The unusual and strange from news and popular culture.
My marble adding machine in action. More at http://woodgears.ca/marbleadd
What impressed me is not just the fact that it looks like it could be used as 1) a great woodworking project, and 2) a great computer science tool in grade 10.
There is another video that explains the mechanics behind this adding machine a little better:
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Guys, keyholes and topless women are a staple in the CAC blogosphere. This is Woody Woodbury’s big comedy album from the 1950s, Woody Woodbury Looks at Love and Life, put out by the Stereoddities label. This was one of the first comedy records ever made (probably the first), and are considered innovative. Woody put out comedy records before Bill Cosby, or Bob Newhart, or any of the other ’50s and ’60s comedians.
Woodbury was a big name, and he almost had the job of hosting The Tonight Show, except that the plum job was instead taken up by some wisecracker named Johnny Carson. Woodbury was a guest host of that talk show in the past, and thought he had the job.
Proving that the suckiness of album covers are never limited to English-speaking countries, we present Jacinto O Donzelo, looking into a keyhole of his own. When this name came up in most searches, it appeared without the comma.
From what I can make out, Jacinto has made what appear to be comedy records, well into the 1980s. He has sold apparently well in Spain, Portugal, and Brazil. MP3s of his comedy are ripped and traded on several websites.
I shall declare that this cover is so bad, that merely gazing upon it will make you feel as though you stepped on something warm and brown. I’ve called the cops, Jacinto. They’re on their way down.
The photo of Jacinto and the keyhole was photoshopped at lpcoverlover.com, who uses the photo as an overlay to indicate that the album cover “underneath” is X-rated. It is not so much serving as a warning, and more like an urging to “click here you idiot if you want to see some nudes”. Great system they have. Anyone who is highly moral has to put up with having to stare at Jacinto eternally pointing at the keyhole, which by itself simply forces visitors to click on the photo if they want to make Jacinto go away. Once they do, they see the album cover depicting nudes underneath. Prudishness is inherently maladaptive in the blogosphere.
My blog isn’t nearly that high-tech. I put “Adult Content” in my title as a warning, telling patrons that they should visit my site as an invitation to see a really cool posting. Isn’t that how it’s supposed to work? Every time I view a movie on TV that has an announcer saying “This movie may involve mature subject matter and scenes of sex/violence/coarse language” what the television folks are really saying is “whoa, this show is really cool, folks — watch this one!!” Just imagine that if they didn’t use that disclaimer and you didn’t know the movie, would you really watch it? I almost never do. And I think that the TV folks know me, since I think they make that disclaimer in almost evey movie. I think I even saw it once on Bambi. That’s for the part that when Bambi’s mother dies, I think I heard Bambi say something like “Oh, shit”. Of course you have to keep kids away from that kind of nonsense.
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1960 crappy album cover (CAC) maker and, oh yeah, comedian to boot, Bill Carty has a variety of albums which all fit the high standards of crappiness that gives this blog such longevity. Here, we see a standard technique for CAC making that has been imitated by many CAC makers in many countries worldwide: thoughtless photo retouching.Workers at a construction site on the other side of Pompano Beach were probably scratching their heads after it appeared that ten of their blasting caps went missing.If Bill Carty is really “Blasting Off”, it’s only his head that is blasted off. Spectators below stare aghast at this horrid spectacle. This would mean that the late 60s the audience in The Space Sattelite Motel in Pompano Beach, Florida were witness to the world’s first suicide bomber. In those days, they didn’t have Homeland Security, either.
The Space Sattelite Motel, which was located in a city located north of Miami and closer to Fort Lauderdale was the epitome of 50s kitch. Carty would have been placed on a stage in the middle of an audience and a bar which surrounded the stage. The motel does not show up anywhere I have looked in the Pompano Beach area, and it may no longer exist. lpcoverlover.com says this is from “Stere Oddities”, but I think that on seeing another record from the same label, I think it should be “StereOddities”. |
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This is the other record I saw. See? The words are closer together. StereOddities just seem to love big heads on their records. And there are more. Many more. CAC collectors even have a special section for albums depicting disproportionately big heads (or disembodied big heads) of the artist on their covers. This is true for lpcoverlover, and it is also true of another account of a curio record store in the states that I have heard about.Nino Nanni (b. ?- d. circa1991) was another comedian on the same label. Both Nanni and Carty are mentioned in WFMU’s Beware of the Blog as “Nobodies”. Nanni did in fact have a great braritone voice, and perfect enunciation, apart from his talent with the piano. The main attraction from Stereoddities will be presented later in this series. |
Both of these albums are rare, and are discussed at length, halfway through this WFMU podcast, starting at about 30 minutes:
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You have heard that some women think that chocolate is like sex. Well when designing crappy album covers, the reverse is true: sex is like chocolate.
For one thing sex sells record albums.
For another, when a food goes rancid one can cover up the rancidity by covering the food in chocolate. Similarly, nudity can be used to hide the fact that an album cover is otherwise artless.
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This is a rare cover for Kool and The Gang’s 1971 album, their second before there was any hint of a commercial breakthrough. The one that shows up on Wikipedia is a more “normal” album cover, with some artfulness within the realm of a “typical” disco album.I’m not sure their cover of “Wichitaw Lineman” works as a disco tune.
But they needed more than sex to sell, since this album was a commercial flop. |
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You know, if you are not really The Beatles and you are making a tribute album, the only way you can make people buy this record is to put “The Beatles” in large lettering, the word “Tributing” in small lettering, and get a young lady to pose topless for the album cover and hope that no-one notices that this is not a Beatles album.What better analogy to chocolate can there be? You know this album is going to sound a bit “off” and will most likely have third-tier Beatles imitators at best, but having a semi-nude on the cover makes it palatable. |
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The Eastman-Rochester Orchestra wanted to portray Pinocchio in an innocent way, but I’m not sure. First of all, he doesn’t look all that friendly, and something about him looks larger than life. Kind of like “Pinnochio attacks Manhattan”.
Imagine a giant Pinnochio, tall as a skyscraper, dancing and causing havoc in a metropolitan area. “I got no strings,” indeed. When I look at this Pinnochio, I can’t get that image out of my head. Now, that’s something to set to classical music. All of the photos for today are from LP Cover Lover. |
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Relaxation therapy, from Dr. Samuel J. Hoffman and Bill May. To be fair, this album has strong followers. Just read this promo. But I’m not sure if I want to wrap myself in cellophane (that’s not water!) and lie in a river for any amount of time. What would the police say if they pass by? This is what makes me think that she looks like a murder victim who just washed up on shore. Looks like a case for CSI. Another possible scenario for this photo is that this chick on the cover works in a Glad Wrap factory, see? Then, she gets caught in a roller, and she gets wrapped up in the stuff. Nobody notices, so they ship her out, and when she gets to Receiving at a warehouse, guys look at what they ordered, and see this chick hanging off at the end of the roll, semi conscious. No-one in receiving could find a semiconscious woman on the packing list or the invoice, so she and the roll are shipped back to the factory, where she is finally revived by paramedics to everyone’s … Peace of Mind, which is the title of the record. |
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Classical artists try. They really do. What they need is their own “decade”. The fifties was a decade for jazz and blues; the sixties and seventies were owned by rock. In recent decades, I can’t think of any particular music that has dominated.
Naked/topless women have been tried on many classical album covers, with uneven levels of success. A couple of my friends got together one time and someone talked about how the rapper 50 Cent got to be a big seller. Sales skyrocketed after he got shot in a gang dispute. Apparently, being shot several times gives rappers something called “street cred”, which boosts album sales. So, the conversation turned to how fewer kids are being turned on by classical music. Packaging of classical music albums are often dry and stodgy. But even when they get seductive like this cover, album sales still remain low. The idea we had was to go into various classical studios where the musicians were, and shoot all of the performers, and see if their now-earned street cred makes their record sales go up. Late into the night, we gave up on the idea. |
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Apologies for this posting being over 4 hours late. I set the date on it OK, but not the time. I just checked ahead to the posts for the next couple of weeks, and fixed any time probelms there. Normally, you should see these postings on or after 6PM EST/EDT, with some obvious allowances for the odd bit of human error.
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Today, we have a double bill from the same artists. The duo Elna Fredhoy and Rigmor Odun, both members of the Norwegian Salvation Army, one of whom is playing the much-feared accordion.
The other musician is playing a guitar, and it does not look terribly familiar. According to lpcoverlover.com, the 6-string guitar can be identified as an Isana, from Germany. According to the website, Elvis Presley once owned an Isana. Branches of the Christian religion have never completely gotten along: Pentacostals snipe against the other protestants; and of course almost everyone snipes against the Catholics while the Catholics feel superior to other Christians. But no one has ever had anything negative to say about the Salvationists. I’ve never heard a peep said against them. OK, so some of them wear funny hats. |
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The hats say a lot about these ladies. To me, they say things like “we’ve never heard of The Red Hot Chili Peppers”; or “what on Earth is Jungle?” or “Peeps in your hood? I had that problem once, and they gave me some kind of medicated shampoo for it, maybe I could lend you some.” |
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Now we know where This Mortal Coil got their ideas from. The thing about a beautiful woman emerging from the sky (perhaps a visual pun on the “heavenly body”) seems to be with precedent.You can’t go much further back than this 1931 album cover by Johnny Green and His Orchestra, called “Out of Nowhere”. Johnny Green (1908-1989), a former Wall Street stockbroker became a band leader, working with the likes of Guy Lombardo, and producing many jazz albums, which, along with Out of Nowhere, became jazz standards. |
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This multi-artist effort, led by producer Ivo Watts-Russell, was populated by personnel from bands signed on to the 4AD record label which Watts-Russell owned at the time. It is considered an ’80s alternative classic. They did covers of other artists like Tim Buckley, The Byrds, and even Emmylou Harris, but the covers were always done the same great care they give to thier original material. Anyone who saw this package knew they were expecting to hear strangely beautiful music that seems to come from another world.
This one is an obvious improvement on the design concept of this above album. The mood you see on the cover is exactly what you get inside. One track that is an exception to this eternally dreamy mood is the song “Not Me”, which is the only track on the album that borders on pop. I still have this CD in my collection, and it had been released on vinyl. It is not listed on E-Bay, a sure sign that few people want to part with their copy. |
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What I mean by the title of today’s blog is these covers were neither crappy to please an audience, nor were they crappy by way of poor judgement. They are here because it would appear that Springsteen would rather get out a crappy album cover if it meant it would help him get his artistic point across rather than just record whatever sells with the most attractive packaging. You have to respect that. They are not crappy for the wrong reasons, indeed they are crappy for exactly the right reasons. They are not negatively crappy. Oh, no my dear readers. They are positively crappy.
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This kind of cover would not be out of place on the cover of Sinclair Ross’s 1941 book “As for Me and My House”. Anyone having to endure a class on Canadian lit knows of the devil I speak. A story about a preacher’s wife, living on a bleak stretch of Saskatchewan prairie during the Dust Bowl days of the Great Depression. The book didn’t actually sell in its day. It was a bleak book, bleakly written, about bleak times and bleak relationships. But it has made the canon of Canadian Lit courses, and this cover with its stretch of dirt road across a seemingly endless flat plain reminds me of that.This was his sixth album, recorded with voice, guitar and harmonica, came out in between his two monster albums “The River” and “Born in the USA”. It peaked on Billboard at #3, and yielded 2 top-40 singles. |
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This cover was chosen because it takes the name and rallying cry of folk legend Peter Seeger and pretty much puts it on a beer label.”Come to the Springsteen Bar, we have Seeger Stout on tap. You’ll love the way it gets you drunk!”But looking at this cover reminds me of how a lot — maybe most — of Springsteen’s biggest hits sound like beer commercials. Or given the weightiness of the mark Springsteen has left on Music, perhaps the Beer commercials are trying to sound like Springsteen. |
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Before I start, I would also like to say, that you can also access my front page when there are no crappy albums for other interesting and amusing articles. They tend to be published almost every second day starting from Sunday: Sunday, Tuesday, Thursday, and sometimes on Friday. Right around this time, there have been articles on The Politics of Dancing, a series of 3 articles named after a song from 1983 that I knew from the band Re-Flex. This time, I try to breathe some meaning into the title. But it shouldn’t be a heavy read.
Someone, somewhere, some time ago, there was an album where someone went around with a mike and recording equipment and recorded the voices of people said to be possessed by demons.
Even if this were real, would it really matter? The only evidence of demonic possession will be the voices on an album, and for all you know they could be acting in a cushy air-conditioned studio and drinking chilled Perrier during their breaks.
Now the question is, is the guy on the album the demon or the body possessing it? To me, he just looks goofy.
“Satan is real unless declared integer” is a twist on an old computer programmers’ joke, known to those who programmed in FORTRAN 77 and earlier. Actually the joke was supposed to settle the theological question of God’s existence: “God is real unless declared integer”. It also was a play on the idea that the default variable type in FORTRAN was floating-point, for which FORTRAN used the keyword “real”.
Charlie and Ira Louvin are stitched into Americana about as much as apple pie. They were an integral part of The Grand Ole Opry for 8 years from 1955 to 1963, recorded with Chet Atkins, and played everything from Gospel to Waltzes. Ira Louvin died in a car crash in June 20, 1965. Charlie, now over 80 years old, has seen himself and his brother mentioned in the Country Music Hall of Fame in Nashville.
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You know that after all that has pased through this blog, I wouldn’t have to put up a warning like that. But I do, if you scroll down.
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Look at that pizza. It could easily feed a small army, but these 7 adults are having it all to themselves. Where did they get an oven big enough to fit this monster?This album is called “Pizza Party”, with Joe Biviano on accordion. He, along with two other performers, Abe Goldman and Gene von Hallberg, were the first accordionists to make it to Canegie Hall, where they apparently appeared together for a 1939 performance.He was said to have gone consistently low-brow in music, to which the theme of this album testifies. He had gone as far as any accordionist can expect to go in his career. Unless your name is Weird Al Yankovic. |
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Kraut Rockers Eulenspygel’s first album in 1971, called “2”, had a cover with a controversial design (this one) that was soon replaced by something more appetizing. They survived long enough to do a second album in 1972 called “Ausschuss”, recorded at Apple Studios in London. After a breakup, a reunion, and several lineup changes, they made a third album in 1979 and finally broke up in 1983, and haven’t been heard from. |
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This is the original Herb Alpert album, playing mostly in-tune by the owner of A&M Records and his Tijuana Brass, called “Whipped Cream and Other delights”, released in April of 1965.There is a lot of food referred to in the song titles. There is mention of lemons, tangerines, peanuts, green peppers, lollipops, and honey.The album cover, depicting a young lady covered in whipped cream who would feel a whole lot better if ten guys came and licked it off her, was of such a borderline tasteless nature that it BEGGED for parody, and the two below are likely the most famous examples. |
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This 1966 album from The Frivolous Five called “Sour Cream and Other Delights”. This album contains lots of standard instrumentals made famous by Alpert, and from time to time they seem to go off-key. They’ve got Tijuana Taxi, A Taste of Honey, Spanish Flea, Lemon Tree, and they even cover The Beatles’ “All My Loving”. Of course, The Frivolous Five can’t have an album cover without chicks. You have to wonder how did they get access to enough sour cream to cover these five middle-aged ladies? Also, notice one of them is holding a single long-stemmed rose, just like the lady in the original Herb Alpert album cover. |
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During the same period, stand-up comedian Pat Cooper made this album called “Spaghetti Sauce and Other Delights”. Now, do you think he was parodying The Tijuana Brass? Naww… Can’t be …At least he isn’t holding a rose.Somebody get a fork …Cooper was doing stand-up and hit it big on The Jackie Gleason Show in 1963. His Italian-American brand of ethnic comedy got him into bigger venues, appearing with Sinatra, Steve and Edie, Tony Bennett, and Connie Francis.
He currently appears occasionally on comedy channels and has been featured on Howard Stern a few times, and has appeared on sattelite radio stations as late as 2007. |
Here, Cooper takes liberties with American history:
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This one is from Michelino and his Cha Cha Band. The color scheme of the album obfuscates the black lettering near the bottom. Something about “Cha Cha Cha” and secretaries. This whole thing gives me an understanding as to why lpcoverlover.com headlined this as “Banging The Secretary“. There is the secretary there with her typewriter. Either he is playing bad music and she wants Michelino to stop, or he wants to dictate a letter to her using drum signals, and she can’t keep up. |
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I have discovered that the “Cha Cha” has within it a nearly endless goldmine of crappy album covers. Look at “Dracula Cha Cha Cha”. Well, of course one problem I have, and it goes without saying, that the cover looks like it was done in pastel by a 14-year-old.But even the mere idea of doing the “Dracula Cha Cha Cha” is quite another topic. Gone are the images of warm Spanish climes, where engage in the dance such as the Cha-Cha or the tango, or to any of the many other Latin rhythms that make travelling to Spain or Latin America a treat. Instead, you the Cha Cha, done with an element of fear. Fear that you might get caught, I’d say. Some things can never be forgiven.I guess, then, I would consider this Cha-Cha album where the themes are non-standard, a kind of “alternative Cha-Cha” album to please, say, the punks and the skinheads. Imagine punks and skinheads doing the Cha-Cha. Just imagine. |
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It seems that everyone had tried their hand at disco during the seventies. Here, the late Danish pop-rocker keyboardist and heavy metallist Tommy Seebach (1949-2003) wants you to believe that he can do disco, with his album “Disco Tango”.It is rather surprising that in the seventies, a person like Seebach could wear his mustache and hair like that and probably still get laid. It sure was a different decade. Those who lived through those decades must admit: in the 70s, we all thought we were something. We all thought that up to that point in modern history, we had the coolest clothes, and the coolest hairstyles. I mean having a blowdryer was a cool thing, as was having one of those hair brushes with the bristles that go all the way around, so that blowdrying your hair could get you that puffy head of hair that made your head look bigger than it really was. And you felt so cool when you wore it! Now, you guys have to admit that if that was the deal with you and your immediate clique, then you didn’t look too different from Seebach over here. If you were on a date, you wore a sports jacket and one of those shirts with pointy collars, and you made sure that you left the top button undone so that the girl can see your necklace and possibly some chest hair. And since ties weren’t cool, you never wore one. Therefore, we must conclude that this album is only crappy in retrospect.This blogger seems to have dicovered in those multiple heavy metal videos he did, that they all seemed to be the same shots of the same riffs of totally different music. Even the images of the drummer hitting the cymbals were in different time with the music. The same girls were dancing the same dance out of the same forest, regardless of the music. On different songs, I saw the same shots of the same guitar riffs; the same shots of the same bass riffs, not even bothering to change the camera angle. |
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While we’re on the topic of clothing styles, I’m afraid that these guys, The Drifters, have a clothing style that is like nothing in the history of the universe.Tracking information on these folks was next to impossible. There is a polka tune called “Drifters Polka”, which seemingly everyone covered — even Roy Clark. But A band called “Drifters” and an album called “Polka ‘n’ Fun” only led to other crappy album blogs, short on straight info. |
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The Usenet has been, and continues to be, a great source of information, where technologies that push product can easily be pushed aside using filters. There are more than 10,000 newsgroups on nearly every topic that delienates our human existence, all hierarchically arranged. The major hierarchies are known as “The Big 8”: comp.*, humanities.*, misc.*, news.*, rec.*, sci.*, soc.*, and talk.*.
The one hierarchy which has been the bastard child of the usenet has been the alt.* hierarchy. Like all technologies, they start off with good intentions. According to one follower of the Big 8:
The alt.* hierarchy was begun, in part, as a reaction against the management principles of what came to be known as the Big-8. It is an “alternative” approach to creating newsgroups
This meant that, in reaction to certain sites placing a “veto” on certain newsgroups and due to the political influence certain site maintainers had, why not make it possible for anyone to make any newsgroup they want, without the need for a vote? That was the idea behind “alt.*”
Most people who maintain USENET sites will freely admit that much of the alt.* hierarchy has become a moral and technological toilet. It carries nearly every nutty newsgroup bounded only by imagination, including groups no one has ever seriously posted to, as well as long-dead newsgroups that also have no posts (unless you count spam). Examples are
… you get the idea. This led the folks carrying these newsgroups to decide that: OK, maybe we’ll make the carrying of the alt.* hierarchy optional. Thus, the carrying of the alt.* hierarchy has been considered optional since its inception. I don’t know of any universities that carry it.
There is another problem with the alt.* hierarchy. It has been used as a vehicle for carrying child porn. If we censor ONLY these newsgroups, that would only mean that people can create others within alt.* that do the same thing. This is also the same for newsgroups that carry ISOs of complete software suites, mp3s of complete albums, and DVDs of movies. None of these activities are what I would call “legal”, and is easy justification for axing the whole hierarchy for reasons of freedom from liability for the ISP. That still leaves the “big 8”, which are mostly safe from illegal activity (unless it’s spam).
Verizon will be cutting alt.* from its offerings, and Time-Warner will no longer offer USENET at all later this month. It must be stated that alt.* carries a lot of worthwhile groups that are active, with their own FAQ maintainers. In light of this, many ISPs have taken the middle ground of not carrying the alt.* binary groups, leaving the text groups intact. What Verizon has done would be considered extreme by the standards of most ISPs.
There are hierarchies that are not part of the “Big 8”, having to do with gaining inexpensive (free) tech support, such as microsoft.*, corel.*, borland.*, linux.*, and so on. These are even more worthwhile, and I hope they are keeping them. They typically are relatively free of spam and have more wothwhile posts. There are knowledgeable people there who can answer your queries in a relatively short time.
Freedom of speech has historically been limited by the understanding that “freedom of the press belongs to those who own one.” For the Internet, the argument is specious, since it was taxpayer’s money that built it in the first place.
That means that even the attempt to privatize it to various companies (Time, Sprint, Verizon, AT&T, Bell, and so on) constitutes a form of corporate welfare. The questions seem to come down to: who really has the right to decide what newsgroups I can and can’t read? I suppose someone has to manage alt.*, but who gets to do this, and in who’s interest? These are really the questions that need to be explored.
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There is a certain set of colour values somewhere in the visible spectrum that do not seem to have a category. These colours seem to go with nothing in your house, and do not seem to come from anything in nature.
The commonest of the ugly colours appear to be (by their RGB values — it seems to look different on different monitors):
| 149 255 183 industrial green | 180 233 255 industrial blue |
The colours of the “industrial” spectrum are most often found in factories and warehouses. The really good paint was probably left for head office. The colors also appear most often in low-rent housing and greasy-spoon restaurants.
| 226 255 187 puke green |
A colour favoured mostly by people suffering from red-green colour blindness. Often mistaken for “moss green”. Consists mostly of canary yellow with just enough green to make you think the canary was unlucky. Associated with festering sores and infectious disease.
| 255 205 245 hospital pink |
For similar reasons, industrial blue is also called “hospital blue”. Associated with strerility. People who decorate their homes in hospital pink or hospital blue favour what is called in interior design as the “anaesthetic aesthetic”. Enjoyed most often by people under anaesthesia.
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Something that is currently under high rotation on my iPod (actually, it’s an el-cheapo SanDisk that does the same thing) is a song called “Calling on Mary” by Aimee Mann. Aimee Mann has had a few good tracks after she parted from ‘Til Tuesday. But for some reason, this one, from what must be one of the moodiest Christmas albums I have ever heard (“One More Drifter in the Snow”), has me addicted. The song has that addictive quality of hitting all the right notes and the has all the right chord changes to keep it engaging. I would like it to be a love song or something, but here it is, a Christmas song. There is definite heart-ache in the music, more so than the words. It is an articulation of feeling I would put up there with George Harrisson. At least in that tune.
One wonders why she hadn’t been bigger as an act. There is definite hit quality in her music. It seems her “image” is of a female who thinks, who ponders, who is moody and introspective. None of these qualities are common in female acts.
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The longest-running soap opera took a bit of looking around. I had believed it was likely to be the British soap opera Coronation Street, which has been running for over 47 years (since December 1960 according to a fan site) and is still running in the UK and in several other countries in Europe and North America. ITV, the network which produces the show, does not appear to have a special web page on the program, as far as I could tell, but has links to plenty of character-based trivia on the soap.
However, I do some further snooping, and the Americans have a daily soap opera, aired on CBS, called Guiding Light, which has been airing since 1952, making the serial 56 years old. Before television, it apparently was aired on radio as a 15-minute drama spot since 1937. So, if you count radio, then, the serial will celebrate its 75th anniversary on January 25, 2012.
The longest-running show on TV of any description of which I am aware appears to be NBC’s Meet the Press, a current affairs program which has been airing daily since November of 1947, making the program 60 years old on television as of last year.
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