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| Freddy Moore | |
|---|---|
| Birth name | Frederick George Moore |
| Also known as | Rick 'Skogie' Moore |
| Born | July 19, 1950 Minneapolis, Minnesota, U.S. |
| Genres | Rock, rock and roll |
| Occupations | Musician |
| Instruments | Guitar, vocals |
| Years active | 1964–1985, 1990–present |
| Labels | Rhino Records, Infinity Records, Radioactive Records, General Records, North Country Music, Mill City Records |
| Associated acts | The Kats (The Nu Kats, The Kat Club) Boy, Skogie, Skogie and the Flaming Pachucos |
| Website | demophonic.com |
Frederick George "Freddy" Moore (born July 19, 1950) is an American rock musician.
Contents |
History [link]
Moore was born in Minneapolis, Minnesota. He grew up obsessed with the newly popular Beatles, and moved to San Francisco, California in June 1964. "I didn't have any friends and really didn't want any. I just sat in my room and played Beatle songs and wrote my own." Moore poured through rock fanzines, absorbed and dissected every Beatles album that came out, and listened exclusively to the Fab Four and the Kinks. By October 1964, he had unequivocally decided his vocation was playing rock and roll music and he started writing. "I noticed that the Beatles wrote their own songs, so I figured that to be a rock musician you had to write your own songs."[1]
"In the summer of 1964, right after 'A Hard Days Night' came out, my cousin Danny and I spent two weeks making wooden replicas of the Paul McCartney bass, the John Lennon rhythm guitar, George Harrison's lead guitar, and Ringo Starr's drums. We used to lip-synch to records. Danny and I wanted to play real music, the others wanted to lip-synch, but we finally got them going. We learned 'You Really Got Me' by the Kinks, the Beatles' 'And I Love Her' and my first original composition 'Baby Be Mine'."[1]
By the age of thirteen, Moore formed his first bands and started teaching reluctant copycat cohorts to play his songs. His narrow interests and extreme diffidence made finding other players difficult.[1] Throughout his teens, he worked on his guitar and arranging skills.
He graduated from Richfield, Minnesota High School in 1968. Fearful that he would be drafted to serve in the Vietnam War, he enrolled at the University of Minnesota to study Music Theory and Composition under composer Dominick Argento.[1]
At the University of Minnesota, Moore met organist Randy Pink, who both taught him to play the organ and invited him to join his band, The Pink Project. Although the Pink Project never made it beyond the rehearsal stage, Randy Pink did introduce Moore to the influential music of Thelonious Monk and other Jazz musicians.[1] Another professor, Argento increased his interest in another influential band, The Mothers.[1]
By the age of 19, Moore–a prolific writer–had written out the chords, melody and lyrics for over 90 songs, forgotten or lost perhaps 90 more, and learned to arrange, score, play guitar, piano, organ and drums. He still wanted to be a rock star, but had rarely played in front of an audience.[1]
Early professional days [link]
Moore's first professional band, An English Sky, was invited to play at an Edina, Minnesota junior high school's music festival. The other members of An English Sky were uninterested, so Moore decided to play the gig himself with backup from the band Euphoria; this would be his first official performance as Skogie. After unsuccessfully attempting to integrate An English Sky, Euphoria, and Skogie into a ten-person band, Moore wrote a letter and fired everyone but himself and Goldstein, hired 3 people back, and formed Skogie and the Flaming Pachucos phase I.[1]
Skogie rehearsed obsessively—usually from 10:30 to 12 a.m., and sometimes would go all night. Most of their rehearsal time was spent on creating complex song arrangements. Moore offered up thirty songs from the two hundred he had already composed and each week drew a new song out of a hat for the band to rehearse. A song was usually ready for performance after one week of arranging and an additional week of rehearsal.[1]
Skogie released a single in June 1972 with the help of producer/manager David Zimmerman (Bob Dylan's brother), and released a follow up album in 1974. Creem magazine later named Skogie one of the first power-pop bands.[2]
Hollywood days [link]
In 1976, after extensive national touring and recording experience at three Minneapolis studios, Skogie decided to head to Los Angeles.[2] "We were in the right place at the right time - making bad business moves.[2]
Moore soon became the San Fernando Valley's answer to England's Jeff Lynne, the guiding influence behind the Electric Light Orchestra. Although ELO's orchestrated pop style bears absolutely no resemblance to the rocky bebop sound of Moore's group, The Kats, the two bands have one thing in common – strong leadership. Like Lynne, Moore functioned as his band's lead singer, rhythm guitarist, sole composer and conceptual designer.[3]
Moore invented an on-stage persona—a cat named Freddy. Buoyed by the band's good-natured rock 'n' roll vibes, this song pattern eventually evolved into a rock opera of sorts.[3] Moore took his on-stage persona very seriously and often pantomimed being a cat. Young girls responded by enticing Moore toward them with promises of cat food tidbits from Purina and Friskies boxes and pelting the other Kats with handfuls of dry kibble.[3]
The Kats signed their first recording contract with Infinity Records; they rushed The Kats into Shelter Studios on Sunset with Tom Petty's production team. Just as final mixes were being completed Infinity Records was dissolved by its parent company MCA Records. There was no one left to pay the Shelter Studio bill so "The Kats - Get Modern" became known as "The Great Lost Kats Album". The master tapes remain locked in the Shelter Studios vault.
Shortly after the Infinity Records fiasco lead guitarist Pete McRae departed. The four remaining Kats renamed themselves The Nu Kats,[4] fired their management, signed with Rhino Records, recorded "Plastic Facts" and filmed the video "It's Not A Rumour" featuring actress Demi Moore, who had married Freddy Moore in February 1980 at the age of 18 (they divorced four years later).
The Nu Kats dissolved in 1981. Moore moved to the Upper West Side of Manhattan and joined local NYC band The Dates. "I answered an ad in the Village Voice that read 'Wanted: Lead Singer/Lead Guitarist influenced by Squeeze and The Beatles'". Moore became a Singer/Guitarist/Composer of The Dates.
After an illness in the family brought him back to Los Angeles, Moore remained in LA and formed a new pop-influenced band called Boy. Boy released a record on Radioactive and Freddy received a Screen Actors Guild/AFTRA card while portraying 'Arn' in the 3-D film 'Parasite'; the music of Boy can be heard on the soundtrack.
Boy disbanded in 1983. The Moore brothers continued writing, arranging and recording new material for approximately another year. They played a few industry showcases under the name BFM (Bobbyzio and Freddy Moore).
Back to the studio [link]
In 1990, Moore started writing again. He and several ex-bandmates began recording and releasing CDs of the new material under the name The Kat Club.
Discography [link]
- Skogie and the Flaming Pachucos: Call Me Crazy - North Country Music – 1972
- Skogie: The Butler Did It - Mill City Records – 1973
- Skogie: There's A String Attached... - General Records – 1974
- Various: L.A. In - Rhino Records featuring The Kats – 1979
- The Kats: Get Modern - Infinity Records – 1979
- The Nu Kats: Plastic Facts - Rhino Records – 1980
- Various: Yes Nukes - (compilation) Rhino Records with The Nu Kats – 1981
- Film Soundtrack: Parasite - featuring Boy – 1982
- Boy: Next Door - Radioactive Records – 1983
- Film Soundtrack: Scarred - featuring Boy, The Nu Kats – 1984
- Film Soundtrack: Spring Fever - featuring The Nu Kats – 1985
- Film Soundtrack: Loose Screws - featuring The Nu Kats – 1985
- The Kat Club: House Combinations - General Records – 1997
- The Kat Club: Source Mississippi - General Records – 2001
- The Kat Club: los Angelenos - General Records – 2007
Filmography [link]
- I'm A Kat (1979), United Artists Pictures – Using an experimental 70mm 3D filming technique.
- It's Not A Rumor (1981), Director: Philip Brewin Cheney, Cinematograher: Jan de Bont
- Parasite (1982), Director: Charles Band, Cinematograher: Mac Ahlberg
Videography [link]
- Lost My TV (1979), Hollywood Heartbeat – Pre-MTV rock television series.
References [link]
- ^ a b c d e f g h i Skogie and the Flaming Pachucos By Tom Mutha. Insider Magazine. May 1972
- ^ a b c Nu Kats Grin and Teddy-Bear It. By Laura Fissinger. The Reader. 1980.
- ^ a b c Freddy Moore is The Kats' Meow. By Laurie Bereskin. L.A.Daily News. 1979.
- ^ Nu Kats to Pounce on Riverside. By Mark Muckenfuss. The Highlander. April 17, 1980.
External links [link]
https://wn.com/Freddy_Moore
Boy (1969 film)
Boy (少年 Shōnen) is a 1969 Japanese film directed by Nagisa Oshima, starring Tetsuo Abe, Akiko Koyama and Fumio Watanabe.
Plot
Based on real events reported in Japanese newspapers in 1966Boy follows the title character, Toshio Omura, across Japan, as he is forced to participate in a dangerous scam to support his dysfunctional family. Toshio's father, Takeo Omura, is an abusive, lazy veteran, who forces his wife, the boy's stepmother, Takeko Tamiguchi, to feign being hit by cars in order to shake down the motorists. When his wife is unable to perform the scam, Toshio is enlisted. The boy's confused perspective of the scams and his chaotic family life are vividly captured in precisely edited sequences. As marital strife, mounting abuse, and continual moving take their toll, the boy tries to escape, either by running away on trains, or by retreating into a sci-fi fantasy he has constructed for his little brother and himself. Finally, in snowy Hokkaidō, the law finally catches up when the little brother unwittingly causes a fatal car accident. Although traumatized, Toshio tries to help his family elude capture in the final sequence, presented in documentary fashion, describing their arrest.
Boy (album)
Boy is the debut album by Irish rock band U2. It was produced by Steve Lillywhite, and was released on 20 October 1980 on Island Records. Thematically, the album captures the thoughts and frustrations of adolescence. It contains many songs from the band's 40-song catalogue at the time, including two tracks that were re-recorded from their original versions on the band's debut release, the EP Three. Boy was recorded from March–September 1980 at Windmill Lane Studios in Dublin; it was their first time at the studio, which became their chosen recording location during the 1980s. It was also their first time working with Lillywhite, who subsequently became a frequent producer for the band's recorded work.
Boy included U2's first hit single, "I Will Follow". The album's release was followed by the group's first tour of continental Europe and the United States, the Boy Tour. The album received generally positive reviews from critics. It peaked at number 52 in the UK and number 63 in the US. In 2008, a remastered edition of Boy was released.
Ash (deity)
Ash was the ancient Egyptian god of oases, as well as the vineyards of the western Nile Delta and thus was viewed as a benign deity. Flinders Petrie in his 1923 expedition to the Saqqara (also spelt Sakkara) found several references to Ash in Old Kingdom wine jar seals: "I am refreshed by this Ash" was a common inscription.
In particular, he was identified by the Ancient Egyptians as the god of the Libu and Tinhu tribes, known as the "people of the oasis". Consequently Ash was known as the "lord of Libya", the western border areas occupied by the Libu and Tinhu tribes, corresponds roughly with the area of modern Libya. It is also possible that he was worshiped in Ombos, as their original chief deity.
In Egyptian mythology, as god of the oases, Ash was associated with Set, who was originally god of the desert, and was seen as protector of the Sahara. The first known reference to Ash dates to the Protodynastic Period, but by the late 2nd Dynasty, his importance had grown, and he was seen as protector of the royal estates, since the related god Set, in Lower Egypt, was regarded as the patron deity of royalty itself. Ash's importance was such that he was mentioned even until the 26th Dynasty.
Ash (analytical chemistry)
In analytical chemistry, ashing is the process of mineralization for preconcentration of trace substances prior to chemical analysis. The residues after a sample is completely burnt - in contrast to the ashes remaining after incomplete combustion - consist mostly of metal oxides.
Ash is one of the components in the proximate analysis of biological materials, consisting mainly of salty, inorganic constituents. It includes metal salts which are important for processes requiring ions such as Na+ (Sodium), K+ (Potassium), and Ca2+ (Calcium). It also includes trace minerals which are required for unique molecules, such as chlorophyll and hemoglobin.
Example
For instance, the analysis of honey shows:
In this example the ash would include all the minerals in honey.
References
See also
Thornfalcon
Coordinates: 51°00′23″N 3°01′13″W / 51.0064°N 3.0204°W
Thornfalcon is a village and civil parish in Somerset, England, situated 4 miles (6.4 km) east of Taunton in the Taunton Deane district. The village has 119 people. The parish includes the hamlet of Ash. The name comes from Thorn, and the personal name Fagun (now Falcon) which was the Norman surname of Sir Gilbert of Thorn, whose family were lords of the manor until the 14th century.
The parish of Thorne Falcon was part of the North Curry Hundred. The manor was bought from the Burridges of Lyme Regis by Nathaniel Butler Batten of Yeovil whose descendents, known as Chisholm-Batten from 1859 lived at Court House.
The village is in the Non-metropolitan district of Taunton Deane, which was formed on 1 April 1974 under the Local Government Act 1972, having previously been part of Taunton Rural District. The district council is responsible for local planning and building control, local roads, council housing, environmental health, markets and fairs, refuse collection and recycling, cemeteries and crematoria, leisure services, parks, and tourism.
Punk subculture
The punk subculture, which centres on punk rock music, includes a diverse array of ideologies, fashions and forms of expression, including visual art, dance, literature and film. The subculture is largely characterized by anti-establishment views and the promotion of individual freedom. The punk subculture is centered on a loud, aggressive genre of rock music called punk rock. It is usually played by small bands consisting of a vocalist, one or two electric guitarists, an electric bassist, and a drummer.
Although punks are frequently categorised as having left-wing or progressive views, punk politics cover the entire political spectrum. Punk-related ideologies are mostly concerned with individual freedom and anti-establishment views. Common punk viewpoints include anti-authoritarianism, a DIY ethic, non-conformity, direct action and not selling out.
There is a wide range of punk fashion, in terms of clothing (including deliberately offensive T-shirts, leather jackets, Doc Marten boots, etc.), hairstyles (including brightly colored hair, spiked hair, mohawks, etc.), cosmetics, tattoos, jewelery and body modification. Early punk fashion adapted everyday objects for aesthetic effect, such as T-shirts, leather jackets (which are often decorated with painted band logos, pins and buttons, and metal studs or spikes), and footwear such as Converse sneakers, skate shoes, brothel creepers, or Dr. Martens boots. Hardcore punk fans adopted a dressed-down style of T-shirts, jeans, combat boots or sneakers and crewcut-style haircuts. Women in the hardcore scene typically wore masculine clothing.
Podcasts:
-
by Ash
Punk Boy
by: AshWho's that boy with the honey face
Looks like he should be sedated
He's all smash and grab in his Adidas tags
Wound up and agitated and I bet he's not a real punk boy
I bet he's not a real punk boy
I bet he's not a real punk boy
Does your heart go boom when he walks in the room
Do rain clouds scatter and fall
Do you feel yourself sigh when he passes you by
Or do you grow a hundred feet tall
D'you go bang shang alang, every time you see him
D'you go bang shang alang, every time you're near him
D'you go bang shang alang, every time you hear him
If you don't, he's not a real punk boy
If you don't, he's not a real punk boy
If you don't, he's not a real punk boy at all
Who's that boy with the ocean green eyes
In Rough Trade every Saturday
Don't he look cute in his Eighties track suit
I wish I hadn't thrown mine away
And I bet he's not a real punk boy
I bet he's not a real punk boy
I bet he's not a real punk boy
Do stars explode when he walks you home
On a cool and clear evening
D'you wanna put him on like your favourite song
Or never wanna hear him
D'you go bang shang alang, every time you see him
D'you go bang shang alang, every time you're near him
D'you go bang shang alang, every time you hear him
If you don't, he's not a real punk boy
If you don't, he's not a real punk boy