Before Jack White became a rock and roll God, he started a one-man business of his own, Third Man Upholstery in 1997 after completing his apprenticeship. The slogan of his business was “Your Furniture’s Not Dead” and the color scheme was yellow and black—including a yellow van, a yellow-and-black uniform, and a yellow clipboard. Although Third Man Upholstery never lacked business, he claims it was unprofitable due to his complacency about money and his business practices that were perceived as unprofessional, including making bills out in crayon and writing poetry inside the furniture.
And also hiding his early recordings in the upholstery.
Recently Third Man Records has been made aware of the discovery of two different copies found by two separate individuals of the 2nd single bye Upholsterers. This duo, comprising of actual upholsterers Jack White and Brian Muldoon, pressed 100 copies of this single and proceeded to hide them in furniture being reupholstered by Muldoon in 2004, in celebration of his 25th year in the business.
This holiday season, even hipsters and beaded men can get into the spirit of Christmas with these awesome baubles and become the prettist person in the room.
Created by designers Mike Kennedy and Pauline Ashford from UK-based ad agency Grey London
, these ‘Beard Baubles
’ are essentially miniature-sized Christmas ornaments that you can use to adorn your facial hair.
Best of all, all proceeds from the sales of these baubles will be donated to Beard Season, an Australian charity that encourages men to grow their beard for winter to raise awareness about melanoma. Kind of like Movember, but for ummm…now!
[via Taxi, images via Beard Baubles]
Marutaro, is a hedgehog and a social media superstar who poses for silly pictures and loves to be tickled (but then, who wouldn’t love all that stuff, except for the part of being a hedgehog), and now, can play jazz whenever he walks on the keys of the family piano.
Here’s a truly interesting tale about Eddie Van Halen that some folks were discussing on Reddit.com:
Here’s a story about the rare genius of Eddie Van Halen, as told by Hartley Peavey to a longtime Peavey dealer I worked for. They had been doing some manufacturer’s clinics with Eddie, and Hartley shared this nugget with him. I thought of this story today and decided to share.
Many people may not know of Eddie’s proclivities as an engineer and inventor. While some artists with signature gear are probably satisfied to just slap their names on any old design, Eddie is exacting in every detail. Hartley tried to call him out on the outrageous specifications he was demanding during the design of the 5150 cabinet [in the mid ’90s]. This is how it went down:
Eddie demanded that the 5150 be made of Baltic birch and Hartley was glad to oblige. Remember, we’re not talking about some dimwitted executive here. Hartley designed all the early Peavey amps himself so he knows about tone. When the development team delivered the test model to Eddie, he took it apart. Because that’s apparently what he did with everything. If it was a guitar they were building him, and he didn’t like the placement of something, he would rip it apart and rout out the body cavity himself, or whatever it took to get it the way he wanted it. In the same story we heard about how he has all kinds of inventions in his house ranging from musical stuff to vacuum cleaner innovations.
So he takes the test cabinet apart and says, “Hartley, I thought we agreed this cab was going to be made of Baltic birch? What’s with these little blocks of plywood down here?” Now, he’s talking about some block inside the joints of the sides that was just there to give more space to join them or glue them or whatever. Hartley says, “Well, we decided that would raise the price by [X] dollars and it wasn’t worth it because those little pieces aren’t going to change the tone at all.”
Eddie’s not having it. He says it will change the tone and they get into an argument about it.
“Alright Eddie, tell you what. I’m so convinced that not even you can tell the difference of the woods on those little blocks, let’s do a listening test. I’m going to build sixteen of these things, and in one of them I’ll use your Baltic birch on those little blocks. If you can play through them and tell me which one it is, then we’ll go with it.”
The cabinets are built and Eddie comes back down to the factory, plugs in and let’s just one blistering high sustain note rip and vibrate everything until it dies out. Then he unplugs and goes to the next one, all down the line like that until he gets to one and let’s the note rip… “That one.”
Of course he’s right, or there wouldn’t be a story.
Back in 91, before all the glitz and graphics and manipulatively salacious voiceovers, all MTV had were great bands, board games and a huge amount of lard. That’s no clever wordplay. MTV literally had a ton of Crisco on hand. Or so it would seem from the very lo-fi production below, in which Nirvana bassist Krist Novoselic strips down to briefs and gets a full body Crisco massage from Kurt Cobain and Dave Grohl, before playing slippery Twister with Smashing Pumpkins.
The album is unique among Elvis’ recordings as it does not contain any actual songs: it consists entirely of byplay recorded between numbers, although Elvis is frequently heard humming or singing “Well…”, which during the actual performances led into songs that have been edited out of this recording. Much of the album consists of Elvis making jokes, with the material spliced in a manner that just bizarre.
The album came to be as a ploy by Colonel Tom Parker, Presley’s manager, to release an album to which RCA Records would own no rights. Parker initially released the album on his own label, Box Car Records, and it was initially sold only at Presley’s concerts. (It is the Box Car release that is illustrated at right.) The album was later packaged and marketed by RCA as a legitimate concert album, with the only warning for the buyer being the subtitle “A Talking Album Only” on the cover. Presley is credited on the back sleeve as the album’s executive producer.
The album managed to make it up to #130 on the Billboard album charts, and even as high as #9 on the Billboard Top Country Albums chart, even though there’s no music on it.
From Rolling Stone:
Yesterday afternoon around 3:00 p.m. 41-year-old Bob Dylan superfan Fredrik Wikingsson walked into Philadelphia’s Academy of Music, took a seat in the second row and prepared to watch his hero play a concert just for him. “At this point I still thought I was about to get Punk’d,” he says. “I thought some asshole would walk onstage and just laugh at me. I just couldn’t fathom that Dylan would actually do this.”
The incredible concert was part of an ongoing Swedish film series Experiment Ensam (Experiment Alone), where people experience things completely alone that are usually reserved for large crowds. Past films focused on lone people at comedy clubs or karaoke bars. The filmmakers thought a lot bigger for this one and made arrangements with Dylan’s camp for the private show, paying him an undisclosed amount of money. “I have no idea how much it was,” says Wikingsson. “But it was probably more than he gets for a normal gig.”
Wikingsson’s private Dylan show was filmed by eight cameras, and a 15-minute documentary of the event will hit YouTube on December 15th. “Fans might detest the fact that I’m sitting there,” he says. “But it’s going to be really cool and great looking. The sound was just incredible.”
A British company has launched a £600,000 ($1 million) Kickstarter crowdfunding campaign to get to moon and drill into its surface, with punters able to buy memory on a digital time capsule – and even send their hair into space.
The Lunar Mission One project will use the initial funds to set up the plans for the moon landing and drilling and has signed up RAL Space – which has been involved in developing more than 200 space missions – as its technical advisers.
Enthusiasts can spend £60 to buy some space on a “digital time capsule” – a memory stick-like device– to upload photos or videos. This will then be buried in the hole drilled by the capsule launched to the moon’s South Pole. For a higher – yet to be determined – cost, punters would be able to pay to have strands of their hair taken on the trip.
Lick My Decals Off, Baby is the fourth album by Captain Beefheart and the Magic Band, released in 1970 on Frank Zappa’s Straight Records label. The follow-up to Trout Mask Replica, it is regarded by some critics and listeners as superior, and was Van Vliet’s personal favorite. Don Van Vliet said that the title is an encouragement to “get rid of the labels”, and to evaluate things according to their merits rather than according to superficial labels (or “decals”).
We were warned.
We didn’t believe them.
eOne Music Canada signed Kelowna, BC-based The Wild! Their new EP is scheduled to be released in early 2015.
Their reputation, we were told, goes something like this:
“Guns N Roses, AC/DC, and the best party you’ve ever been to, all in one band. They are so crazy they have an “!” at the end of their name.
“Ha, ha!” We said, having over 120 years of experience between the staff. “We can handle everything! It’s 2014! The days of crazy rock and rollers went out the door in 1977 and Alice Cooper and Led Zeppelin and the Sunset Strip! Look at their silly website name – they even put rock and roll in their URL! Dude, we had Slash on the label for years, so we know what we’re doing.”
eOne Music’s A&R Nathan Quinn asked The Wild! on Friday after the contract was done if they’d like to go out for dinner and celebrate. We found out this is like asking if Stephen King knows how to write scary books. He came home Saturday afternoon. This is a photo of him after leaving the hospital. All he’ll say is it involved a high-end restaurant to start, The Bovine, Cherry Cola’s, a stretch limo, a sunrise, and a bar tab into 5 figures.
We were told about their “Party ‘Til You’re Dead” attitude. It’s not just a song in their set. It’s what they do.
God help us all.
The Wild! are coming.