Saturday, November 15, 2008
from ROCKIN' RODNEY~
Mitch was a really nice guy.
I think that I e-mailed you once about people "sitting in" with The Candymen, and how it wasn't in the nature of our band for people to come up and play with us, because essentially, we played arrangements, and there wasn't much free form playing.
I can think of only 4 people that sat in with us in our existence,(None at the same time but all individually), they were .
All dead.............................Now, I have some recollection of one other person playing with us.I think that Al Kooper sat in with us and we sang "I've Got News For You" together.
Al,....... take care of yourself !
image courtesy of http://www.tripledoor.com/event.aspx?eid=3839&venue=mainstage
Al Kooper - Best known for his striking organ riff on “Like a Rolling Stone” and his performances with Bob Dylan in concert in the 60s. Kooper was a member of the Blues Project, and formed Blood, Sweat & Tears, culminating in the release of their first album, Child Is Father to the Man. He has played on hundreds of records, including performances with The Rolling Stones, George Harrison, B.B. King, The Who, Jimi Hendrix and innumerable others. He has released approximately 11 albums since 1968 including the best-selling “Super Session” album featuring Mike Bloomfield and Stephen Stills. In addition, he produced the first three albums of the band Lynyrd Skynyrd, including the single, "Sweet Home Alabama" and the iconic "Free Bird".
I'm very sad to hear of the great Mitch Mitchell's passing. We hung out with him quite a lot at Steve Paul's 'The Scene' in New York.
He was a true english gentleman.
He did sit in with us (The Candymen) and was an amazing musician. He was a small guy but played drums like a gorrila. I think he was much more jazz then rock but he was just Mitch. A total original! I think he was a cross between Joe Morrello (Dave Brubeck Quartet) and Ginger Baker (Cream).
I've been listening and visiting with The Experience again lately and I can tell you that music still sounds like the future!
I'm so glad that I have been Experienced!
Thank you Jimi, Noel, and Mitch for everything you gave us.
Amen on the memories gain value when the makers move away. No doubt…and we continue to strengthen those memories with
Our embellished recall. A wonder and an amazement, as we get older and we start retracing some of those life events, just how
good we were at whatever it was we were doing at the time…
PLEASE RECOMMEND THE DAY BEAR BRYANT DIED video on YouTube to your friends
THE VIDEO HAS ALMOST 13,000 VIEWS!
ALSO CHECK OUT "THE BALLAD OF BECKY & GROVER" @ Frank's myspace site!
image courtesy of www.pilgrimage.selmaalabama.com/
Walked into this house the other day and thought I'd been transported back into Lulu White's MAHOGONY HALL.
image courtesy of www.jerryjazzmusician.com/
The owner laughed and told me,"There's the piano that came out of it."
My, oh, my!
Lulu was a mess! http://en.wikipedia.org/wiki/Lulu_White
image courtesy of http://en.wikipedia.org/wiki/E._J._Bellocq
Text from Susan Sontag's introduction to Bellocq: Photographs from Storyville, the Red-Light District of New Orleans
FIRST 0F ALL, the pictures are unforgettable - photography's ultimate standard of value. And it's not hard to see why the trove of glass negatives by a hitherto unknown photographer working in New Orleans in the early years of this century became one of the most admired recoveries in photography's widening, ever incomplete history. Eighty-nine glass plates in varying states of corrosion, shatter, and defacement was the treasure that Lee Friedlander came across in New Orleans in the late 1950s and eventually purchased. When, in 1970, a selection of the ingeniously developed, superb prints Friedlander had made was published by the Museum of Modern Art, the book became, deservedly, an instant classic. So much about these pictures affirms current taste: the low-life material; the near mythic provenance (Storyville); the informal, anti-art look, which accords with the virtual anonymity of the photographer and the real anonymity of his sitters; their status as objets trouves, and a gift from the past. Add to this what is decidedly unfashionable about the pictures: the plausibility and friendliness of their version of the photographer's troubling, highly conventional subject. And because the subject is so conventional, the photographer's relaxed way of looking seems that much more distinctive. If there had once been more than eighty-nine glass negatives and one day a few others turned up anywhere in the world, no one would fall to recognize a Bellocq.
The year is 1912, but we would not be surprised to be told that the pictures were taken in 1901, when Theodore Dreiser began writing Jennie Gerhardt, or in 1899, when Kate Chopin published The Awakening, or in 1889, the year Dreiser set the start of his first novel, Sister Carrie - the ballooning clothes and plump bodies could be dated anywhere from 1880 to the beginning of World War I. The charges of indecency that greeted Chopin's only novel and Dreiser's first were so unrelenting that Chopin retreated from literature and Dreiser faltered. (Anticipating more such attacks, Dreiser, after beginning his great second novel in 1901, put it aside for a decade.) Bellocq's photographs belong to this same world of anti-formulaic, anti-salacious sympathy for "fallen" women, though in his case we can only speculate about the origin of that sympathy. For we know nothing about the author of these pictures except what some old cronies of Bellocq told Friedlander: that he had no other interests except photography; that "he always behaved polite" (this from one of his Storyville sitters); that he spoke with a "terrific" French accent; and that he was - shades of Toulouse-Lautrec - hydrocephalic and dwarf-like. Lest the association induce us to imagine Bellocq as a belle époque erotomane who had transplanted himself to the humid franco-creole American city to continue his voyeuristic haunting of bordellos, it might be mentioned that Bellocq also frequented the opium dens of New Orleans's Chinatown with his camera. The Chinatown series, alas, has never been recovered.
The Storyville series (in this new enlarged edition) includes two pictures of parlor decor. The interest for Bellocq must have been that, above a fireplace in one picture and a rolltop desk in the other, the walls are covered with photographs surrounding a central painting, photographs with the same contrasts as the ones he was taking: all are of women, some dressed to the nines, some erotically naked. The rest of Bellocq's photographs are individual portraits. That is, there is a single subject per picture, except for a shot of two champagne drinkers on the floor absorbed in a card game (there is a similar off-duty moment in Bunuel's unconvincing, notional portrait of a brothel in Belle de Jour) and another of a demure girl posing in her Sunday best, long white dress and jacket and hat, beside an iron bed in which someone is sleeping. Typically - an exception is this picture, which shows only the sleeping woman's head and right arm - Bellocq photographs his subjects in full figure, though sometimes a seated figure will be cut off at the knees; in only one picture - a naked woman reclining on some embroidered pi - does one have the feeling that Bellocq has chosen to come close. Central to the effect the pictures make on us is that there are a large number of them, with the same setting and cast in a variety of poses, from the most natural to the most self-conscious, and degrees of dress/undress. That they are part of a series is what gives the photographs their integrity, their depth, their meaning. Each individual picture is informed by the meaning that attaches to the whole group.
Most obviously, it could not be detected from at least a third of the pictures that the women are inmates of a brothel. Some are fully clothed: in one picture a woman in a large feathered hat, long-sleeved white blouse adorned with brooch and locket, and black skirt sits in the yard in front of a low black backdrop, just beyond which frayed towels are drying on a laundry line. Others are in their underwear or something like it: one poses on a chair, her hands clasped behind her head, wearing a comical-looking body stocking. Many are photographed naked - with unpretentious candor about, mostly, unpretentious bodies. Some just stand there, as if they didn't know what to do once they had taken off their clothes for the camera. Only a few offer a voluptuous pose, like the long-tressed adolescent odalisque on a wicker divan - probably Bellocq's best known picture. Two photographs show women wearing masks. One is a come-hither picture: an exceptionally pretty woman with a dazzling smile reclines on a chaise-longue; apart from her trim Zorro-style mask she is wearing only black stockings. The other picture, the opposite of a pin-up, is of a large-bellied, entirely naked woman whose mask sits as awkwardly on her face as she is awkwardly posed on the edge of a wooden chair; the mask (it appears to be a full mask minus its lower half) seems too big for her face. The first woman seems happy to pose (as, given her charms, well she might); the second seems diminished, even foiled, by her nudity. In some pictures, in which the sitters adopt a genteely pensive look, the emotion is harder to read. But in others there is little doubt that posing is a game, and fun: the woman in the shawl and vivid striped stockings sitting beside her bottle of "Raleigh Rye," appreciatively eyeing her raised glass; the woman in ample undergarments and black stockings stretched out on her stomach over an ironing board set up in the backyard, beaming at a tiny dog. Clearly, no one was being spied on, everyone was a willing subject. And Bellocq couldn't have dictated to them how they should pose - whether to exhibit themselves as they might for a customer or, absent the customers, as the wholesome-looking country women most of them undoubtedly were.
How far we are, in Bellocq's company, from the staged sadomasochistic hijinks of the bound women offering themselves up to the male gaze (or worse) in the disturbingly acclaimed photographs of Nobuyoshi Araki or the cooler, more stylish, unvaryingly intelligent lewdness of the images devised by Helmut Newton. The only pictures that do seem salacious - or convey something of the meanness and abjection of a prostitute's life - are those (eleven in this selection) on which the faces have been scratched out. (In one, the vandal - could it have been Bellocq himself? - missed the face.) These pictures are actually painful to look at, at least for this viewer. But then I am a woman and, unlike many men who look at these pictures, find nothing romantic about prostitution. That part of the subject I do take pleasure in is the beauty and forthright presence of many of the women, photographed in homely circumstances that affirm both sensuality and domestic case, and the tangibleness of their vanished world. How touching, good natured, and respectful these pictures are. What a splendid gift Lee Friedlander has given us.
Friday, November 14, 2008
from FEAR NOT http://www.fear365not.com/2007/11/day-34-faith-is-fuel-for-fearing-god.html
Faith is fuel for fearless living.
As Romans 10:17 says, "So faith comes from hearing and hearing through the word of Christ."
Faith leads to courage and courage leads to action.
Thursday, November 13, 2008
The ZOO KEEPER @ our DHS 40th Reunion Website http://dhstigers68.com/
is having a rough week.
Her sister was buried in The City Cemetery today .
Please visit the Notice for Mary Ellen Coe Pearson.
Jennifer, all of us here in ZERO have you in our prayers and you have our condolences.
From Bobby Dupree, Rusty Crumpton & Keith Brewer of the Rockin' Gibraltars:
Russ Shaw booked us to open up for Jimi at the Bakersfield Civic Center. We played our set and got off stage so Jimi could come on and do his show. I went up to the dressing room to change, and then went back down and stood at the side of the stage. Jimi played a couple of songs, and then started his rendition of “The Stars Spangled Banner”. Not many people know this, but Jimi was very patriotic, he even supported the war in Viet Nam. He was also Airborne certified.
But back to the story.
The manager of the Bakersfield Civic Center was an old WWII veteran, and of course he was very patriotic too. When he heard Jimi playing “The Stars Spangled Banner” the way only Jimi could play it, the guy got so pissed off, that he went back behind the stage and cut off the power. All that was heard was Mitch Mitchell’s drums ringing through the auditorium. Well, Jimi went back behind the curtains and said, “Who turned off the power?” The WWII vet said “I did.” Jimi went over to him and slugged this guy in the face, knocking him off the stage. Of course, all HELL broke loose, and cops and Warner Brothers executives were everywhere. The cops were going to arrest Jimi but after some negotiations, and a $5000.00 check Russ Shaw made out to the guy, the concert was stopped, and Jimi got in his stretch limo with his two white girlfriends and went back to LA.
This is the true EXPERIENCE we had with Jimi Hendrix. We never saw him or played with him again.
Bobby Dupree with Rusty Crumpton and Keith Brewer
Hendrix drummer Mitch Mitchell dies in Portland hotel room
by Joseph Rose and Stuart Tomlinson, The Oregonian Wednesday November 12, 2008, 8:28 PM
Mitch Mitchell, the iconic drummer who provided the explosive heartbeat of the Jimi Hendrix Experience on rock classics including "Voodoo Child (Slight Return)" and "Purple Haze," was found dead early Wednesday in a Portland hotel room.
Mitchell, 61, who pioneered a fusion style that allowed him and one of history's greatest guitar players to feed off each other, died of natural causes, the Multnomah County medical examiner said. He was found about 3 a.m. in his room at the Benson Hotel in downtown Portland.
Considered one of rock's greatest drummers, Mitchell was behind the kit at Hendrix's legendary sets at Woodstock, Monterey and the Isle of Wight.
Mitchell's final performance was Friday night at Portland's Arlene Schnitzer Concert Hall. It was the last stop on the West Coast leg of the Experience Hendrix tribute tour.
Looking pale and tired, he played only one song before the sold-out crowd, said Terry Currier, owner of the Music Millennium record shop.
"A friend who was waiting outside the Schnitz to get an autograph told me he saw a couple people helping Mitch walk into the auditorium that night," Currier said. "He didn't seem to be in great health."
Born in England in 1947, John "Mitch" Mitchell was a child actor who quickly moved on to music, becoming an accomplished jazz drummer before the age of 20. Eventually, he became Hendrix's most important musical collaborator, said Jacob McMurray, senior curator at the Experience Music Project in Seattle, Hendrix's boyhood home.
The museum's centerpiece is the world's largest collection of Jimi Hendrix artifacts and memorabilia, including the drum set Mitchell played at Woodstock in 1969.
"Jimi was an amazing guitarist and he needed somebody behind the drum kit who could hold his own," McMurray said. "That was Mitch Mitchell."
At 5-foot-5, the wild-haired Mitchell was a small guy who played "lead drums," combining meat-and-potatoes beats with rapid-fire jazz in the three-person group. He was inducted into the Rock 'n' Roll Hall of Fame as part of the Jimi Hendrix Experience in 1992.
Hendrix's manager treated both Mitchell and original bassist Noel Redding as paid employees, limiting their rights to future revenue. In the 1970s, according to Eddie Kramer's book "Hendrix: Setting the Record Straight," Mitchell was forced to sell a prized Hendrix guitar to pay the bills.
"The bonds between Jimi and Mitch kept them together," McMurray said.
Mitchell and Hendrix recorded several tracks on their own, including "Fire," "Voodoo Child" and "Manic Depression," before bringing in Redding to finish them, McMurray said. Hendrix died after a drug overdose in 1970. Redding was 57 when he died in 2003.
Bob Merlis, a publicist for the Experience Hendrix tour, said Mitchell obviously wasn't feeling well during the last couple stops on the 17-date tour.
"We thought it was the flu," Merlis said.
Mitchell told Merlis he planned to stay in Portland for a few days to wind down from the tour before heading home to his wife, Dee, in England.
Sgt. Brian Schmautz, a Portland police spokesman, said an employee at the Benson called police after discovering Mitchell's body. Since police didn't suspect any foul play, Schmautz said, "we weren't involved beyond that."
Tom Chappelle, a deputy medical examiner for Multnomah County, said Dr. Christopher Young conducted the autopsy on Mitchell's body Wednesday afternoon.
"At this point, we're still saying natural causes," Chappelle said. "Cliff wants to talk to (Mitchell's) family first before releasing additional details."
Merlis said Mitchell was a "really warm, enthusiastic guy who was a lot of fun. He didn't hold back and liked to talk about Jimi" from their first meeting in a sleazy London club in 1966 to watching Hendrix light his guitar on fire at the Monterey Pop Festival a year later.
Judging from Mitchell's MySpace page, most of his friends and fans had not heard about his death by late Wednesday. The last post was from Sept. 27. On July 9, a fan wished him happy birthday.
But at Trade Up Music in Southeast Portland, the instrument shop's 27-year-old drum specialist remembered Mitchell as a "mind-blowing" musician.
"He came along at a great time," said Joey Ficken, who also plays in the band Sea Wolf. "He came along when there weren't really rock guitarists and rock drummers, and all these styles of music came together. People were seeing something they had never seen before."
These days, drummers tend to stay in the background. They really aren't like Mitchell any more, Ficken said.
"He was a star. People still idolize him."
On Thu, Nov 13, 2008 at 7:31 PM, Jimmy wrote:
-- Joseph Rose and Stuart Tomlinson; firstname.lastname@example.org
My friends and I made it to the Hendrix concert in T-town 1969. We all hailed then from Winfield as high school juniors. This was all our first concert. Since Mitch Mitchell death it brought back memories. A fellow i worked with asked me who was Hendricks backup.
I couldnt remerber. Do you know or remeber.
Jimi Hendrix performing at the Memorial Coliseum in Tuscaloosa, May 7, 1969
courtesy of WTBC
Ok here is the story.
On May 7th I went to the Hendrix concert at Memorial Coliseum (now
Coleman Coliseum) with my room mate Hoagy (Guy Huthnance) and his
girlfriend who's name time has swallowed. She was the key to this story. Fat
Mattress, Noel Redding's group, opened the show. At the break we all went
to the bathroom. Hoagy's date was a very attractive person and the head
of the University Program Council had the hots for her. During the
break she ran into him and he said " why don't you come with me after the
show. We are taking Hendrix to the Citizen's club for a party." She
said, no thanks and then came and told us what was going on. I had run into
Pete Kinnear and told him of our plans to go to the Citizens Club to
party with Hendrix. The four of us crammed into my Triump Spitfire and
went to the club. This was the old Citizens Club that burned 20+ years
ago and was later moved to a new location. I had been there several times
before with other mixed race bands that I had played with and felt
comfortable being there. When we got there, we were the only white folks
there, but that was OK. We waited and enjoyed the soul band that was
playing there. About 30 minutes later, when we were beginning to doubt that
they would show, here came the entourage. I stood up and shook
Hendrix's hand and told him how much I enjoyed the show. They all sat down at
the table next to us. The British guys from Fat Mattress were seated
next to me and we partied with them that night since Hendrix was
immediately surrounded by groupies. They were a little nervous about being in a
all black club in the south, but loosened up enough to get up and play.
They played a few songs and then left the stage. After their set, I
went to pee and Noel Redding came in. We had a nice chit-chat about music
while we both emptied our bladders. The rest of the night was spent
drinking beers and talking music with new friends. End of story.
Bruce Hopper of THE OMEN & THEIR LOVE
Both images courtesy of July 7, 1960 issue of THE GRAPHIC
both images courtesy of the Sunday, July 3, 1960 issue of THE TUSCALOOSA NEWS
image courtesy of the Friday, November 3, 1961 issue of the Tuscaloosa News
The article below is also from the front page of the same issue:
DEPOT CAFE MAN ARRESTED
BIRMINGHAM (AP)- The manager of a bus station restaurant here today was arrested for violating a city code pertaining to segregation.
Police Commissioner Eugene Connor ordered the arrest of Ralph R. Sizemore, manager of the restaurant at the Greyhound Station, after Negroes and white patrons were observed eating together.
Connor said he realized the city code would be branded unconstitutional when the case reached federal court, but he said,"as long as this ordinance is on the books of the City of Birmingham, I'm going to enforce it."
No other arrests have been reported here since the ICC ruling went into effect.
Thanks for the info about David Thornton. We got in contact. It was great to hear from him after lo these 40 something years.
By the way did Larry Coe tell you that his original band “The Strangers,” is getting back together and playing for a DHS class reunion.
I know Larry and Jimmy Dean and Sid White are playing and I think Danny Kennedy.
I don't have a problem with you advertising on WHBB 1490 or Z105.3 FM.
What I have a problem with is this.
It is my understanding that you advertise on a radio program run by a cult leader.
You ought to stop doing that.
We used to bet at the pool hall ...
Somebody told us the charge back then was $50 and a misdemeanor.
He would basically close up for about an hour and reopen when they would arrest him .
Here are some great questions of the universe
· If a mute swears, does his mother wash his hands with soap?
· If someone with multiple personalities threatens to kill themselves, is it considered a hostage situation?
· Instead of talking to your plants, if you yelled at them would they still grow? Only to become troubled and insecure?
· Is there another word for synonym?
· Isn't it a bit unnerving that doctors call what they do "practice"?
· When sign makers go on strike, is anything written on their picket signs?
· When you open a bag of cotton balls, is the top one meant to be thrown away?
· Where do forest rangers go to "get away from it all"?
· Why isn't there mouse-flavored cat food?
· Why do they report power outages on TV?
· What do you do when you see an endangered animal that is eating an endangered plant?
· Is it possible to be totally partial?
· What's another word for thesaurus?
· If a parsley farmer is sued, can they garnish his wages?
· Would a fly without wings be called a walk?
· Why do they lock gas station bathrooms? Are they afraid someone will clean them?
· Why do people who know the least know it the loudest?
· If the funeral procession is at night, do folks drive with their headlights off?
· If a stealth bomber crashes in a forest, will it make a sound?
· If a turtle doesn't have a shell, is he homeless or naked?
· When it rains, why don't sheep shrink?
· Should vegetarians eat animal crackers?
· If the cops arrest a mime, do they tell him he has the right to remain silent?
· Why is the word abbreviation so long?
· When companies ship Styrofoam, what do they pack it in?· If you're cross-eyed and have dyslexia, can you read all right?
Wednesday, November 12, 2008
DERE'S A POWER PUNCH ON DIS BLAST!
LET ME HEAR FROM YA!!!!
from the Sat., Nov. 7, 1964 issue of the T-News:
State Trooper Capt. W. E. (Dutch) Wigley said places raided in Tuscaloosa were the SPORTS CENTER on Seventh Street in the downtown area where a Western Union ticker and football parlay sheets were seized; Roy's Pool Room on Broad Street, where a ticker tape was taken, and the residence of H. on the Sanders Ferry Road.
The raids were made Friday afternoon by state troopers who were assisted by local police and sheriff's deputies.
The series of raids were against illicit bookmakers and gamblers in a number of communities across the state, most of them aimed at pool halls which also served as bookmaking establishments or deal in other forms of gambling.
Wednesday, June 04, 2008
Johnny's Restuarant was at 2400 Univ. Blvd., the Deep South Lounge was at 2402 Univ. Blvd. and Roy's Place was at 2404 Univ. Blvd. The Tuscaloosa Cinema was at 2408 Univ. Blvd.
Looking West At the Intersection of Greensboro Avenue and University Boulevard
Left to Right: 2414 Univ. Blvd (Tucker Motor Co.), 2410 Univ. Blvd. (Fitts Yellow Cab), 2408 Univ. Blvd. (Dunn's Wholesale Florist), 2406 Univ. Blvd. (The Blossom Shoppe), 2404 Univ. Blvd. (Roy's Place), 2400 Univ. Blvd. (Deep South Lounge & Johnny's Restaurant)
source: 1963 Tuscaloosa City Directory
Saturday, November 03, 2007
Sad about Bama.
Manera Saloom's sister Debra now lives in Cottonwood.
On the weekends during the summers of '66, '67 & '68,
Culberson & I practically lived over at the Saloom place in Enterprise.
Debra has written a recipe book inspired by her Mother's Lebanese recipes.
I'll shoot an email to her publisher but if you'll find out about her I'll appreciate it.
Yo' Bro' Bob
Tuesday, November 11, 2008
Yes, I know him. He is a skypilotclub member in no standing. He can't stand. His song is on the radio by the Gnarly Boys: if you don't stand for something you'll fall for anything. Yep, that's me, I think you've read my book: Gullible's Travels.
ah, my stories don't have the gore
you don't wanna put yer mouth on it
You cannot imagine how hard it is to return an adult toy in this state.
First thing, the clerk at the sex shop won't even touch the damn thang & then after you git it outta uv dah package,
you gotta convince them they are wrong.
And they're sitting there in their lab coat because they sell this stuff for some sort uv medical reasons ONLY!
We talkin' 'bout pleading a case!
It like a MALPRACTICE SUIT!
THE TRAUMA! THE TRAUMA! THE TRAUMA!
I talkin' 'bout FINDING THE "YES" BEHIND THE "NO!" ...
Please take a moment out of your busy day and check out some uv dah stuff we gotz up off on into
& amongst dah Web.
I ain't had time to do anything fo' THE DAY BEAR BRYANT DIED YouTube video but it's still rockin' along wid 'bout 500 views a week. http://www.youtube.com/watch?v=wCAq3D-AAbU&feature=related
Richard or Frank or somebody posted a new mix of "THE BALLAD OF BECKY & GROVER".
Now the drums are a little less dramatic & I'm sure some other stuff got tuned up but the good thing is that the counter on Myspace went back to ZERO so I need y'all to log on to Frank's myspace site http://www.myspace.com/thebopcats
& check out his blog post about the story of Becky & Grover
I spent Sunday in Lowndes County. I've met a lot of people connected to Jonathan Daniels' murder.
Believe it or not, there's more to learn.
Sunday, November 09, 2008
From the Wed., Sept. 15, 1065 issue of THE TUSCALOOSA NEWS:
TUSCALOOSA HIGH HAS RECORD ENROLLMENT
by Loraine Edge
Tuscaloosa High School
Tuscaloosa High welcomed a record number of more than 1,800 students to its 1965-66 school term which began Sept. 7. Many new teachers were also added to the staff at the high school.
The THS band presented its first show of the year Friday night during the half at the Tuscaloosa High-Holt football game. The show was designed to feature the band's outstanding sections. Drums were featured in "Girl From Epinema", trombones took the spotlight in "Downtown," and trumpets took over in "Bugler's Holiday." The top-rated THS band is under the direction of Frank McArthur.
This week's show for the THS-Lanier game, to be played here Friday night, will be based on music from James Bond movies. The band will do a gun formation and a .007 formation.
"Goldfinger," the theme and title of the latest James Bond movie, will be played in full band formation for maximum effect. The head majorette this year is Connie Bingham. For Friday's show, she will be dressed in suit of gold sequins.
The next thing up is Bama Queen's appeal for John Rainey's myspace page so because of technical difficulties we gonna post the link to John Rainey's site now!