br /><br />October 19-30, 1966: Whisky a' Go-Go, 8901 Sunset Boulevard at Clark Street, West Hollywood, CA with Sons Of Adam (19-21, 23-30), Buffalo Springfield (22)<br /><br />November ?-?, 1966: Hullabaloo, 6230 Sunset Boulevard, Downtown Hollywood, CA with The Seeds<br />Two-days shows: the first night a film crew filmed the band first set but the video footage remain unreleased, while the second night guitarist Randy Holden of The Other Half (and also Michael Stuart's former bandmate in the Sons Of Adam) filling in for Johnny Echols, because the latter was sick with the flu. <br /><br />November 2?, 1966: grand ballroom, U.C.L.A. (University of California in Los Angeles), 405 Hilgard Avenue, Los Angeles, CA "UCLA Homecoming Dance"<br /><br />November 23, 1966: Civic Auditorium, 135 West San Carlos Street, San Jose, CA with The Leaves, Chocolate Watch Band, The Giant Sunflower, The Tijuan Rejects, Ray Columbus<br /><br />December 2-4, 1966: Fillmore Auditorium, 1805 Geary Boulevard at Fillmore Street, Fillmore District, San Francisco, CA with Moby Grape, Lee Michaels<br /><br />December 9, 1966: Santa Monica Civic Auditorium, 1855 Main Street, Santa Monica, CA with The Turtles, Gene Clark, The Seeds, The Standells, The Count Five<br /><br />December 23, 1966 Pasadena Civic Auditorium, 300 East Green Street, Pasadena, CA "Folk Rock Festival"<br /><br />December 2?, 1966: Dallas Convention Center, 650 South Griffin Street, Dallas, TX<br /><br />December 2?, 1966: 'unknown title', ?-TV, Dallas, TX<br />The band lip-synched: 'My Little Red Book'. The show was taped live in the afternoon and broadcasted that same evening.<br /><br /><br />LOVE #8 (DEC 2?, 1966 - JAN ??, 1967)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) Bryan MacLean<br />4) Kenny Forssi<br />5) Michael Stuart<br />6) Snoopy<br /><br /><br />December 31, 1966: Teenbeat Club, 4416 Paradise Road, Las Vegas, NV with Scatter Blues<br /><br />January ?-?, 1967: LaCave (?), 10165 Euclid Avenue, Cleveland, OH with unknown group (two nights)<br /><br />January 6-7, 1967: Whisky a' Go Go, 8901 Sunset Boulevard at Clark Street, West Hollywood, CA<br /><br /><br />LOVE #9 (JAN ??, 1967 - AUG 1968)<br />1) Arthur Lee<br />2) Johnny Echols<br />3) Bryan MacLean<br />4) Kenny Forssi<br />5) Michael Stuart<br /><br /><br />February 11, 1967: Santa Clara County Fairgrounds, 344 Tully Road, San Jose, CA with Mojo Men, Chocolate Watch Band "Big Abe’s 158th Birthday Party"<br />Love were the main attraction of the show, so, as usual, they should have been the last to perform, but for a reason unknown to me, something must have happened in the backstage right before the show, so finally they played first, as opening act (!!).<br /><br />February 14 1967: Hullabaloo, 6230 Sunset Boulevard, Downtown Hollywood, CA with Strawberry Alarm Clock, Pubblic Bubble<br />Arthur Lee asked flute played Steve Bartek of the Pubblic Bubble to sat-in with Love for their entire set.<br /><br />February 18, 1967: Valley Music Theatre, 20600 Ventura Boulevard, Woodland Hills, CA with Canned Heat Blues Band (maybe canceled), Iron Butterfly, East Side Kids, Morning Glory<br /><br />March 3, 1967: Winterland, 2000 Post Street at Steiner Street, San Francisco, CA with Grateful Dead, Moby Grape, Loading Zone, Blue Crumb Truck Factory "The First Annual Love Circus"<br /><br />March 4, 1967: Earl Warren Show Grounds, 3400 Calle Road, Santa Barbara, CA with Sons Of Adam, Jackie Lee, The Renegades<br />2714 people were in attendance.<br /><br />March 21-26, 1967: The Rock Garden, 4742 Mission Boulevard, San Francisco, CA with Big Brother and The Holding Company, C.I.A. (Citizens For Interplanetary Activity)<br /><br />April 6, 1967: Skating Rink Arena, Modesto, CA with The Doors, Infinity and (possibly) Eisage<br /><br />April 23, 1967: Cheetah, 1 Navy Street, Venice, Santa Monica, CA with Chambers Bros., Iron Butterfly<br /><br />Spring 1967: Valley Music Theatre, 20600 Ventura Boulevard, Woodland Hills, CA with The Yellow Balloon, Iron Butterfly, International Submarine Band<br /><br />Spring 1967: Reno Memorial Coliseum, Reno, NV (two nights)<br /><br />May 19-20, 1967: Winterland, 2000 Post Street at Steiner Street, San Francisco, CA with Moby Grape, P.J. Proby, Young Giants, Carousels "Rock Revolution"<br /><br />May 22-27, 1967: Bido Lito's, 1608 North Cosmo Street, Downtown Hollywood, CA<br /><br />June 2, 1967: Pasadena Civic Auditorium, 300 East Green Street, Pasadena, CA with The Doors, Canned Heat, West Coast Pop Art Experimental Band<br />The show was cancelled at last minute, apparently because of a delay in the completion of extensive renovations in the auditorium, which then opens the next night with a concert by The Seeds. However, some argue that in fact the show finally took place and only The Doors cancelled.<br /><br />June 16-18, 1967: Monterey County Fairgrounds, 2004 Fairgrounds Road, Monterey, CA "First Monterey International Pop Festival" <br />Love turned down an invitation to play there.<br /><br />June 24, 1967: Valley Music Theatre, 20600 Ventura Boulevard, Woodland Hills, CA<br /><br />July 5-7, 1967: Cheetah, 1 Navy Street, Venice, Santa Monica, CA<br /><br />July 16, 1967: Santa Monica Civic Auditorium, 1855 Main Street, Santa Monica, CA with The Doors <br />Love turned down an invitation to play there and I think the show was finally cancelled.<br /><br />September 29, 1967: Santa Monica Civic Auditorium, 1855 Main Street, Santa Monica, CA with Spirit, Strawberry Alarm Clock, Linda Ronstadt (Love cancelled at last minute)<br /><br />December 15-17, 1967: The Blue Law, 19840 South Hamilton Avenue, Torrance, CA with Canned Heat, The Hook (Love maybe played only on day 15)<br /><br />December 28-30, 1967: Whisky a' Go Go, 8901 Sunset Boulevard at Clark Street, West Hollywood, CA<br /><br />March 8-10, 1968: Avalon Ballroom, 1268 Sutter Street at Van Ness Street, Polk Gulch, San Francisco, CA with Congress of Wonders, Sons of Champlin, Blue Cheer<br /><br />April 6-14, 1968: Anaheim Convention Center, Anaheim, CA with Big Brother and The Holding Company, Blue Cheer, Country Joe and The Fish, Steppenwolf, Nitty Gritty Dirt Band, Canned Heat, James Cotton Blues Band, American Breed, Iron Butterfly, Hook, The Box Tops, Sweetwater, Electric Flag, Sunshine Company and many more "Teen Time USA"<br />Love played at one of this nine-days event, but I don’t know the exact day.<br /><br />April 18, 1968: Fillmore Auditorium, 1805 Geary Boulevard, Fillmore District, San Francisco, CA with The Staple Singers, Roland Kirk, Lights by Holy See<br /><br />April 19-20, 1968: Winterland, 2000 Post Street at Steiner Street, San Francisco, CA with The Staple Singers, Roland Kirk, Lights by Holy See<br /><br />April 2? or May ?, 1968: unknown college, Catskill, NY<br /><br />May 3, 1968: Gym, S.U.N.Y. (Stony Brook University in New York), 100 Nicolls Road, Stony Brook, NY with Janis Ian<br /><br />May 8-9, 1968: New Generation Club, 52 West 8th Street, New York City, NY<br /><br />May 1?-1?, 1968: LaCave (?), 10165 Euclid Avenue, Cleveland, OH (two nights)<br /><br />May 14-16, 1968 Steve Paul's The Scene, 301 West 46th Street, New York City, NY<br /><br />May 18, 1968: Gulfstream Park, 901 South Federal Highway, Hallandale, FL “Miami Pop Festival" (Love cancelled at last minute)<br /><br />May 31 - June 1, 1968: Grande Ballroom, 8952 Grand River At Beverly, 1 Block South Of Joy Road, Detroit, MI with Crazy World Of Arthur Brown (31-1), Wilson Mower Pursuit (31), Psychedelic Stooges (1)<br /><br />June 7-9, 1968: Electric Theatre, 4812 North Clark Street, Chicago, IL with Chicago Slim Blues Band<br /><br />June 14-15, 1968: Kaleidoscope, 6230 Sunset Boulevard, Los Angeles, CA with Rhinoceros, Taj Mahal, Loading Zone<br />Supposedly on the Saturday (15) show, former Buffalo Springfield’s Neil Young sat-in with Love during the song: 'Revelation', traded guitar solos with Johnny Echols.<br /><br />July 19-20, 1968: Kaleidoscope, 6230 Sunset Boulevard, Los Angeles, CA with Rhinoceros, Crazy World Of Arthur Brown<br /><br /><br />LOVE #10 (AUG 1968 - SEPT 1968) <br />1) Arthur Lee<br />2) George Paul Suranovich drums<br />3) Frank Fayad bass<br />4) James Lewis (aka Jay Donnellan) lead guitar<br /><br /><br />August 28, 1968: Swing Auditorium, 689 East Street, San Bernardino, CA with Iron Butterfly, Don McCoy (MC), Jim Conniff (MC)<br /><br />August 29 - September 2, 1968: Whisky a' Go Go, 8901 Sunset Boulevard at Clark Street, West Hollywood, CA with Black Pearl<br />Love had been originally booked for the week of September 4-8, but ended up playing the week before exactly.<br /><br /><br />LOVE #11 (SEPT 1968 - OCT 1968)<br />1) Arthur Lee<br />2) Frank Fayad<br />3) Jay Donnellan<br />4) Drachen Theaker drums<br /><br /><br />LOVE #12 (aka #10) (OCT 1968 - AUG 1969)<br />1) Arthur Lee<br />2) Frank Fayad<br />3) George Paul Suranovich<br />4) Jay Donnellan <br /><br /><br />November 9, 1968: Shrine Exposition Hall, 665 West Jefferson Boulevard and 700 West 32nd Street, South Los Angeles, CA with Buffington Rhodes, Procol Harum, Chicago Transit Authority<br /><br />November 15-17, 1968: Avalon Ballroom, 1268 Sutter Street at Van Ness Street, Polk Gulch, San Francisco, CA with Lee Michaels, Saloom Sinclair & Mother Bear<br /><br />December 6-7, 1968: The Bank, 19840 South Hamilton Avenue, Torrance, CA with Three Dog Night (6-7), Fair BeFall (6), Middle Earth (7)<br /><br />February 28 - March 2, 1969: Avalon Ballroom, 1268 Sutter Street at Van Ness Street, Polk Gulch, San Francisco, CA with Mad River (28, 1-2), Zephyr (28, 1-2), Pulse (28, 1), Cleanliness and Godliness Skiffle Band (2)<br /><br />April 23-27, 1969: Whisky a' Go Go, 8901 Sunset Boulevard at Clark Street, West Hollywood, CA with Mondo Santanegro<br /><br />May 30-31, 1969: Rose Palace, 835 South Raymond Street, Pasadena, CA<br /><br />June 21, 1969: Devonshire Downs, Northridge, CA with Creedence Clearwater Revival, Jethro Tull, Steppenwolf, Eric Burdon, Buffy St. Marie, Friends Of Distinction, Charity, Sweetwater, Lee Michaels, Albert Collins, Brenton Wood “Newport Pop Festival (aka Newport ’69)” <br /><br />July 2-6, 1969: Whisky a' Go Go, 8901 Sunset Boulevard at Clark Street, West Hollywood, CA with Smokestack Lightning<br /><br />July 7, 1969: Aquarius Theater, 6230 Sunset Boulevard, West Hollywood, CA with Lonnie Mack<br /><br />August 1, 1969: Elk's Temple, 614 Southwest 11th Avenue, Portland, OR<br /><br />August 2, 1969: Oracle Arena & Oakland-Alameda County Coliseum, 7000 Coliseum Way, Oakland, CA with Blood, Sweat and Tears, Lee Michaels (Love refused to play!!)<br /><br /><br />LOVE #13 (AUG 1969 - NOV 22, 1970)<br />1) Arthur Lee<br />2) Frank Fayad<br />3) George Paul Suranovich<br />4) Gary Rowles lead guitar<br /><br /><br />August 16-18, 1969: Max Yasgur's dairy farm, White Lake, Bethel, Sullivan County, Woodstock Valley, NY "Woodstock Music & Art Fair presents An Aquarian Exposition - 3 Days Of Peace & Music (aka Woodstock or Woodstock Festival')" (Love turned down an invitation to play there)<br /><br />August 23, 1969: Paradise Valley Resort, 3501 Paradise Valley Road, Squamish, BC, Canada with Alice Cooper, Chicago (C.T.A.), Strawberry Alarm Clock and many more "Vancouver Pop Festival"<br /><br />September 13, 1969: Balboa Park Bowl, 1549 El Pedro, San Diego, CA with Delaney & Bonnie & Friends, Dan Hicks and His Hot Licks<br /><br />November 2, 1969: McDonough Memorial Gymnasium, Georgetown University, 1201 New York Avenue Northwest, Washington D.C.<br /><br />November 21 or 28, 1969: Santa Monica Civic Auditorium, 1855 Main Street, Santa Monica, CA<br />Love reunion gig with their “classic” line-up of Arthur Lee, Johnny Echols, Michael Stuart and Kenny Forssi. <br /><br />December 31, 1969: Grand Olympic Auditorium, 1801 South Grand Avenue, Los Angeles, CA with Lee Michaels, Youngbloods, Taj Mahal, Southwind & Wolfgang<br /><br />January 1-4, 1970: Whisky a' Go Go, 8901 Sunset Boulevard at Clark Street, West Hollywood, CA with Kaleidoscope<br /><br />February 9, 1970: San Diego Sports Arena, 3500 Sports Arena Boulevard, San Diego, CA with Beautiful Day, Frank Zappa, Sweetwater, Penrod<br /><br />February 11, 13-14, 1970: Fillmore East, 102 2nd Avenue, New York City, NY with Grateful Dead, Allman Brothers, Joshua Light Show<br /><br />February 19, 1970: Speakeasy, 48 Margaret Street, London, UK<br /><br />February 20, 1970: Goldsmiths College, Lewisham Way, New Cross, City of London, UK<br /><br />February 21, 1970: University of Reading, Whiteknights, Reading, Berkshire, UK<br /><br />February 24, 1970: Manchester Polytechnic, All Saints Building, All Saints, Manchester, Greater Manchester, UK<br /><br />February 27, 1970: Waltham Forest Technical College and School of Art, Waltham Forest, City of London, UK with Skin Alley <br /><br />February 28, 1970: The Roundhouse, 100 Chalk Farm Road, London, UK with Crazy World of Arthur Brown, Matthews Southern Comfort, May Blitz, Jody Grind, Stuart Lyon "Roundhouse Spring Festival"<br /><br />March 3, 1970: Imperial College, London, UK<br /><br />March 5, 1970: Lanchester Polytechnic, Priory Street, Coventry, West Midlands, UK<br /><br />March 6, 1970: Leeds Polytechnic, 2 Great George Street, City Centre, Leeds, West Yorkshire, UK<br /><br />March 7, 1970: Bath Pavilion, North Parade Road, Bath, North East Somerset, UK (cancelled)<br /><br />March 7, 1970: The University of Sheffield, Western Bank Norton, Sheffield, South Yorkshire, UK<br /><br />March 8, 1970: The Greyhound, 151-153 Greyhound Lane Croydon, City of London, UK<br /><br />March 10, 1970: Town Hall, Victoria Square, Birmingham, West Midlands, UK with Colosseum<br /><br />March 11, 1970 (?): Rhein-Main-Halle (?), Rheinstraße 20, Wiesbaden, Germany<br />The show was filmed by a German television troupe. <br /><br />March 12, 1970: Tivolis Koncertsal, Tietgensgade 20, Copenhagen, Denmark <br />The show was filmed by a Danish television troupe and a little part of Love performance, plus an Arthur Lee’s interview in the backstage, was broadcasted in Denmark on July 17, 1970 in a TV special titled: 'Love Live Tivolis Koncertsal'. <br /><br />March 13, 1970: Stockholms konserthus, Hötorget 8, Stockholm, Sweden<br /><br />March 14, 1970: K.B. Hallen, Peter Bangs Vej 147, 2000 Frederiksberg, Denmark<br /><br />March 21, 1970: Gym, S.U.N.Y. (Stony Brook University in New York), 100 Nicolls Road, Stony Brook, NY with James Taylor, Pig Iron (Love cancelled)<br /><br />May 22, 1970: Monterey County Fairgrounds, 2004 Fairgrounds Road, Monterey, CA with Delaney & Bonnie & Friends, Canned Heat, Gypsy, Lion<br /><br />June 12, 1970: Municipal Auditorium, 100 Auditorium Circle, San Antonio, TX with Touch Stone, Frank Zappa and The Mothers Of Invention<br /><br />June 13, 1970: Braves Stadium, 755 Hank Aaron Drive Southwest, Atlanta, GA with Funk, Inc., Sun Country, Shelly Issacs Sabudi, It's A Beautiful Day, Traffic, Allman Brothers, Mothers of Invention, Mountain, Ten Years After (canceled), Sweetwater (canceled), Ike & Tina Turner (canceled), Albert King (canceled) "Cosmic Festival"<br />Love was scheduled but did not play.<br /><br />June 13-14, 1970: Portland Civic Auditorium, 222 Southwest Clay Street, Portland, OR with Ravi Shankar, B.B. King, Delaney and Bonnie, Little Richard, Flying Burrito Brothers, Country Joe & The Fish, Roxy, Nick Gravenites, Albert Collins and the Icebreakers, Big Brother And The Holding Company, Illinois Speed Press, Bo Diddley, Buddy Miles, Eclipse, Notary Sojac, River "Portland Music & Art Fair" <br /><br />July 18, 1970: The Terrace Ballroom, 464 South Main Street, Salt Lake City, UT with Blue Mountain Eagle (filling in for Blue Cheer), Fever Tree<br /><br />November 19-22, 1970: Fillmore West, 10 South Van Ness Avenue at 1545 Market Street, San Francisco, CA with Black Sabbath, James Gang, Lights by Spontaneity<br />The band was billed as 'Love with Arthur Lee' on the poster. George Paul Suranovich left (again) the band right after this shows.<br /><br /><br />LOVE #14 (NOV 23, 1970 - DEC 1970)<br />1) Arthur Lee<br />2) Frank Fayad<br />3) Gary Rowles<br />4) Don Poncher drums<br /><br /><br />December 4-5, 1970: Fillmore East, 102 2nd Avenue, New York City, NY with Kinks, Quatermass, Lights by Joe’s Lights<br />The band was billed as 'Love with Arthur Lee' on the poster.<br /><br /><br />LOVE #15 (aka #13) (DEC 1970 - JAN 1971)<br />1) Arthur Lee<br />2) Frank Fayad<br />3) George Paul Suranovich<br />4) Gary Rowles<br /><br /><br />December 17-19, 1970: Boston Tea Party, 15 Landsdowne Street, Boston, MA with Sugar Creek<br /><br />December 25-26, 1970: Eastown Theatre, 8041 Harper Avenue, Detroit, MI with Alice Cooper, The Frut<br /><br /><br />LOVE #16 (JAN 1971 - FEB 1971)<br />1) Arthur Lee<br />2) Frank Fayad<br />3) Michael Stuart<br />4) Gary Rowles<br /><br /><br />January 24, 1971: Long Beach Arena, 300 East Ocean Boulevard, Long Beach, CA<br /><br />January 29, 1971: Valley Music Teatre, 20600 Ventura Boulevard, Woodlands Hills, CA<br /><br /><br />LOVE #17 (FEB 1971 - DEC 1971)<br />1) Arthur Lee<br />2) Frank Fayad<br />3) Don Poncher<br />4) Craig Tarwater guitar<br /><br /><br />February 14, 1971: P.N.E. (Pacific National Exhibition) Coliseum, 100 North Renfrew Street, Vancouver, BC, Canada<br /><br />February ??, 1971: unknown venue, St. Joseph, MO<br /><br />October 4, 1971: Milwaukee Civic Arena, 400 West Kilburn Avenue, Milwaukee, WI with Grand Funk Railroad<div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com6tag:blogger.com,1999:blog-32205377.post-69988353635661314712009-08-19T13:15:00.001-07:002009-08-19T13:17:56.544-07:00A '60s Tour With Few Takers Is Still a Rock-and-Roll HighOn Tour with "Love"<br />First-time concert promoter and D.C. lawyer Patrick Hand is learning the ropes of the music business as he spends his summer vacation promoting the "California '66 Revue." The tour straight out of "Spinal Tap," after one musician died and another band pulled out. The single remaining band, Love, continues to tour, losing loads of money along the way. We caught up with Hand and Love at the Double Door nightclub in Chicago.<br /><br />By J. Freedom DuLac<br />Washington Post Staff Writer <br />Sunday, August 16, 2009<br />At the intersection of rock-and-roll fantasy and the realities of life, Washington lawyer Patrick Hand is the guy in the black T-shirt emblazoned with the hippy-trippy logo for the 1960s band Love.<br /><br />THIS STORY<br />A '60s Tour With Few Takers Is Still a Rock-and-Roll High<br />On Tour with "Love"<br />At 51, with a wife, three children and a successful private practice, Hand is spending half of August -- and, as it turns out, a healthy sum -- promoting a summer concert tour featuring a psychedelic folk-rock band that once appeared on TV's "American Bandstand" but over the decades became an obscure combo with a cult following.<br /><br />It's everyone's fantasy: With the years slipping by, successful career man decides he must live his dream, in this case liberating the rock fanatic within. Who among the middle-aged doesn't dream of chasing a passion, even if it means cracking the nest egg in the process? How could Hand have known that he would end up sitting in an empty concert hall, wondering whether anyone else shared his dream?<br /><br />"Some people choose to spend lots of money to go to Antarctica or to climb Mount Everest," Hand says. "I get to go on the road with a great rock-and-roll band that's almost Hall of Fame quality. I get to spend time with a great group of guys and see a great show every night. I've enjoyed every minute of it. Well, almost every minute of it."<br /><br />Hand's California '66 Revue tour is not going well. At all. The other night in Chicago, 55 people came to a club that holds 473. Several shows have been canceled, including the tour finale, which had been scheduled for Tuesday at the Birchmere in Alexandria.<br /><br />Birchmere manager Michael Jaworek sympathizes with Hand's passion but had to pull the plug. "It doesn't do anybody any good financially or aesthetically to see 50 people in the music hall," he says. "It just wasn't selling at all. At some point, someone has to be the voice of sad, painful, brutal reason and say that this is not going to work."<br /><br /><br /><br />Tuesday's concert has since been rebooked at the Velvet Lounge, a U Street NW club that's one-fourth the size of the 500-capacity Birchmere. The show will go on. Will anybody show up? (If they do, Hand isn't putting them on the comp list, no matter how close they may be. Even his wife and her friends must pay for their $12 tickets.)<br /><br />His summer of Love started with the Electric Prunes, the psychedelic garage-rock band that Hand considers, as he wrote in a news release announcing the tour, "the best rock band in the world right now. The Electric Prunes are the only band from the 1960s who are putting out better music now than then."<br /><br />After he saw the Prunes in concert last year, Hand realized that "this is just something I wanted to do. I've never wanted to be defined just as a lawyer."<br /><br />In the real world, Hand represents clients in serious criminal cases, some of them high-profile. On the floor of Love's tour van -- a customized Dodge Sprinter 2500 outfitted with oversize leather seats, a flat-screen television and Hand's name on the rental agreement -- there's an enormous file marked "JACKS, BRITTANY." (Hand represents the estate of the 17-year-old girl whose mother, Banita Jacks, was convicted in D.C. Superior Court last month of killing Brittany and her three sisters.)<br /><br />Now, many thousands of dollars into his summer adventure, Hand insists it's all "pretty exhilarating." But the Prunes backed out a week before the first show after a series of disagreements over logistics and finances. It was a crushing blow. As personally thrilling as the experience might be, the California '66 Revue isn't much of a revue anymore.<br /><br />All of the artists except Love have dropped off -- or dropped dead. Sky Saxon, the singer from the '60s garage-rock band the Seeds, died of heart and kidney failure in late June, which in retrospect wasn't a particularly good omen. Nor was the van accident before the tour opener in Hoboken, N.J., where Hand's friend backed the Sprinter into a parked Prius -- then told Hand he didn't have insurance.<br /><br /><br /><br />A '60s Tour With Few Takers Is Still a Rock-and-Roll High<br /> <br />First-time concert promoter and D.C. lawyer Patrick Hand is learning the ropes of the music business as he spends his summer vacation promoting the "California '66 Revue." The tour straight out of "Spinal Tap," after one musician died and another band pulled out. The single remaining band, Love, continues to tour, losing loads of money along the way. We caught up with Hand and Love at the Double Door nightclub in Chicago.<br /><br />"It's almost like every night you're putting on a party," Hand says. "Except you're not just concerned about whether people are going to have a good time. You're worried about how many people are going to come and about whether you're going to make any money, or at least not lose any. It's obvious that I'm going to lose money on this. But I'm still having fun." It is also, he says, "my tale of woe."<br /><br />Hotel rooms in Chicago, via Priceline: $75 each.<br /><br />Rented band gear: $2,800.<br /><br />Two-week van rental: $4,200.<br /><br />Living the dream: Priceless?<br /><br />Hand won't say how much the tour will wind up costing him, only that "I didn't put in more than I can afford to lose."<br /><br />His wife, Katie Griffin Hand, says she loves her husband's passion and gumption. And the money? "Oh, that," she says. "Every 10 days, I'd say: 'Listen, honey: I'm so glad the tour's going well. Can we have the money talk now?' " She laughs.<br /><br />After the Prunes bailed out -- and with advance ticket sales abysmal -- venues began canceling. The tour opener in Philadelphia was scrapped, as was a show in Foxboro, Mass.<br /><br />"I've never been involved with a tour that's had this much tsuris [distress]," says Cary Baker, the Los Angeles music business veteran who is doing publicity for the Revue.<br /><br />"Patrick came at this as a music fan," says Prunes bass guitarist Mark Tulin. "He didn't try to cheat us or take advantage of us. We still like Patrick. He's a really well-intentioned guy who had this belief of how it would go, and part of it was based on his belief in the bands, which is really heartwarming."<br /><br /><br /><br />Tulin adds: "Patrick just thought it would be fun. Go on the bus and hang out with the band as they travel. I hope he doesn't lose too much; I feel sorry for him."<br /><br />More dropped dates: One in Detroit, and another in Montreal. Instead of that trip to Canada, Hand drove the band to Vermont for a barbecue at his parents' house. They spent the night at his brother's vacation home. More dropouts, too: Saxon's replacement in the lineup, former Moby Grape guitarist Jerry Miller, bailed last week, the day before he was to have joined the tour. Hand wanted Miller to revise his contract, "but he didn't want to do that, so I bought him out. In essence, I paid him not to play because it saves me money."<br /><br /><br />A '60s Tour With Few Takers Is Still a Rock-and-Roll High<br /> <br />VIDEO<br /><br />On Tour with "Love"<br />First-time concert promoter and D.C. lawyer Patrick Hand is learning the ropes of the music business as he spends his summer vacation promoting the "California '66 Revue." The tour straight out of "Spinal Tap," after one musician died and another band pulled out. The single remaining band, Love, continues to tour, losing loads of money along the way. We caught up with Hand and Love at the Double Door nightclub in Chicago.<br /><br />"I went through a midlife crisis back around '93 and '94, when I got sick of practicing law and wanted to be a writer," he says. "I never thought when I started this tour that I'm going to give up the practice of law to become a rock-and-roll promoter. I've been around long enough and been to enough concerts to know that there's not enough money to be made, at least not by me."<br /><br />A quarter-century ago, at a club on Connecticut Avenue NW, he went to see members of the Band and the Byrds, "and there were about 14 people in the venue," Hand says. "I counted them. I was 26 years old at the time, a year or two out of law school, and I remember thinking: Practicing law may not be a bad gig."<br /><br />Hand yawns incessantly. It's Tuesday afternoon in Milwaukee, and the two-week tour is at the midway point. Hand has taken over driving duties after sending the tour manager back to England in another cost-cutting move. The show is booked at Shank Hall, a rock club named for a venue in "This Is Spinal Tap," the 1984 rock-and-roll mockumentary about a fictional heavy metal band suffering a disastrous concert tour. Tickets are $25.<br /><br />Hand, who negotiated the deals with the clubs despite having never booked a concert in his life, will collect 70 percent of the gate, with no guarantees. He wonders about ticket sales: "We were at 29 yesterday; did we sell any more?"<br /><br />Maybe, he's told, but with Miller backing out after the loss of Saxon and the Prunes, maybe not. A sign at the door advises that the lineup is down to Love alone, with full refunds available. While Hand is at the bar, staring at the stage, a man comes in and returns five tickets.<br /><br /><br /><br />Would the California '66 Revue have been a hit if the tour had gone off as planned, with the Prunes and Saxon joining Love in flashing back to an important time in youth culture? "I don't think so," Hand admits. "There's just not enough interest in the genre and these acts. The whole is not greater than the sum of its parts." Ah, hindsight.<br /><br />Steve Baenen, wearing a Deep Purple concert T-shirt, approaches the table where Hand has set up shirts, CDs and posters. His long hair pulled back in a ponytail, Baenen has made the two-hour drive from Green Bay, because "it's hard to find a trippy show anymore." He buys $30 worth of CDs. Hand gives him a concert poster that still lists the three original acts.<br /><br />"What happened to the Prunes?" Baenen asks.<br /><br />Hand: "Not enough advance sales. Not enough money to pay for everything."<br /><br />Baenen: "That's a bummer, man."<br /><br />Hand: "It is a bummer."<br /><br /><br />A '60s Tour With Few Takers Is Still a Rock-and-Roll High<br /> <br />VIDEO<br /><br />On Tour with "Love"<br />First-time concert promoter and D.C. lawyer Patrick Hand is learning the ropes of the music business as he spends his summer vacation promoting the "California '66 Revue." The tour straight out of "Spinal Tap," after one musician died and another band pulled out. The single remaining band, Love, continues to tour, losing loads of money along the way. We caught up with Hand and Love at the Double Door nightclub in Chicago.<br /><br />Hand knows what you're thinking: midlife crisis. You're thinking: "Dude, it would have been easier -- and cheaper -- to lease a new Porsche." But Hand says he had already come to terms with his age.<br /><br />"I went through a midlife crisis back around '93 and '94, when I got sick of practicing law and wanted to be a writer," he says. "I never thought when I started this tour that I'm going to give up the practice of law to become a rock-and-roll promoter. I've been around long enough and been to enough concerts to know that there's not enough money to be made, at least not by me."<br /><br />A quarter-century ago, at a club on Connecticut Avenue NW, he went to see members of the Band and the Byrds, "and there were about 14 people in the venue," Hand says. "I counted them. I was 26 years old at the time, a year or two out of law school, and I remember thinking: Practicing law may not be a bad gig."<br /><br />Hand yawns incessantly. It's Tuesday afternoon in Milwaukee, and the two-week tour is at the midway point. Hand has taken over driving duties after sending the tour manager back to England in another cost-cutting move. The show is booked at Shank Hall, a rock club named for a venue in "This Is Spinal Tap," the 1984 rock-and-roll mockumentary about a fictional heavy metal band suffering a disastrous concert tour. Tickets are $25.<br /><br />Hand, who negotiated the deals with the clubs despite having never booked a concert in his life, will collect 70 percent of the gate, with no guarantees. He wonders about ticket sales: "We were at 29 yesterday; did we sell any more?"<br /><br />Maybe, he's told, but with Miller backing out after the loss of Saxon and the Prunes, maybe not. A sign at the door advises that the lineup is down to Love alone, with full refunds available. While Hand is at the bar, staring at the stage, a man comes in and returns five tickets.<br /><br /><br /><br />Would the California '66 Revue have been a hit if the tour had gone off as planned, with the Prunes and Saxon joining Love in flashing back to an important time in youth culture? "I don't think so," Hand admits. "There's just not enough interest in the genre and these acts. The whole is not greater than the sum of its parts." Ah, hindsight.<br /><br />Steve Baenen, wearing a Deep Purple concert T-shirt, approaches the table where Hand has set up shirts, CDs and posters. His long hair pulled back in a ponytail, Baenen has made the two-hour drive from Green Bay, because "it's hard to find a trippy show anymore." He buys $30 worth of CDs. Hand gives him a concert poster that still lists the three original acts.<br /><br />"What happened to the Prunes?" Baenen asks.<br /><br />Hand: "Not enough advance sales. Not enough money to pay for everything."<br /><br />Baenen: "That's a bummer, man."<br /><br />Hand: "It is a bummer."<br /><br /><br />When the band takes the stage, there are fewer than 50 people in the room, including bartenders, waitresses, the sound guy, the door guy and the musicians.<br /><br />"This show is not about who's not here; it's about who is here," guitarist Mike Randle tells the audience. (Offstage, Randle says he once performed in front of a single ticket-holder, in 1993. )<br /><br />Love performs for 90 minutes, and Hand watches most of the set alone from a table at the side of the room. He has plenty of space to play air drums along to the music.<br /><br />He decides later that it's the best show the band has played on the tour. The final count: 25 presale tickets and 15 walk-ups. But 10 of the presold tickets weren't used, meaning they are likely to be returned for refunds. For now, Hand's take is $525, which won't come close to covering the hotel rooms, per diems, publicist, van rental, gas and equipment rental, let alone the six band members. Hand says he has averted what "could have turned into a financial disaster for me" only by trimming expenses and dropping some shows. So, next summer: a nice trip to the beach with the family? Not necessarily.<br /><br />"We've been talking about going to South Africa during the World Cup," he says.<br /><br />We?<br /><br />"Yeah, with Love maybe opening for a bigger band. Hopefully, we can do it. But that's only with guarantees. I'll have to do it a lot differently. But I think it would be cool."<br /><br />His wife isn't so sure about that. "He loves music so much," Katie Hand says. "If you can't support your spouse, I don't know whom you can support. But you know, we're not going to do it again next year."<div class="blogger-post-footer">ARTHUR LEE MEMORIAL PAGE W/ LOVE SONGS VIDEOS POETRY OBITUARYS</div>poisgonehttp://www.blogger.com/profile/12117828758012864507noreply@blogger.com1