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Sayın Bern Büyükelçimizin, Cenevre'de Düzenlenecek "festival Du Film Et Forum International Sur Les Droits Humains" Kapsamında Gösterimi Öngörülen "le Génocide Des Arméniens, 100 Ans Après" Başlıklı Filme Ilişkin Olarak Festival Komitesi'ne Ve "le Temps" Gazetesine Iletmiş Olduğu 23 Şubat 2015 Tarihli Mektubun Örneği
Bern, 23 February 2015
Mr. Chief Editor
Members of the Association Committee of the International Film Festival and Forum on Human Rights
I'm writing to you regarding the presentation of the movie entitled "The Armenian Genocide, a Hundred Years On" which will be screened during the "International Film Festival and Forum on Human Rights", in order to be able to avoid any misunderstandings and misinterpretations about historical facts.
The final years of the Ottoman Empire was a tragic period for the people that made up the Empire. While four and a half million Muslims were killed in the Balkans, the Caucasus, the Middle East and the North Africa, five million more were expelled and many of them perished in their desperation to reach a safe haven. Together with other nations of the Ottoman realm, including millions of Turks, Armenians also suffered tragic losses which should, regardless of numbers and regardless of possible guilt on the part of the victims, always be remembered. However, it's factually problematic, morally unsound and legally unfounded to call this episode, which needs to be understood in its entirety, a "genocide."
National memories are important, but do not constitute reality by themselves. The national memories of Turks and Armenians do not support each other. Legitimate challenges to the Armenian narrative, even when based on scholarly research or personal histories, are suppressed or attacked as "denial." That was the case when Dr. Doğu Perinçek was convicted in Switzerland for saying that "the Armenian genocide is an imperialist lie". Perinçek had applied to the ECHR over claims that the Swiss courts had breached his right to freedom of expression. The ECHR agreed on Dec. 17, 2013 that his statements in Switzerland fell within the bounds of freedom of expression. The judgment is an important warning against attempts both to politicize history and law and against initiatives aimed at having a one-sided view of history registered through the use of law.
Turkey does not deny the suffering of Armenians, we respect their sorrow. That is why Turkey has initiated a process aimed at an honest and open dialogue with Armenia. It was Turkey who proposed to Armenia the establishment of a joint commission composed of Turkish and Armenian historians to study the events of 1915, in the archives of Turkey and Armenia and all other relevant archives in the third countries and to share their findings with the international public. Moreover the Protocols signed in October 2009 between Turkey and Armenia stipulates to "implement a dialogue on the historical dimension with the aim to restore mutual confidence between the two nations, including an impartial scientific examination of the historical records and archives to define existing problems and formulate recommendations." Unfortunately, the Armenian Government has recently revoked the ratification process of the Protocols representing an opportunity for replacing the language of national conviction with the language of impartial knowledge.
At this point, I wish to add that the message of condolences issued on 23 April 2014 by the then Prime Minister Recep Tayyip Erdoğan was a sincere gesture of empathy reaching out to the Armenian nation. It was followed on the 20th of January 2015 with the message of the Prime Minister Ahmet Davutoğlu which embraced the memory of the late Hrant Dink and his vision of reconciliation and peace between Turkey and Armenia based on mutual respect, understanding and fair and just interpretation of the common history of the two nations.
The fact remains that the issue is a matter of legitimate scholarly debate, with reputable historians on both sides. Privileging the Armenian views, even when reflecting well-intended attitudes to show solidarity with a group that has a painful past, does not do justice to the grievances experienced by so many.
Although the matter has an overbearing humanitarian dimension, its legal dimension is also central to the debate. Genocide is a clearly defined crime with specific conditions of proof and passing judgment on such an accusation should not be left at the behest of political considerations. Along with the ECHR decision of Dec. 17, 2013 on Perinçek case, the International Court of Justice's (ICJ) recent decision (
http://www.icj-cij.org/docket/files/118/18422.pdf) on the case Croatia v. Serbia concerning the application of the Convention on the Prevention and Punishment of the Crime of Genocide, is another reference source which clearly demonstrates that this term can't be used to qualify the events of 1915.
We strongly believe that there is every reason to believe that these two ancient nations can demonstrate the wisdom to understand each other and contemplate a future together, without forgetting the difficult periods in their common past. But in this endeavor, all sides must be honest and open-minded.
Mehmet T. Gücük


Snow hides everything you don't want to see. It silently arrives in the depth of night and fills in the gaps, wipes away the footsteps from yesterdays photographers and leaves you a clean slate to work with every morning. Snow clones out the messy bits better than any Photoshop session.
I've been coming to the frozen Arctic since 2010. It was Bruce Percy who first piqued my interest in places like Lofoten, with his minimalist but elegant depictions of lonely mountains plunging into fjords under a layer of frosting. Arctic Norway has been a strong pull for me since that time, a place I wanted to return to again and again.
What drew me was the monotone palette of the landscape. Shades of white.
Snow hides everything you don't want to see. It silently arrives in the depth of night and fills in the gaps, wipes away the footsteps from yesterdays photographers and leaves you a clean slate to work with every morning. Snow clones out the messy bits better than any Photoshop session. Snow adds drama to mountains and contrast to coastlines.
Snow is gentle, soft and easy to work with. When it's -10 degrees outside you can brush the snow off your camera like fluff. When you stumble sideways the snow catches your fall with a big embrace. Snow drifts slowly from the sky instead of pelting you. It's kind and precious.
When the sun is out the frozen north is magical. The light is kind and full of angles and the landscape looks just like the brochures. You don't get many days of full sun in the winter, but the ones you get are treasured. On a two week tour of Norway this year we had five days that were brilliantly sunny, and the other days offered everything you could imagine to contrast.
Almost every day the sun makes a showing, often in the most dramatic way such as peaking beneath the clouds and turning a snow covered beach gold and pink. There's a particular shade of pink in the Arctic that is filled with orange hues and I've never seen it anywhere else in the world. It's my favourite colour. Some days we get more snow than sun but that's why the Arctic is so beautifully dressed in white.
Some days you get little more than grey. These are not wasted days, rather these are opportunities for slow shutter work that reveals another facet of the Arctic. Grey is never grey anyway, it's either dark and moody or streaky and silver or cold and blue. Just a little processing is all you need to turn grey into yay. On these days we grab the tripod and a few ND filters and pick a spot by the water to work some very long exposures.
2 seconds, 10 seconds, maybe even 2 minutes.
If the skies have a little definition then those 2 minute frames look extra nice with zooming clouds leading into your composition. If the waves are lapping at your feet then a 2 second frame might let you keep a little structure in the water while emphasising the "motion" of the ocean. Time is relative.
Working with shades of white and grey demands patience and a little confidence. You have to give yourself the freedom to let the camera see what your eyes cannot. A few rocks and a rickety boat house can quickly turn into an image of magnitude. Places like Lofoten are not defined by a single iconic scene either, there are literally thousands of spots to stand with a tripod and make magic. On a cloudy day.
You almost need a new word for cloudy in the Arctic. Cloudy suggests something is missing, or withdrawn, when really something extra is given to the moment. Cloudy is "serene" if you can offer a little of your own serenity to match it.
Back on the desktop I take my long exposures of Lofoten coastline and bring out a little more character through processing. I did a series called "Lofoten in Blue" a few years ago where I pushed the colours into the cool hues and heavily desaturated. Art mimics life. This processing style emphasises the cold of the Arctic, but in a pretty way. It evokes the sense of frozen and leaves just the bare minimum of tones in the frame. Slow and cool.
The other bonus for photographers in Arctic Norway is that abundance of comfort on hand once you're done with shooting. The cabins are always toasty warm, the wifi is always free and the kitchens at our favourite locations offer seriously delicious meals using local fish and plenty of smiles. I've even found a handful of gorgeous little cafes between Lofoten and Tromso where I can enjoy handmade cinnamon scrolls and a really good espresso coffee. Norway is expensive, but you get what you pay for.
My biggest struggle in the Arctic is finding somewhere to park a vehicle when you see a shot you want. That same snow that makes everything so pretty also makes pulling over to the side of the road completely impossible. Even the dedicated lookout spots are not always kept ploughed by the local council. You simply have to be patient in the Arctic, you have to enjoy the views and hope that a few of them will make it into the camera.
Short days and long nights usually sends my body into hibernation mode, but the Arctic offers up Auroras in the nights to help ensure you don't get too cosy in that nice warm cabin. If the sky is clear then we assume that some aurora activity is possible and keep an eye out for it. We typically get two big shows of "Nordlys" during a two week trip. Some nights are modest for the camera, others are epic. We once stood in the fjord near Henningsvaer for three hours while the Northern Lights went crazy in every direction.
On the last night of my last tour we wrapped a fine meal and stepped outside expecting to see snow. Instead we saw stars. A modest glint of green could be seen in the north, so I went out with the camera and watched for changes. By 9pm the lights were dancing and we called back to the cabins to sound the alert. At 11pm we were standing on the top of a hill, overlooking some stunning scenery, and finally decided to call it a night.
The clouds were rolling through all night, revealing one patch of sky for ten minutes, then closing in before revealing another. We got some nice shots, but mostly we enjoyed the moment as a farewell to Lofoten.
This is what I appreciate most about my time in Norway, the ephemeral and the lovely. Some photographers tackle the Arctic as though it's a beast to be conquered, in search of their own epic glory and to boast of their collection of images with boldly rich in colours. Most of those colours are so enhanced on the desktop that they look more ridiculous than Donald Trump's hair. When I see those super-saturated images on Instagram I feel disappointed because I know that Lofoten and Tromso are really so much more lovely, more gentle and more charming.
Like that shade of pink and orange that fills a snow covered landscape at dusk, the true colours of Arctic Norway are very delicate and have a calming effect on the soul. Like fishing boats retreating with the tide in a fjord. Like a bowl of freshly made fish soup for lunch. Like the wave and wiggling of an aurora shining just a little brighter than the stars.


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Collio: Fine Wines and Foods from Italy's Northeast
My most recent book took me for one year to northern Italy, to the beautiful hills of the Collio. I lived with winemakers and their families as I researched and photographed this 250-page book. It's gained huge critical success, including winning the prestigious André Simon Award for Best Wine Book 2009; finalist Le Cordon Bleu World Food Media Award 2010.
Pallas Athene, London. 2009, reprinted 2010.
The Food and Wine Guide to Naples and Campania
A few years after the Tuscan book came out, I was asked by the great southern Italian chef, Alfonso Iaccarino, to do another regional guide about the foods and wines of Campania. I moved 1,000 kilometres south of my house on Lago Maggiore, and lived in diverse parts of this amazing region to research, photograph and write this 450-page guide. As one Campanian friend put it, "once you get us under your skin, you'll never leave Campania again," and she was right. Much of my research was ground breaking, and took me to villages and artisan food makers no one had writen about before.
Winner, Best English-language guide book, Gourmand international awards.
Pallas Athene, London, 2005.
La Costiera dei Fiori: wild flowers and traditional horticulture from Naples to Paestum
Text and photography are mine: a small book to accompany the Campania garden I organized and created with garden designer Robert Myers at the Chelsea Flower Show in 2006. To our delight, it won a coveted Gold Medal.
Pallas Athene, London. 2006.
Cheeses of the Amalfi Peninsula
The first of my small books for Alexander Fyjis-Walker at Pallas Athene. My text and photography accompany a project led by Slow Food bio-diversity-award-winning Roberto Rubino on the raw-milk cheeses of this mountainous area of the Mediterranean.
The Food and Wine Lover's Companion to Tuscany
Shortlisted for Food Book of the Year in Britain, this was the first of my big regional food and wine guides in Italy. To write it, I spent three years living in different areas of Tuscany, from the Pisan hills to Monte Amiata, driving from village to village to find the most authentic food producers, as well as the best wineries and restaurants. It turned into a 400-page guide to the enogastronomic delights of Italy's most popular region, featuring hundreds of artisan producers, wineries, restaurants, country fairs and specialty stores.
Chronicle Books, San Francisco, 1998 (revised and updated edition 2002). Pallas Athene, London. 2000.
AA Spiral Guide to Venice
The British Automobile Association had the intelligent idea in this series to ask two specialists to co-author each book, one for the art, and one for the food and other listings. I spent several weeks eating my way around Venice for my part, incuding staying in a convent with a curfew.
Listings author: reviews of over 60 restaurants in Venice, plus hotels and shops.
AA Publishing U.K. First published, autumn 2001.
Retro Recipes: Appetizers
A small, fun book inspired by finger food from the '50s.
Time Life. 2001.
Le Creuset Mediterranean Cookbook
The best perk on this job were the assorted Le Creuset pans I was sent to test the recipes in: it took two men to carry the boxes into my kitchen and I am still using them, all these years later.
25 recipes plus lots more recipe ideas for original modern dishes of Mediterranean inspiration.
Martin Books, Cambridge, U.K.1997.
The Ultimate Italian Cookbook
My first Italian cookbook and a huge project. The recipes are drawn from regions throughout Italy. I developed and wrote them, and then cooked and propped the dishes for the book's many photos. This book has been sliced into many spin-offs by its publishers, but the original, 200-recipe book is still the one to get!
Lorenz Books, London. September 1994.
Best of America Cookbook
Co-authored, researched and developed more than 100 recipes that explore the cuisine of the Midwest, New England and the South. Fully illustrated with color photographs.
Smithmark Publishing, New York. Summer 1994.
The Book of Gingerbread
My first food book, and I still am amazed by how much detailed work it took to make gingerbread into all the original shapes I created: painted fans, autumn leaves, decorations, and even a Noah's ark…many years before Martha Stewart made these things chic again. The book also features distinctive ginger cakes helped along by my mother, Patricia Lousada. Photos by Eileen Tweedy.
Ebury Press, London. 1984.
Roger Dean: Views
My very first book was jointly written with Dominy Hamilton and was about the super-star illustrations created for record covers and other graphic projects by designer Roger Dean. I had just graduated in History of Art at Sussex University, so I applied my research skills of 17th-century Dutch pictures to these sometimes psychedelic subjects. A lot of fun was had by all. Dean was a true innovator and even founded his own publishing company to produce the book at the price he wanted, that of an LP, £4.95 as no 'legit' publisher would touch the project. The book went on to sell hundreds of thousands of copies, worldwide.
Dragon's Dream, Brighton, 1976.
Between the Campania book and Collio, Carla has set a whole new benchmark for this genre of writing. Bravissima!
Tom Maresca, author of The Seasons of the Italian Kitchen
Carla Capalbo's excellent books on Tuscany and Naples and Campania are exhaustive in their respective regions.
Clover Stroud, Daily Telegraph
Best Food Writing 2010
Edited by Holly Hughes
Holly Hughes began publishing collections of the best food writing (primarily American) in 1999. Her books have traced the trends and treasures of modern cuisine, and make great reading for food lovers and non. I was delighted to be included in this edition of it, with one of my first articles for Zester Daily, El Bulli Gets Bested, written after I watched chef René Redzepi take the stage as Number 1 at the World's 50 Best Restaurant awards in London in 2010.
Da Capo, 2010.
How The British Fell in Love with Food
This is a fantastic compilation of the best food writing and recipes from members of Britain's Guild of Food Writers, edited by Lewis Esson and beautifully illustrated for the Guild's 25th birthday. It traces the many changing movements and trends in British food and its writing from the 1980s to the present. It's an honour for me to be represented by two pieces of writing: an excerpt from my Tuscan book, and my article about Cook it Raw, originally published in the Guild's magazine, Savour. The book deservedly won Best Culinary History Book at the Gourmand Cookbook Awards, 2010.
Simon and Schuster, London . 2010.

redpajama_set_name: RedPajamaCommonCrawl


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Mr. John Redwood (Wokingham) (Con): The hon. Gentleman began his remarks by suggesting that my hon. Friend the Member for North-East Hertfordshire (Mr. Heald) was too forceful and tough in pressing for more honest registration, which I fully support. He now seems to be saying that we do indeed need more honest registration. Does he not agree that the scheme that he has laid before the House, which builds on the Electoral Commission's findings, is still very inadequate and could be wide open to abuse?
Mr. Heath: I do accept that and so does the commission—it calls it a transitional scheme. It is an attempt to win the support of a Government who do not want to move at all. I do not think that I said that the hon. Member for North-East Hertfordshire was being too tough. On Second Reading, in Committee of the whole House and in Committee Upstairs—we had a shared objective in terms of what we want the Government to implement. I happen to disagree with his view that national insurance numbers are the personal identifier to use, but that disagreement is minimal compared with the difference between having personal identifiers and not having them. I am simply suggesting that this scheme, inadequate though it may be, is an improvement on the status quo. It would help to restore confidence in the postal voting system.
I am grateful for Conservative Front Benchers' support for my amendments and if I have the opportunity to do so I should like to test the House's opinion. I am not persuaded that the pilot schemes that the right hon. and learned Lady proposes will have anything like the same efficacy in dealing with the perceived problem.
Mr. Heald: Of course, there would be two stages in the process: registering the signature and date of birth, and the ability to check that information. The Electoral Commission states in its letter:
"Everyone who wanted to vote by post or proxy would be required to register their signature and date of birth, so that their identity could be checked when they applied for or cast their absent vote."
In other words, those two stages, which include the opportunity to check such information, provide an element of security, although we would of course like to go further. Will the hon. Gentleman also comment on the following point? The last time we debated this transitional proposal, Ministers said that it would make the annual registration form very complicated. However, I believe that the commission has produced a draft form, which they have supplied to Ministers, showing how easy the process would be.
Mr. Heath: Precisely, and I am grateful to the hon. Gentleman for both of those points. He is absolutely right. It is no good having a lock without a key, or a key
without a lock. It is no good asking people to sign an absent vote form if there is no way to check their signatures, or if there is no other information with which to identify them. The Minister is worried about that simple barrier, whereas we are looking for both the key and lock that will ensure the integrity of the voting system. I hope that the proposal commends itself to the House.
As I said, it is my intention at some stage to seek the House's opinion on what the Electoral Commission has proposed, if possible.
Mr. Forth: I am not convinced that the Government are serious about this matter. In her usual rather charming manner, the Minister gave the game away when she said that none of this was her idea. She has come to the House and said, "I never really believed in this at all but I've had my arm twisted so, a bit reluctantly, I've brought forward this half-baked scheme that I do not really want and am not sure will really work."
That suggests to me that the Government are not remotely serious about the substance of the proposals—a fact that emerged several times in the Minister's opening speech. She has tried to make us believe that the Government want these proposals to be adopted, but the Bill, the Government's new clauses and amendments, and the Minister's contribution all give the lie to that. The Government do not really want to make the electoral system at all robust. All too easily, even a half-determined person could circumvent or evade what the Government propose.
The Bill—and the new clauses and amendments—talks about dates of birth and signatures, but how robust can they possibly be when it comes to assessing whether a person is entitled to vote, or whether the person originally registered is the same as the one casting a vote? The use of the national insurance number has been mentioned repeatedly in the debate, and that would make the system significantly more robust than would the use of a date of birth or a signature.
The Bill suggests that people who want to play a part in deciding the Government of this country need not be bothered, or able, to find their national insurance numbers. That strikes me as more than a little bizarre. I confess that I believe that making registering to vote a little difficult is a good thing. If we expect people to have sufficient judgment to decide who should represent them in Parliament and govern the country, it is not asking too much of them to take the minimal step involved in establishing their identity with the registration authorities.
Mr. Redwood: My right hon. Friend makes an extremely good point. Has he thought about the following anomaly—that this same Government think that people should be able to supply all sorts of extremely complicated and difficult information in tax declarations? That is what the law requires them to do.
Mr. Forth: That is correct. On numerous occasions in everyday life—such as when we apply for passports, driving licences, benefits and so on—we are asked to provide a lot of information and proof of identity. Casting a vote overrides all those activities, as it
determines representation in this House and which party will make up the Government of the day, but the suggestion seems to be that it is too much to ask for something beyond a name and an unverified signature. That is completely the wrong way round.
The responsibility to register rests with the individual, and rightly so. The more individual that responsibility is, the better. Most people claim these days that individualism is good and that decisions are best made as close as possible to the individual.
Chris Ruane: The right hon. Gentleman says that filling in the form is up to individuals, but what happens if people cannot read the form?
Mr. Forth: Reasonable provision for dealing with that should be made right across Government. Proper assistance should be given, in a proper way.
Chris Ruane: What assistance does the right hon. Gentleman think should be given?
Mr. Forth: Very simply, a person in such circumstances should be able to nominate someone who can help them with the process, although both parties must be properly identified. I see no difficulty about making such provision for what will be, happily, a minority of cases. However, this debate has clearly identified the risk, to which the hon. Member for Somerton and Frome (Mr. Heath) referred, of widespread fraud in the electoral system. Preventing that fraud must be the thrust of our endeavours with this part of the Bill.
Chris Ruane: The right hon. Gentleman mentions a minority of cases. The functional illiteracy rate across the UK is said to be between 10 and 15 per cent. In poorer areas, it is a lot higher. How do we get over the problem of very low registration rates in poorer areas. In parts of my own constituency, for example, it is as low as 76 per cent., and in parts of Aberystwyth it is 52 per cent.
Mr. Forth: That is an amazing indictment of the education system that the hon. Gentleman's Government have presided over for more than eight years. For him to admit that illiteracy is rampant in his part of the world says a lot about what is happening in the education system there. Surely, if someone is incapable of reading and has not sought or been offered remedial action of the kind that the Government constantly boast about but are obviously failing to provide in his constituency, and indeed throughout Wales, his remarks must be noted and repeated often, not least by me. It is certainly not beyond the wit of the electoral registration authorities to provide proper and verifiable assistance to someone who claims to be incapable either of reading or of understanding what is required to register for a vote.
Chris Ruane: I remind the right hon. Gentleman that the majority of people who are 18 plus were educated under a Conservative Government.
Mr. Forth: The hon. Gentleman should probably stop digging at this stage and allow the debate to move on.


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17 February 2022|In SC, Society|6 Minutes
How Covid-19 Has Highlighted The Need For Change Within Elderly Care Services
By Shout Out UK
If we've learned anything, it's that care for the elderly should be on the government's agenda.
When Covid-19 first hit the shores of the UK, nobody believed that we were in for a worldwide pandemic that would irrevocably change all of our lives.
As the death toll and the number of confirmed cases began to rise exponentially, that false sense of superiority, the idea that 'we won't catch it', began to fade as people started to see the very real consequences of a highly infectious virus running rife through a population.
The real wake-up call, however, was undoubtedly the importance of a well-funded health care system, available to all regardless of class or creed.
Furthermore, as Covid-19 has forced us to adapt and rethink our way of life, it's also highlighted some of the failings within the systems in place.
Of course, one of the most prominent of these failings is the deterioration of the NHS due to years of cut-funding, talent being apprehensive to work in the UK due to Brexit, and existing talent in the UK being offered better opportunities in other Commonwealth countries such as New Zealand and Canada.
Covid-19 and the ramifications of it have outlined the current ineptitude of the health service in the UK— but also highlighted the dedication and proficiency of an undervalued staff.
However, whilst we can consider how the NHS was not prepared to deal with a pandemic, and the complete miracle that it still stands, another question looms in the not-so-distant future:
What else has Covid-19 shown us that needs changing in the UK health service for future generations?
Better Care for the Elderly
Covid-19 has clearly shown that elderly citizens are most susceptible to becoming incredibly sick, and the most likely group to succumb to such viruses.
In an effort to shield these vulnerable groups, many care homes opted to go into 'lockdowns', with the families of residents unable to visit their loved ones (read Get Informed: Experts Share Best Practices in Care During the Pandemic for tips on how you can maximise the safety of those who are living in Care during Covid-19).
Of course, this is an extreme reaction due to unprecedented times, but it has highlighted the need for change, more specifically, the need for more options when it comes to elderly care.
Care Homes and Residential Homes can be great options for many families, and many of the residents find community and companionship with their fellow residents.
However, what about the elderly who / whose family cannot afford to pay for such services and don't want to give up the comfort of their own home?
Or furthermore, what if they have developed dementia or other mental impairments that not only strip them of their independence but cause a lot of emotional turmoil for family members who struggle to cope?
The majority of dementia patients live in Care / Residential Homes, however numerous studies and charities have warned that this type of living is not ideal for such patients and that in many cases, their quality of life is inadequate.
What are the Other Options?
Recently, a petition started circulating in the UK gaining signatures for the government to invest in 'Dementia Villages', an enclosed residency that simulates normal everyday life by having amenities such as a 'shop' and 'post-office' with specially trained staff to offer dementia patients a dignified and somewhat independent existence, with the necessary help always at hand.
Furthermore, live-in dementia care could also be a worthy investment for the government to improve health services for the elderly. It offers dementia patients the opportunity to stay in the homes that they love whilst getting the necessary full-time professional care that they need.
For the elderly who don't need any extra help due to impairments such as dementia, sheltered housing is another option to offer them a more independent lifestyle.
Though the general idea of sheltered housing is that no medical or caring facilities are included, there are alarm systems and people employed within the complex who are there to make arrangements for repairs — which is something that a lot of elderly who live alone often neglect; not through any fault of their own, often it's because they don't know who to contact and thus leave it be.
Ultimately, we need to listen to our ageing population and understand their needs. From here we can create a system that offers different types of care to ensure our elderly not only have an adequate quality of life — but a good one.
care homes Covid-19 elderly care NHS
Shout Out UK
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Seguimos adelante con nuestro reto Bike Challenge 2017. El sabado 27 de mayo disfrutamos de la cuarta etapa, sumando dificultad y exigencia física. A pesar de los malos y fallidos pronósticos meteorológicos no faltaron valientes para acudir a la cita, con un dia extraordinario para la practica de nuestro deporte favorito.
Salimos de San Martin de Teverga, para calentar subimos el puerto Ventana con un paisaje soberbio en plena naturaleza. Coronamos el puerto que separa Asturias de Leon, hacemos una parada para ver las grandes montañas del entorno de Peña Ubiña y continuamos por la pista que nos lleva a la ermita de Trobaniello. Seguimos el descenso por pista y luego por sendero, con tramos cortos trialeros, barro y paisajes espectaculares, por el llamado Camin de las Reliquias. Continuamos por Barcena de Quiros a Trubia y final en Las Caldas Villa Termal, donde terminamos la jornada con un taller de entrenamiento y relajación en Aquaxana.
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Call it a case of role reversal, but with the opening of a new food truck operating out of Los Angeles, you can eat like a royal and be served by one, too.
Prince Emanuele Filiberto di Savoia of Piedmont and Venice, the grandson of King Umberto II, the last King of Italy, operates the Prince of Venice (POV) food truck.
"I always want to contribute in the promotion of Italy," the Prince said in an interview with CBS Los Angeles.
The Prince of Venice food truck rotates around Los Angeles, particularly around office buildings, during lunch, but parks itself at the Wallis Annenberg Center of Performing Arts in Beverly Hills for dinner.
Prince Emanuele works with Chef Mirko Paderno to offer up popular pasta dishes, including Rigatoni al Tartufo, Bucatini alla Bolognese, and Orecchiette al Pestolunch. For dessert, traditional Italian offerings such as tiramisù, panna cotta and cannoli are on the menu.
What sets it part from other Italian food trucks? No pizza.
Some of the ingredients like flour, olive oil and truffles, are imported from Italy, but most of the ingredients – organic produce, cage-free eggs, and free-range meat – are sourced from farms in Southern California.
Prince Emanuele's business partner, Chef Mirko Paderno, says that the Prince of Venice food truck isn't going to be just another food truck populating Los Angeles.
Right now the only food truck operates in Los Angeles, but Prince Emanuele and Chef Paderno are hoping to expand across the country and open a restaurant in Southern California.


text:
Terry Manning >
Big Star/ # 1 Record
Author Topic: Big Star/ # 1 Record (Read 29826 times)
Andi Gisler
were you involved in this amazing record? The CD reissue I got once again provides NO cedits at all.
I especially dig the incredible acoustic guitar sounds throughout, like on 'Thirteen'. Would you share any secrets how this was done?
www.doorknocker.ch
Steve Folta
Re: Big Star/ # 1 Record
I'd love to hear *any* stories about the first two Big Star albums. I once heard a rumor that Chris Bell destroyed the multitrack masters to #1 Record, as he thought the mixes were perfect and he didn't want anyone ever to remix them. Any truth to that?
I beleieve the rumor you speak of (not sure of the record) ,but John Fry and Larry Nix where mastering one of the albums to vinyl and they just finished and Chris came in picked up the ingraver and asked what it was and dropped it on the master ruining it. But i maybe wrong. I'm going by Ardent Studios later today, so i'll ask. If Terry doen't beat me to it.
p.s. I know about the GTRs on the Kangaroo Song.
Leo Goff III
Hi Andi, Steve and Leo!
Remembering this particular record is one of the toughest for me of all. For many, many years I wouldn't even talk about it. In fact, I wouldn't even listen to this album for more that two decades. But a couple of years ago, a writer from the UK, Rob Jovanovic, called me to ask if I would talk a bit about the whole Big Star scene. Rob was writing a book for Harper Collins about the band. He turned out to be a real nice guy, and before I knew it, he had me talking some. By the end, he was asking if there were any out takes, extra mixes, etc., as he was hoping to release a companion CD with his book. I said that I didn't really know, as I had a LOT of boxes of very old tapes and momentos, which I hadn't even opened for a long time. But he got me looking through boxes, and before I knew it, I had found some things...
But to the whole Big Star story, as I knew and lived it.
This whole thing is one that's hard for me because I am such a HUGE fan of the band, and as well as having been integrally involved with it, the way things turned out weren't always for the best. Just today I listened to #1 Record on the way to the studio, and again it made me very nostalgic, happy, sad, excited, and depressed...as it always does.
The band grew out of two things. One was a group co-founded by Chris Bell, in which in which he was the lead guitarist, and sang some leads and backing vocals as well. I was the keyboard player, backing vocalist, engineer, co-producer, and somewhat of a mentor to Chris. This band was, amongst other names (Christmas Future, Icewater), basically called Rock City. Chris was my best friend for about 10 years back then, and we were both totally into music composition and recording. I had been working as engineer and producer for Stax Records, and as chief engineer for Ardent Studios, owned by my other great friend at the time, and my audio mentor, John Fry. There was a group of other guys with us who sort of revolved in and out of the various groups we would put together. We would practice at Chris' 'back house,' which was also our darkroom (one of them at least...I had one in my apartment, and our friend William Eggleston had a big one in his house). I was recording a lot of my own things, in addition to the 'day job,' and Chris wanted to get into recording and production. He started writing original songs, and would bring them to me to see what I thought. They were getting pretty good, so we started recording an album. On drums was Jody Stephens, eventual BS drummer, and on bass and lead vocals was Tom Eubanks. We worked long and hard on the album, going into Ardent late at night (we had free run of this great place). An album was completed, to be called "See Seven States" by Rock City. We mixed it and sent it out to labels, but got almost no response from them.
The second thing from which Big Star sprung was Alex Chilton. Alex was lead singer for The Box Tops, who had been having several big single hits, including the biggest hit of one of those years, 1960-something, "The Letter." But Alex was unhappy working under his producers, who were telling him everything to record, how to sing, basically running his life (...and making him a star...!) But he wanted to do his own songs his way. I had been engineering and playing on the Box Tops recordings, so I had worked with Alex a lot, and we had become good friends; he felt that I understood his plight. AC asked me if I would produce an album of him, doing his songs. I said OK. So we recorded his first solo album, and shopped it to labels as well. Atlantic wanted it, but wanted to release a single or two first; Alex was tired of singles, and preferred to have the whole album out first. Then Brother Records (The Beach Boys' label dist through Capitol) were interested; The Box Tops had toured with the Beach Boys, and AC was friendly with Carl and Brian Wilson. So we all met to talk about releasing it there.
In the meantime, Chris and Alex had hooked up, and Chris saw an opportunity to get this talent into HIS band. So another new album was started, this time with Chris, Alex, Jody on drums, and Andy Hummel, another friend-to-all, on bass. I played some keyboards, sang backing vocals, and engineered some. John Fry was the main engineer, and certainly, especially, was for the mix, and Chris had learned a lot about engineering by now, so he did a lot of the overdubs. We took two of the songs which had been recorded for the Rock City album as a starting point, plus one we had recorded as Icewater, and Chris and Alex wrote separately and together the other songs (Andy wrote and sang one). Chris basically sang the songs he instigated, and Alex the same with his. I also sang co-lead on "When My Baby's Beside Me."
This new one was coming along so well, and with minimum response from labels for at least one of the other two albums, The Rock City and Alex solo ones were just put aside in their relative tape boxes. The RC was fully mixed and edited, but the Alex was still only multitrack. We then pretty much just forgot about these.
I produced another group about the same time, Cargoe, and also a third artist, a solo guitarist named Gimmer Nicholson. These three artists were to be the first on our newly formed label, Ardent Records. We were tired of looking to the majors for releases, and were going to do it ourselves. Gimmer was to be the first release, then Cargoe, then the new Chris/Alex group.
We named this group Big Star, after the supermarket across the street from the studio, at whose sign we were always staring. The album was finished, and I came up with the star idea with the 'Big' in the middle for the cover, and had another friend, a neon sculpture artist named Ron Pekar, make it up for us. It was photograped hanging on the wall of John Fry's office, with black photo paper behind it.
We decided that, because The Beatles didn't really put any credits on their records at this time, we wouldn't, either. We thought that the public group should only be four people, and they should be named and featured, but not much else...this was to be right in line with The Beatles, as usual (much like the BS music was, or so we thought).
As for the recording, this album was completely crafted over a long period of time. It was not thrown together quickly. Many months, in fact, years if you include the resurection of the Rock City/Icewater tracks, were spent in putting this together. Chris Bell had become almost fanatical about getting things just right, and would do and redo, and redo parts. Andy played a new bass part on "Feel." I had done the one on the Rock City/Icewater version. There was no designated <Producer> as known today, but if any one person was the closest to that, it would have been Chris Bell. I cannot overstate my admiration for the songs and the talents of Chris and Alex. Not to mention the engineering and mixing talents of John Fry.
The acoustic guitars were very carefully done. Neumann mics were usually used, I think KM 84's and/or 86's, and in some cases 87's. Almost always only one mic was employed. Most acoustic tracks were fairly heavily compressed (for those days, at least), usually by one of the UA 176 limiters we used so much. On "Thirteen," multiple parts were done to almost simulate one big guitar. There was almost no strumming of these acoustics, though; most of it was single note playing, or at least arpeggios. Most people I have seen attempt to replicate this try strumming first...that's not it. Chris and Alex would both play different acoustics. I remember AC had a Martin then, and I think CB had a Gibson. Alex was a great acoustic player, having done the Greenwich Village thing as a solo acoustic artist also. And Chris could play anything, on any guitar. He played some "finger picked" parts close to the bridge.
But the little known fact about these acoustics, especially "Thirteen," was the influence of Gimmer Nicholson. His solo acoustic guitar album was loved by all of us, and it was very much in this style. It just ended up not being released for many years, so outsiders hadn't heard it then.
The early tracks were done on 8 track Scully 1", and the later ones on 3M 16 track 2". Ardent moved locations during the long period of recording this, so the earlier ones were done at the National Street location, while the later ones at Madison Avenue location. The console(s) were always SpectraSonics (by Auditronics...but NOT the later Auditronics).
Much of this basic story, plus a lot more, I think is now out in Rob's book. I'll find the Amazon link, and out it on the bottom of this post. Haven't gotten it yet myself, though.
What is so sad about this all to me was the fact that Chris was killed a few years later, and never knew that so many people really love his music so much, because it wasn't until years after release that major success came...and it seems to grow every year. Also, there is a lot of emotional conflict in these songs; they were to some extent written about what we were all going through at the time, and it is sometimes hard to hear that again. Of course, the most truly real emotional conflict I think I've ever heard in a pop song was in Chris Bell's solo effort "I Am The Cosmos," which was never even a real, finished record.
Anyway, back to the "opens-old-tape-boxes" part of this now-too-long story. When I started looking for things, I actually found the long-lost, and almost forgotten, Rock City album, inside a mis-marked box. So I only had to master it, and released it on my small label, Lucky Seven (shameless link below), the same label on which I had finally put out the Gimmer Nicholson album, a couple of years earlier. The Alex solo album was called "1970" and was released about 1996, finally!
As for any damaged tapes or lacquers, I think there was an incident about Chris dropping the stylus while writing or marking on a finished acetate master (we always wrote something, or made some mark), but I don't remember exactly what it was, or how that happened. But I do know that he tried to destroy the mixed 1/4" masters before it could all be released. Chris was a wonderful person, and extremely talented artist, but he did have issues at times, and he had decided that this music wasn't going to come out as it was. I got wind of this, and hurried to the studio to replace the reels inside those 2 boxes. Chris did burn those tapes, but I had the real ones hidden. Of course, there were safeties, so it wouldn't have really mattered anyway. But in that same box where I looked recently, there were the original #1 Record 1/4" masters, inside the other boxes I had put them in long ago! I have them now, and when REM were here recording last February, I had to get them out so they could all look at those tapes.
Well, again, a far too long story.
SHAMELESS LINKS:
Rock City:
http://www.rounder.com/index.php?id=album.php&catalog_id =6491
Gimmer Nicholson:
Alex Chilton "1970":
http://www.amazon.com/exec/obidos/ASIN/B000005D80/qid%3D1107 839298/sr%3D11-1/ref%3Dsr%5F11%5F1/103-7466694-2384653
Big Star, The Story of Rock's Forgotten Band, by Rob Jovanovic:
http://www.amazon.co.uk/exec/obidos/ASIN/0007149085/qid=1107 836943/sr=1-1/ref=sr_1_8_1/202-8777433-6050244
http://www.amazon.com/exec/obidos/ASIN/B0000009OD/qid%3D1107 845619/sr%3D11-1/ref%3Dsr%5F11%5F1/102-5643972-1861707
thanks so much for your reflections and info!
Yesterday I was listening to ' # 1Record' on headphones and was completely blown away by it.
That such a great record was 'overlooked' in its day seems almost beyond belief. At least time has done justice to it!
Never! Thanks for a great post.
But in that same box where I looked recently, there were the original #1 Record 1/4" masters, inside the other boxes I had put them in long ago!
Does that mean we've all been listening to the safeties all these years?
Re: Thirteen
I love this track. The acoustic guitar sound is something to aspire to. Can you give us an idea of compression settings you used on this? I dont have a 176 but do have an 1176.
Thanks also for the Gimmer tip. I've been relistening to thirteen and to gimmer and it totally makes sense.
Let's be discrete.
neve1073 wrote on Fri, 11 February 2005 19:46
Hey JF,
You want exact settings??? Ummmm...
I do know that a general starting point would have been 4:1, input 9 to 11 o'clock, output 1 to 3 o'clock, attack 11-ish, and release 2-ish, but that would all of course vary with program material.
The 176 was VERY DIFFERENT from the 1176. Not at all the same beast. I have both, and know this very well. The 176 (tube/valve) version was much warmer, softer, bigger, while the 1176 to me is sharper, brighter, punchier. The 1176 will not do this "thirteen" guitar sound at all. But if you can get a 176, it will be hard to maintain.
I have always loved this 176 more than any other compressor, so that was the inspiration for with our custom in-house Lucas Limiting Amplifiers. They have the same basic controls and tubes, but we improved reliability, noise floor, added some of our own circuitry, etc. (they are NOT clones). These Lucas are the compressors I have used for almost everything I've done for the past 15 years (all of Lenny's vocals on "5" went through them, and he bought a couple for himself). Just this week I had to change a tube for the second time. This 176 concept uses the tube itself for the gain comparison and reduction, not an opto or vca or anything such as most do. The Fairchild also used this method, and the EAR 660, of course.
Yes, when you hear Gimmer, it's easy to see the Big Star acoustic guitar sound inspiration.
Lee Flier
Wow, wow, wow. These are some of my favorite records ever. Too cool to hear these stories Terry, thank you.
http://www.what-the.com
http://www.myspace.com/whattherock
Radio KIRA
http://www.radiokira.com
Thanks for the reply and forgive my ignorance. I did an image search for the 176 and there it was in all its tube glory. What a buxome looking piece of gear. It made me drool!
strawberrius
hi terry-
how awesome that u r here!
i have always wondered about the strat sound on "september gurls"
especially the overdub solo-ish gtr pre V2 that ends in the "hard days night" chord.
can u shed any light on how this tremendously awesome sound came to light?
- doubled with slight varispeed?
- D.I. or amp?
- is it alex playing or chris?
- which compressor? the 176 again?
also what phasor pedal is used on the ballad of el goodo?
strawberrius wrote on Sat, 12 February 2005 11:28
... about the strat sound on "september gurls"
Alex played all of the guitars on September Gurls. Chris was no longer in the band, having left because of certain "creative differences," shall we say. He did contribute to the second album a bit, especially with a couple of songs which had already been written, but played very little, if any, on Radio City. The first album was really more Chris Bell's, instigation, with some of the songs his, plus tremendous Alex contributions (such as When My Baby's Beside Me, I think one of the all time great pop songs; this one was all Alex. Also 13, Give Me Chance, Sunrise, Goodo, etc.). The second album was fully Alex's baby.
The SGurls sound is two things. One is definitely a Stratocaster, a late 60's or early 70's one that Alex had, played through a Fender Super Reverb silverface amp (just post the CBS changeover, as I recall. This amp had the 4 x 10's.) As I understand it, these amps were the same basic circuitry as the pre-CBS ones, with cosmetic differences. CBS hadn't gone in and "messed them up" yet, as some believe they did. There may have been one or two tracks of this.
The second part of the sound is Alex playing a "mando-guitar" type thing, with double strings (4 sets of 2). This was somewhat like a mandolin, but electric, and bigger. I don't remember how it was tuned, but I think it may have been closer to 4 string guitar tuning, rather than classic mandolin tuning. This gave a bit of a 12 string sound, but not as full, and brighter. Very distinctive, I think. I have one of these mando-guitars, and recently played it through my Super, and there was the sound.
As for the compressor, I don't really know, but it probably was the 176. There were also some 1176's, and SpectraSonics ones there too, so it might have been one of them.
The El Goodo sound was also a Strat through a Super. Alex had some kind of a leslie-simulator pedal that he ran through. It may have been a UniVibe (???), but I'm really not sure.
Thanks for your questions!
Arf! Mastering
I just ordered all the discs. Thanks for the history.
"A working class hero is something to be,
Keep you doped with religion and sex and T.V."
"Large signals can actually be counterproductive. If I scream at you over the phone, you don't hear me better. If I shine a bright light in your eyes, you don't see better."
Dr. C.T. Rubin, biomechanical engineer
bblackwood
About 5 years ago (while I was still at Ardent) I was put in charge of archiving all of the Big Star masters, which we did to both 1/2", 30ips analog tape and digitally at 24/44.1kHz. It was stunning to hear these mixes, cut in the early 70's, that were so clean and crisp, sounding amazing even today.
John Fry was a genius engineer. No wonder so many great engineers have gotten their start there (not talking about myself, of course).
Brad Blackwood
euphonic masters
bblackwood wrote on Sat, 12 February 2005 21:51
Well, I think it's exaggeration to say that any really great engineers got their start there (yourself excluded, perhaps). And to be honest, there is nothing really magic about the Ardent Studios on Madison (but there was magic on National Street!); although maybe I say that knowing too many 'inside stories.' BUT...
John Fry is a true unsung hero of audio. John did things the careful, simple way, "by the book." He was a true gentleman, and was always the utmost professional. He cared about recorded audio in a high fidelity way before that was fashionable. John wrote part of the book on modern recording, and those of us who were privileged to be around when he was actually doing it, learned a lot from him. We had to make much of it up, as there were no studio guidelines yet. There were strange mistakes, of course, such as with the first set of monitors installed in the new Ardent professional location on National Street, about 1964 or 65. These were AR home hi-fi speakers, which were excellent for their day. But they couldn't take the raw power of single instruments with high transients blasting through them, and we kept blowing them up. The audio dealer couldn't understand why, so he came around to see for himself. When he heard a live bass and drum track crashing across the stereo soundfield, he jumped back, and said to just forget it with these speakers! He had never heard anything like that. So we had to go to JBL's. Another funny thing about the monitors was that, because we had four tracks on our Scully, we thought we needed four monitor speakers, one for each track. So that's what we put up, hung from the ceiling by metal poles and flanges bolted to the top of the speakers (of course, on the first try, the screws were too long, and they went right into the inside of the cabinet!) It wasn't until a while later that we realised we really only needed two speakers, and we'd spread the number of tracks across the stereo field! (But we did keep one in the centre for mono!)
John stopped engineering after just a few years, and went totally into the business side of things. But he sure left a legacy!
Maybe it would be better stated "came into their own", but it's amazing when you look at who's come out of that place over the last (almost) 40 years, at both National and Madison locations...
bblackwood wrote on Sun, 13 February 2005 03:51
So did you hear the hybrid SACD version of '# 1/Radio City' ? I got an older 'Twofer' reissue that actually sounds pretty good. Wonder whether the SACD is worth buying?
Andi Gisler wrote on Sun, 13 February 2005 07:47
I've not heard it, but remember that discussions were ongoing as I archived. IIRC, they used the original masters/safeties on those, not the archived versions...
Fascinating stuff.
Coincidently, the superior British pop culture magazine, Uncut, has a Big Star story in the March 2005 issue.
Contrasts nicely with Terry's reminiscence. It totally misses the Gimmer Nicholson reference.
I quote: "As 1972 ends, and with no sign of sales picking up, Big Star start work on a follow-up, but tensions are high. Bell is behaving increasingly erratically, fistfights break out between him, Hummel and Manning."
Terry how does it feel that to read these types of rock mythologies? Seeing how you this is your life and all.
Also, you said that you couldn't listen to or talk about Big Star for years, but you never said why. Could I be so bold and ask?
Feel free to tell me where to stick it if this is none of our business.
I just went to reference the article in Uncut, and wouldn't ya know it, it's written by the same Rob Jovanovic's whose Big Star book Terry was mentioning.
MB wrote on Mon, 14 February 2005 13:31
Thanks for the nice posts.
It is indeed strange sometimes to read things which happened to oneself which, it seems, are becoming somewhat storied incidents. I usually miss seeing them, though, because I am always busy working on today's session, rather than dwelling on the past ones.
There are several reasons I didn't listen to Big Star for so long, or even talk much about it. Some of these reasons I don't mind talking about, but some are better kept in the heart. As the magazine quotation you refer to mentions, there was a lot of tension in the Big Star circle near the end (like there wasn't any in the beginning?!?!) Fisticuffs did indeed occur between Chris and I, and I think between Chris and Andy, also. Chris was, as mentioned in another post, a very emotional person; although I didn't realise it all completely at the time, he was struggling with several issues inside, and that spilled out onto all of us. The band weren't making any money; they weren't having any success. But Chris Bell had worked so hard on the first album, and was so sure of it's quality, he had become very disillusioned; this was on top of all the other real life issues he was facing. He didn't know why things weren't going well, but he was nonetheless upset, and he started blaming others for the lack of success. Chris became estranged from many of his friends, and he began drinking and taking other problematic substances, which only compounded his paranoia. He did later, not long before he died, come to me (and to others) and apologise for his behaviour; he had become a devout Christian, and wanted to make amends for some things he had done or said. He brought me a copy of his new song he'd recorded, "I Am The Cosmos," and asked me to help him overdub a couple of things. I remember doing handclaps on it. But I did say to him that I thought the sound was not that great, and the track would benefit greatly from a high quality recut with good audio and production. This unfortunately upset him a bit; he had recorded a lot of it in England, with Geoff Emerick. Chris was trying very hard to do these things on his own, without the "oversight" of me, John Fry, and Alex Chilton, so my comment came at a bad time! I didn't hear that song again AT ALL until last year. I have to say now that I think "Cosmos" is the greatest single emotional pop song ever written; the dichotomy of internal issues displayed is overwhelming! But I still wish the production and sound were good. All of these issues were part of the reasons I didn't care to hear that music for a while.
Additionally, I have always just worked very hard. I sadly don't sit around and listen to music for pleasure very often. And when I do, I usually listen to something completely different than what I work on. So I didn't (and don't) very often later hear the music I've recorded. Also, Big Star weren't on CD for a while, and I had boxed up my turntable, so I didn't have anything to listen to, had I wanted.
But finally, I did (thankfully) get back into all of it!
Anyway, thanks so much for your interest!
J.J. Blair
Terry, I always enjoy your posts and like the fact that you and I generally tend to be on the same side of whatever opinions are being debated, but fuckin' A, how did I miss the Big Star connection?!?!?! I got turned on to Big Star about 15 years ago by a friend in the band Mary's Danish. (Coincidentally, his band mate was the former boyfriend of Susanna Hoffs, who of course covered "September Gurls.") That music had such a huge impact on me, and back then, it was even less known than it is today. There were very few of us in LA who dug the "power pop" thing. Parthenon Huxley, the guys in the Grays, Rick Parker and probably I were the only ones I remember who were seriously trying to go for that thing in the Hollywood scene. Big Star is always mentioned in my top five influences. I almost slapped a A&R guy at Atlantic east coast when he told me he'd never even heard of them!
In '92 or so, my friend Manny and I went to go meet Jody at a Joe Cocker concert. The sight of Chris Stainton playing a DX7 was so awful that we left after three songs and went and hung out at a coffee house for the evening. I was obviously losing my shit over the fact that I was hanging out with Jody (I was only about 22 at the time), and I was struck that is seemed he didn't realize what a big deal those records were to some of us.
If you remember in a thread about drum sounds, I had said that the sounds on Radio City are among the best I ever heard, and that I e-mailed Jody to find out what he was playing. My suspicion was that they were keystone badge Ludwigs, which they were, and he said he used an Acrylite snare. He wasn't able to tell me anything about how they were recorded though. I've always been very curious about what mics and positions were used. "Back of a Car" is pretty much the paradigm for my rock drum sounds. (In fact, I used to even do the snare at 11:00 thing, until about eight or so years ago. Everybody kept insisting that I put the snare up the center, so I conformed.) I pretty much get those sounds, but I really want to know how the methodology differs.
Also, you mention what a big influence the Beatles were, but what about groups like the Byrds? I hear so much of that, and of course they influenced the Beatles greatly during the Rubber Soul period.
And one more question for you and anybody else who cares to answer: My Big Star CD is among the brightest I own. Is this just a mastering guy who really likes high end or were the tracks recorded and mixed that way. I personally dig it, and it sounds amazing on anything that I play it on, but I can't use the record to A/B during mixes without getting myself in serious treble trouble.
They say the heart of Rock & Roll is still beating, which is amazing if you consider all the blow it's done over the years.
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J.J. wrote on Sat, 19 February 2005 02:34
My Big Star CD is among the brightest I own. Is this just a mastering guy who really likes high end or were the tracks recorded and mixed that way. I personally dig it, and it sounds amazing on anything that I play it on, but I can't use the record to A/B during mixes without getting myself in serious treble trouble.
Great point! That's why I'm really curious about the '#1/Radio City' SACD version. I only have a entry level Sony SACD player, some discs sound great (Dylan's 'Love +Theft' fis great), while others are more like 'Tinnitusville' (some Miles stuff for example).
So again, has anybody heard these new remasters?
"I am the cosmos" does have stunning songwriting and performances on it. It also does not sound very good. It's hard to believe that Geoff Emerrick had a hand in that production.
J.J. wrote on Fri, 18 February 2005 20:34
... Big Star is always mentioned in my top five influences. I almost slapped a A&R guy at Atlantic east coast when he told me he'd never even heard of them!
It's about time a few of 'em got slapped!
I've always been very curious about what mics and positions were used. "Back of a Car" is pretty much the paradigm for my rock drum sounds. (In fact, I used to even do the snare at 11:00 thing, until about eight or so years ago. Everybody kept insisting that I put the snare up the center, so I conformed.) I pretty much get those sounds, but I really want to know how the methodology differs.
Well, I don't remember exactly what was done on which song now, but there were general ways we would do things. First, I don't remember for sure who played drums on this cut...it may have been Jody, of course, but it may have been Richard Rosebrough also...
We usually mic'd very simply...nothing out of the ordinary mic-wise or position wise. Neumann's (87, 67) or Shure (57, 545) or EV (RE15, 20) were common. We'd use more condensers for drums than a lot of people do today. Usually not any far-away overheads, but a mic may well have served more than one drum, that is, snare + hat, or snare + hat + rack tom, etc. Sorry I can't get more specific. I do remember that when I went back in about '96 to final mix (for the first time) the old Alex Chilton solo stuff I'd done in '69, I was somewhat shocked to find all of the drums on one track! But it really sounded good in most cases...there was a place or two I would have liked more bass drum, or more snare, but generally, cool. And there was a real power to the drum track...it may have all been compressed together, but if not, at least the tape had done it! Of course, Radio City was done about 4-5 years later, so I'm sure we were using more tracks by then...but the drums weren't ever spread across 8-12 tracks at that time, like people do today. Decisions were made, and the drum sounds sort of melted/compressed together 'on their own' within a minimum analogue track count.
The Beatles were certainly the model for most of our Big Star shenanigans, but yes, the Byrds were an influence. Beatles were the most important for Chris Bell. His mother was British; he and I were totally into the Brit-invasion music...we wanted to create something similar to the Beatles. But Alex wasn't as much into them. He had hung out with McGuinn a little bit, and was a big Byrds fan. He was also a part time resident of the folk scene. But he was even more a Beach Boys fan. I personally hear a lot of Wilson in his writing, although he certainly put on a bit of a McGuinn voice at times; and he did own a 12 string!
This is one of the small points I have always taken with the BS recordings. I thought at the time that the mixes were too light in low mids and bass. Now, I love these records, and have started listening to them again, enjoyably. And you're right, they do sound good on almost any system. But I did indeed always think that, to my personal taste, they were tilted a bit towards the high end.
But when I go back now and listen to the first, original mix masters here, they aren't THAT bright...so I think there was perhaps some excess added in mastering. I haven't heard the SACD version, so I can't comment on that.
John Fry was the actual mix engineer, but he was heavily influenced conceptually by Chris on #1, and by LX on RC, so either, or both of them may have contributed to treble mania.
But none of this takes anything away at all from the amazing songs and sounds on those recordings, in my opinion.
Terry, thanks for responding. BTW, Jody said that he did "Back of a Car." You can tell the difference between his tracks and Richard's tracks because Richard has his toms tuned really, really low, like on "Daisy Glaze".
re: condensors on drums - I always used condensors on toms, at least. I never understood the fascination with MD421s, which I think sound so woolly. The only reason I use dynamics today is because I fell in love with the D19C.
Terry, here's another BS question for you: Why was "O My Soul" done in mono?
Also, the bass on "September Gurls" sounds like something being picked with flatwound strings. I can't quite figure out what bass it is. Doesn't quite sound like a Fender. Is it a Gibson EB-1 or Gretsch? (If you have any recollection.)
We always loved and preferred mono, but of course everyone was asking for stereo (it's still that way with me now!) I think I remember that the mono rough mix just sounded so good, and they weren't ever able to reproduce it properly in stereo.
A lot of the bass was done on a Rickenbacker with flatwound strings. A little bit on a Hofner. This may have been the Rick. But I think there was a Gibson bass around at times.
A-ha! I knew I heard flatwounds! I've never actually heard them on a Rick, though. I'm so used to that Rotosound tone of Chris Squire's, that when I weighed that option I thought it didn't sound like a Rick. I have a late '50s Hofner. I can totally see that being the sound. I have four hollow bodied basses, as well as a Danelectro, which is kind of a semi hollow. They are the greatest sounding things, especially when played with a pick.
It's amazing how few bass players these days are hip to flatwounds. The bass I record more than any other is my '69 P Bass with flatwounds, set up Jamerson style. It just sits in a track beautifully, no matter what kind of music. It always freaks out bass players when I ask them to try it, because they have usually never experienced the awesomeness of the flatwound. I hate having to explain to bass players that their instrument is not called a "midrange."
I absolutely LOVE flatwound strings! Everyone is always trying to get every bass note even, get the bass to "pump," make sure they have a solid low end.......but they're never using flatwounds! This would solve half of their problems, right away! Just because the sound doesn't "click" on every note, doesn't mean it isn't a great bass; this is not normally a lead instrument. Almost all of the classic songs from the 60's & 70's that people are trying so hard to emulate had flatwound bass.
David Kulka
I'd never heard of Big Star until seeing this thread but now I'm curious and I think I'll pick up a CD. Which one should I start with?
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David Kulka wrote on Sat, 26 February 2005 22:05
The first two albums are available on one CD now owned by Fantasy, and released by Ryko. The artwork is somewhat screwy compared to the original, but the music is there.
Others may disagree, but in my opinion this is all you'll ever need.
http://www.amazon.com/exec/obidos/ASIN/B000000XHA/qid=110948 6830/sr=2-1/ref=pd_bbs_b_2_1/002-2362780-8924046
Terry, I ordered it using your link, thanks. I remember the Box Tops well, but that's about it. Will be fun, I don't have a clue what to expect.
standupbass
Terry Manning, great stories on this board. Thanks.
It's interesting how split people are over what to listen to. Some put the "Sister Lovers/3rd" whatever it is record in a special category all by itself. Some adore #1 Record. For me, Big Star was brightest on Radio City. I've heard "1970" and it didn't really do much for me. I've got a great version of "I am the Cosmos" by the Posies, on 45 RPM transparent vinyl. I've heard the original, but don't think I have it around here.
A band I was in did get to open for Chilton in the late 80s, and I've seen him a few times since. And I bought an MCI board from the studio John Fry was working at a few years ago, and met him breifly.
There was a lot of great stuff in this continuum, it's interesting to know a little more. I'll probably read the friggin book.
mcfate
Wow! This is an amazing forum, and a really great thread. Thanks again, Terry.
I have kind of a follow-up question regarding the dynamics of the drums (and really, everything): Were you guys into any kind of expansion while tracking or mixing? I've often wondered while listening to those two records if there was any use of a Dolby A encoder, with no decode. Sorry if my chronology is off, I believe Dolby A was around at that time. Anyway, I know this technique was more popular at some point - bypassing certain filters to achieve different colors. Anything like that? Reading the thread it seems less likely to me now, but I've just always wondered particularly about the "magic" sound of the cymbal decay - and while I'm at it, is that a metal pick on the acoustic on "Feel"? I LOVE THAT SOUND! Thanks,
"ahh, those in the know--they know."
-Brown Midnite
I've spent my entire adult life (and a good part of my late teens) in studios always in searching servitude to THE bass tone required for the track at hand. The flatwound string--on any bass--seams to allow the instrument to reveal it's real tone. Hopefully that of a BASS.
Although I avail myself to all the cool tools of the trade, man my p-bass with flats, straight through almost any D.I. and/or my '61 Ampeg B-12N never fails to kill anybody who lets me use it.
Another killer--Music Man Stingray and flats...
Just thought I'd concur with the bass string thing.
This is by far the most enjoyable forum I've read in years.
Perhaps a thread on bass recording techniques for us bass hounds is in order?
I personally request this album be entered into the future 'recording hall of fame' awards.
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"Listen and Learn"
---Since 1975---
mcfate wrote on Wed, 16 March 2005 02:22
Hi Gideon; thanks for the interest.
No expansion was used. The mixes were done Dolby A, as I remember. We got our first Dolby A (the huge gray stereo ones that looked so good, especially compared to the later 1u ones) about late 69 or early 70, I think, but it might have been a bit later than that. I do know the first use I made of them was on LZ3 mixes. But we always used them "by the book," no encode-not-decoded stuff going on. The Dolby's were only on two track, not multitrack, though. Some of the early BS1 songs were actually recorded as early as '69 (the ones that were from the Rock City/Icewater sessions).
The brightness is just the way it was tracked and mixed. The SpectraSonics consoles didn't give a big buildup on low mids, plus the guys and John Fry liked it bright...very bright. Also, I don't think we ever had any metal picks around...I think that was a light guage plastic one.
standupbass wrote on Sun, 27 February 2005 00:28
It's interesting how split people are over what to listen to. Some put the "Sister Lovers/3rd" whatever it is record in a special category all by itself.
For me, it is in a "special" category.
Some adore #1 Record. For me, Big Star was brightest on Radio City.
Hard for me to decide...lots of good on both...I think I'm slightly biased towards #1, (but probably because I sang and played more on that one than on RC, so that probably doesn't count anyway).
...got a great version of "I am the Cosmos" by the Posies, on 45 RPM transparent vinyl. I've heard the original, but don't think I have it around here.
Great guys, The Posies. Ken was here at Compass Point with REM a year ago. I played and sang with Ken and Jon (and of course Alex and Jody) as Big Star at last year's SXSW.
...I bought an MCI board from the studio John Fry was working at a few years ago...
I know that board...hope YOU like it!
I finally have a copy of it on the way to me.
jwhynot
Terry - great to hear about all this - I was thinking of Big Star of course when I was at Ardent (madison) last August - of course you can't _not_ think about BS walking the halls there and seeing Jody...
That double CD set was on a Rolling Stone list some years back and I got it because of that (it was in the "B"s and I ran out of $ soon after... something to think about when naming a band! start with a low letter, and although "Big Star" may not exactly qualify, always choose a band name that will not reveal millions of hits in a Google search - I made a great album last year with a band that ended up calling themselves "Doctor". Google that and they turn up on page one million or so - even though they're awful damn good...) As soon as I post this I'm up off my chair to get the CD from my library back in the house...
I don't have the original 'magic' Ardent experience for comparison purposes, but me and my pals made a really nice album there in 4 days. And made generous use of a couple of UA 175s.
Regarding flatwound strings - love them too and would like also to point out that nylon strings can be super cool, especially on a precision-style bass.
one of both the most and least successful producers of ALL TIME!
I received my "#1 Record /Radio City" CD a couple weeks ago. Visitors and clients who saw it in the shop got all excited about it and behaved as if I had excellent taste in music.
The only problem is that when I play it, the songs go right over my head. Honestly, I can't make heads or tails of it.
Sorry Terry, sorry JJ, don't take it personally. I never liked Phil Collins, and certain friends consider this a major character flaw. I'll keep listening, maybe after a few more tries I'll connect with this music.
David, I'm impressed that you were openminded enough to give it a try! Hey, my best friend, Mike Finnigan, can't stand Led Zeppelin.
I mean really can not stand them. And this is a guy who recorded with Hendrix, too and not some folkie or jazz snob. This sort of thing might just not be your kind of bag, baby.
My advice, make yourself a short playlist of the following songs and see if you you can get your head around these first:
When My Baby's Beside Me, My Life Is Right, Get What You Deserve, Back of a Car, September Gurls, In the Street and Ballad of El Goodo.
If those don't grab the Beatles and Badfinger lover in you, then it's just not the band for you. And btw, I don't own any solo Phil Collins albums either (or solo Sting for that matter).
Anybody ever seen that Albert Brooks movie Defending Your Life?
They're in heaven and Albert's guarden angel (Rip Torn, how cool is that?) is thoroughly enjoying a plate of what looks like shit and Albert asks if he can try some. Rip says sure but he won't like it. Albert takes a spoonful, and promptly spits it out exclaiming "That tastes like shit!" Rip laughs and tells him it's because Albert hasn't developped his angel brain enough to appreciate "Big Brain" food. Albert is left with a look on his face that says "Now you tell me."
Anyhoo, this is how I feel when it comes to my social relationship with music. Sometimes I feel like Rip or sometimes I feel like Albert and for the life of me I can't bridge the gap on either side of that cliff.
One of the reasons I love Brian Kehew is that he finds the cool and enjoyable things in music that most of us consider shit, as well as his appreciation of great music. A truly admirable quality that he never loses the enthusiasm that some of us had before we got jaded.
tarmadilo
The Big Star records are right up there with Buffalo Springfield Again, Music From Big Pink, Younger Than Yesterday, Tres Hombres, and Born To Laugh At Tornados as my Desert Island Discs. I've been raving about them for twenty years now (which is when I discovered them).
I can't believe I missed this thread until now! Thanks for writing about it, Terry.
Cheers, Tim
http://www.moodswingers.org


text:
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