Liam Lynch explains the origin of the video, but what was Dan Deacon thinking as he recorded the audio? Of all the free MP3 downloads he offers, Two Friends from the Acorn Master album may be the most, um, listenable.

Thanks to daily songsmith Corey B (Corey Blanchette) for the tip.

Now that I’ve discovered it, I’m tempted to try TuneUp on my collection of MP3s downloaded as podcasts (and without good ID3 tags) from places like the KCRW’s Today’s Top Tune. The story is that the iTunes plugin automatically identifies your tracks, can fix the tags, and add album art.

Is this the most annoying song ever? Independent + catchy and pop gone wrong.

Elton John and Bernie Taupin wrote it, but William Shatner did it best. Watch the video now and download the MP3 for future enjoyment.

Thanks to Vasken for pointing out the video.

Here are the lyrics so you can try this yourself at home:

She packed my bags last night pre-flight
Zero hour nine a.m.
And I’m gonna be high as a kite by then
I miss the earth so much I miss my wife
Its lonely out in space
On such a timeless flight

And I think its gonna be a long long time
Till touch down brings me round again to find
I’m not the man they think I am at home
Oh no no no I’m a rocket man
Rocket man burning out his fuse up here alone

Mars aint the kind of place to raise your kids
In fact its cold as hell
And there’s no one there to raise them if you did
And all this science I dont understand
Its just my job five days a week
A rocket man, a rocket man

And I think its gonna be a long long time…

The 365 photos meme was quite popular last year (despite the 366 day leap year). I might have joined, but it’s unlikely I would have finished. Instead, I’ve been pushing my my brother-in-law Corey Blanchette, nicknamed CoreyB or CoreyB603, to do 365 songs in 2009. He launched on January first and since then has done songs about elves, the serotonin in Saratoga, Albert Ayler, and a bunch of others.

My favorite so far is An Empty Room Doesn’t Cry But an Empty Person Might, a song that comes from what he describes as a “pretty pretentious” phase of his recording history.

Some of his songs are new; a number of them are previously recorded. You can make a request here, and subscribe to the podcast with this link: http://coreyb603.com/feed/ .

duckett’s Wired But Disconnected on ccMixter is actually ironic: the whole song is the result of an online collaboration.

Listen

DGENERATE NATION – Skate With Me from DGENETICS on Vimeo.

I love remixes, mashups, and covers. I love it when bad songs get good covers, I love it more when it’s a bad cover. I’m a fan of Coverville and I get excited every time I find yet another version of Smells Like Teen Spirit (hey, this is just a sampling: lullaby version, Patti Smith, The Bad Plus, another jazz version, and another jazz version, a string version, no, two string versions, a tango, a damn chant version, some lounge thing, and one for the opium lounge).

But I think I have yet to hear a decent cover or remix of a track from a rock opera. Take One Night In Bangkok: sexing it up doesn’t help. You just can’t out rock a rock opera. (Really, look for yourself.) It might help that Chess featured a character loosely based on eccentric chess master Bobby Fischer, but rock operas just might be too weird for remixing.

Though…I’d like to be surprised. Perhaps a folk version?

I can, however, appreciate the irony in a sex-laden video for a song that had criticized moral decay. Video may be NSFW.

Not every song Johnny Cash has covered turned to gold (see Personal jesus), but Hurt is magic.

In a piece that will have some people eagerly looking for some Afro Celt Sound System, others singing Where Do They Make Balloons, and some people just shaking their heads, this fellow, apparently standing in his bathroom, introduces us to another guy and his balloon organ. Really. Check this for more homemade organ fun.

Will, Cliff (both above), and I recorded this song in one take in late 1999. Though, calling it a “take” is overstating it. We were beyond silly drunk and lacked any talent for the task, but we had a mic in front of us, a guitar, and a willingness to open our mouths and let something — anything — fly out.

It wasn’t until Will said “This song is called Nukerator” that we knew what we were supposed to be singing about. We’d never sketched any of it out, or even discussed it. This was truly stream of consciousness, so as bad as it is, there’s also something endearing about it (well, at least to us).

Putting together the pieces from that night, we named our ad-hoc band “More Equipment Than Talent.” We’ve tried since to repeat the feat — the ingredients seemed easy enough — but we’ve had little success. Infighting, artistic differences, and a reasonable interest in raising the quality of our work have limited our efforts, but when this song appeared out of the blue the other day while iTunes was on random, I knew it was time to share.

Note: while listening to it last again night to get the lyrics, I realized there are a few lines about school violence that may be offensive to some today. The context, I hope, gives it the correct meaning.

Lyrics:

Will: This song is called Nukerator.

Cliff: No it’s not.

Cliff: What’s with you and f-major 7?

Casey: This is a song about a microwavable instant cook world. We live in this world, this over-abled world.

Casey: We got Cheez Whiz, we’ve got tacos, we got salsa, we got snack cakes, we got pizza feets. We’ve got everything we want.

Cliff: It’s a world of excess.

Casey: And it goes in the microwave and we eat it in five minutes. Cook it on 75% power, just throw it in the nukerator, just cook it now.

Cliff: It’s a world of excess.

Casey: Got pasteurized processed cheese spread.

Cliff: It’s a world of excess.

Casey: I love my bagel bites. My meatless breakfast sandwiches; seven minutes at 75% power

Cliff: It’s a world of excess.

Casey: Microwavable hamburgers, spaghetti, and meatballs.

Cliff: It’s meaningless.

Casey: Microwaveable, inflatable girlfriend.

Cliff: It’s a world of excess.

Casey: A Solitary, confined sort-of-life between the refrigerator, and the microwave, and the Walmart. The Super Walmart with the superstore. The food products, the pasteurized processed cheese spread. the stuff I eat from the microwave after five minutes.

Cliff: It’s meaningless. It’s meaningless

Will: Nukerator. We’re nukrawavable. Nukerator.

Casey: Microwave, my cell phone, my pager. It’s my modern world and I love it.

Cliff: We find it only makes us fat.

Casey: My microwave fries the dynabites, and the cell phone fries my head. And I talk about it all day long. Meaningless

Cliff: It’s a world of excess.

Casey: The average conversation on a cell phone goes like this: Hello, I’m here, I’ll be there later, no, I’m going there next.

Cliff: It’s a world of excess.

Casey: Meanwhile, driving my SUV, I drive through the school house, drive down all the kids, drive down the one with the gun who was gonna kill them all because he couldn’t stand it.

Cliff: Hello, I’m helping your environment. What can I do next?

Casey: I didn’t even realize it because I was on my phone with my counselor, who was fixing my hair. I didn’t understand it. My microwave was broken and my cheeze couldn’t be warmed. Just five minutes at 75% power.

Cliff: I hold no responsibility myself. I only put the responsibility on the head of my counselor. She has it all for herself. I don’t what I’m trying to say, but I don’t have any responsibility today. Will dropped his pick, it’s not his fault. He takes it in his hands. I’ll grab it for him…

Casey: I live in a microwavable, able world. A world of isolation and communication. False pretense, false friendships.

Cliff: Long hair is European, short hair is American.

At this point, Will and I looked at eachother and realized it’d gone too far. Sorry to all that we realized it so late.

drunkmusic, betrunkmusik, music, free mp3s, mp3, more equipment than talent, audio, song, silly, embarrassing, bad, nuke, microwave song, nukerator, drunk, alcohol induced poetry, social commentary, nuclear

I’m one of those guys who almost never actually hears the lyrics to the music that’s playing constantly. Then somebody covers the song in a beautiful-but-ridiculous way, and I finally clue to them.

Example: Tori Amos’ cover of Smells Like Teen Spirit.

Now I hear Alanis’ interpretation of The Black Eyed Peas My Humps, and I realize that, while not meaningless, it’s on par with Lene Alexandra’s current single. Does it make me old to say that bad grammar in lyrics hinders my understanding of them? Here, take a look at the lyrics for Alanis’ version:

I drive these brothers crazy,
I do it on the daily,
They treat me really nicely,
They buy me all these ices.
Dolce & Gabbana,
Fendi and NaDonna
Karan, they be sharin’
All their money got me wearin’ fly

My love, my love, my love, my love
You love my lady lumps,
My hump, my hump, my hump,
My humps they got you,

What you gon’ do with all that junk?
All that junk inside your trunk?
I’ma get, get, get, get, you drunk,
Get you love drunk off my hump.

What you gon’ do with all that ass?
All that ass inside them jeans?
I’m gonna make, make, make, make you scream
Make you scream, make you scream.

They say I’m really sexy,
The boys they wanna sex me.
They always standing next to me,
Always dancing next to me,
Tryin’ a feel my hump, hump.
Lookin’ at my lump, lump.
You can look but you can’t touch it,
If you touch it I’ma start some drama,
You don’t want no drama,
No, no drama, no, no, no drama

My hump, my hump, my hump, my hump,
My hump, my hump, my hump.
My lovely lady lumps
My lovely lady lumps

She’s got me spendin’.
Spendin’ all your money on me and spending time on me.
She’s got me spendin’.
Spendin’ all your money on me, up on me, on me.

What you gon’ do with all that junk?
All that junk inside your trunk?
I’ma get, get, get, get, you drunk,
Get you love drunk off this hump.

What you gon’ do wit all that breast?
All that breast inside that shirt?
I’ma make, make, make, make you work
Make you work, work, make you work.

I wonder if Coverville knows about this? Yep. (Via.)

Alanis Morissette, Black Eyed Peas, My Humps, cover, lyrics, music, music video, silly, video

Steve Jobs’ Thoughts On Music is surprisingly open and frank, almost blog-like, for the man and the company especially know for keeping secrets.

Jobs is addressing complaints about Apple’s “proprietary” DRM used in the iTunes Music Store.

There is no theory of protecting content other than keeping secrets. In other words, even if one uses the most sophisticated cryptographic locks to protect the actual music, one must still “hide” the keys which unlock the music on the user’s computer or portable music player. No one has ever implemented a DRM system that does not depend on such secrets for its operation.

And after offering his view of the situation, he offers three possible futures.

The first alternative is to continue on the current course, with each manufacturer competing freely with their own “top to bottom” proprietary systems for selling, playing and protecting music.

And the case for doing more of the same is pretty clear. Apple’s iPod and iTunes Music Store are successful, and though there are competitors, they’ll have to convince would be buyers to give up their iPods.

The second alternative is for Apple to license its FairPlay DRM technology to current and future competitors with the goal of achieving interoperability between different company’s players and music stores.

And that’s exactly what people have been asking for. It’s hard to know who wants to use a player that’s not an iPod, but there are some things that don’t play on iPods. But…

Apple has concluded that if it licenses FairPlay to others, it can no longer guarantee to protect the music it licenses from the big four music companies. Perhaps this same conclusion contributed to Microsoft’s recent decision to switch their emphasis from an “open” model of licensing their DRM to others to a “closed” model of offering a proprietary music store, proprietary jukebox software and proprietary players.

And finally…

The third alternative is to abolish DRMs entirely.

And how does that work?

In 2006, under 2 billion DRM-protected songs were sold worldwide by online stores, while over 20 billion songs were sold completely DRM-free and unprotected on CDs by the music companies themselves. The music companies sell the vast majority of their music DRM-free, and show no signs of changing this behavior, since the overwhelming majority of their revenues depend on selling CDs which must play in CD players that support no DRM system.

So if the music companies are selling over 90 percent of their music DRM-free, what benefits do they get from selling the remaining small percentage of their music encumbered with a DRM system? There appear to be none. If anything, the technical expertise and overhead required to create, operate and update a DRM system has limited the number of participants selling DRM protected music. If such requirements were removed, the music industry might experience an influx of new companies willing to invest in innovative new stores and players. This can only be seen as a positive by the music companies.

steve jobs, music stores, music digital rights management, music, itunes, itms, ipod, drm, apple

The full text follows:

With the stunning global success of Apple’s iPod music player and iTunes online music store, some have called for Apple to “open” the digital rights management (DRM) system that Apple uses to protect its music against theft, so that music purchased from iTunes can be played on digital devices purchased from other companies, and protected music purchased from other online music stores can play on iPods. Let’s examine the current situation and how we got here, then look at three possible alternatives for the future.

To begin, it is useful to remember that all iPods play music that is free of any DRM and encoded in “open” licensable formats such as MP3 and AAC. iPod users can and do acquire their music from many sources, including CDs they own. Music on CDs can be easily imported into the freely-downloadable iTunes jukebox software which runs on both Macs and Windows PCs, and is automatically encoded into the open AAC or MP3 formats without any DRM. This music can be played on iPods or any other music players that play these open formats.

The rub comes from the music Apple sells on its online iTunes Store. Since Apple does not own or control any music itself, it must license the rights to distribute music from others, primarily the “big four” music companies: Universal, Sony BMG, Warner and EMI. These four companies control the distribution of over 70% of the world’s music. When Apple approached these companies to license their music to distribute legally over the Internet, they were extremely cautious and required Apple to protect their music from being illegally copied. The solution was to create a DRM system, which envelopes each song purchased from the iTunes store in special and secret software so that it cannot be played on unauthorized devices.

Apple was able to negotiate landmark usage rights at the time, which include allowing users to play their DRM protected music on up to 5 computers and on an unlimited number of iPods. Obtaining such rights from the music companies was unprecedented at the time, and even today is unmatched by most other digital music services. However, a key provision of our agreements with the music companies is that if our DRM system is compromised and their music becomes playable on unauthorized devices, we have only a small number of weeks to fix the problem or they can withdraw their entire music catalog from our iTunes store.

To prevent illegal copies, DRM systems must allow only authorized devices to play the protected music. If a copy of a DRM protected song is posted on the Internet, it should not be able to play on a downloader’s computer or portable music device. To achieve this, a DRM system employs secrets. There is no theory of protecting content other than keeping secrets. In other words, even if one uses the most sophisticated cryptographic locks to protect the actual music, one must still “hide” the keys which unlock the music on the user’s computer or portable music player. No one has ever implemented a DRM system that does not depend on such secrets for its operation.

The problem, of course, is that there are many smart people in the world, some with a lot of time on their hands, who love to discover such secrets and publish a way for everyone to get free (and stolen) music. They are often successful in doing just that, so any company trying to protect content using a DRM must frequently update it with new and harder to discover secrets. It is a cat-and-mouse game. Apple’s DRM system is called FairPlay. While we have had a few breaches in FairPlay, we have been able to successfully repair them through updating the iTunes store software, the iTunes jukebox software and software in the iPods themselves. So far we have met our commitments to the music companies to protect their music, and we have given users the most liberal usage rights available in the industry for legally downloaded music.

With this background, let’s now explore three different alternatives for the future.

The first alternative is to continue on the current course, with each manufacturer competing freely with their own “top to bottom” proprietary systems for selling, playing and protecting music. It is a very competitive market, with major global companies making large investments to develop new music players and online music stores. Apple, Microsoft and Sony all compete with proprietary systems. Music purchased from Microsoft’s Zune store will only play on Zune players; music purchased from Sony’s Connect store will only play on Sony’s players; and music purchased from Apple’s iTunes store will only play on iPods. This is the current state of affairs in the industry, and customers are being well served with a continuing stream of innovative products and a wide variety of choices.

Some have argued that once a consumer purchases a body of music from one of the proprietary music stores, they are forever locked into only using music players from that one company. Or, if they buy a specific player, they are locked into buying music only from that company’s music store. Is this true? Let’s look at the data for iPods and the iTunes store – they are the industry’s most popular products and we have accurate data for them. Through the end of 2006, customers purchased a total of 90 million iPods and 2 billion songs from the iTunes store. On average, that’s 22 songs purchased from the iTunes store for each iPod ever sold.

Today’s most popular iPod holds 1000 songs, and research tells us that the average iPod is nearly full.  This means that only 22 out of 1000 songs, or under 3% of the music on the average iPod, is purchased from the iTunes store and protected with a DRM. The remaining 97% of the music is unprotected and playable on any player that can play the open formats.  Its hard to believe that just 3% of the music on the average iPod is enough to lock users into buying only iPods in the future.  And since 97% of the music on the average iPod was not purchased from the iTunes store, iPod users are clearly not locked into the iTunes store to acquire their music.

The second alternative is for Apple to license its FairPlay DRM technology to current and future competitors with the goal of achieving interoperability between different company’s players and music stores. On the surface, this seems like a good idea since it might offer customers increased choice now and in the future. And Apple might benefit by charging a small licensing fee for its FairPlay DRM. However, when we look a bit deeper, problems begin to emerge. The most serious problem is that licensing a DRM involves disclosing some of its secrets to many people in many companies, and history tells us that inevitably these secrets will leak. The Internet has made such leaks far more damaging, since a single leak can be spread worldwide in less than a minute. Such leaks can rapidly result in software programs available as free downloads on the Internet which will disable the DRM protection so that formerly protected songs can be played on unauthorized players.

An equally serious problem is how to quickly repair the damage caused by such a leak. A successful repair will likely involve enhancing the music store software, the music jukebox software, and the software in the players with new secrets, then transferring this updated software into the tens (or hundreds) of millions of Macs, Windows PCs and players already in use. This must all be done quickly and in a very coordinated way. Such an undertaking is very difficult when just one company controls all of the pieces. It is near impossible if multiple companies control separate pieces of the puzzle, and all of them must quickly act in concert to repair the damage from a leak.

Apple has concluded that if it licenses FairPlay to others, it can no longer guarantee to protect the music it licenses from the big four music companies. Perhaps this same conclusion contributed to Microsoft’s recent decision to switch their emphasis from an “open” model of licensing their DRM to others to a “closed” model of offering a proprietary music store, proprietary jukebox software and proprietary players.

The third alternative is to abolish DRMs entirely. Imagine a world where every online store sells DRM-free music encoded in open licensable formats. In such a world, any player can play music purchased from any store, and any store can sell music which is playable on all players. This is clearly the best alternative for consumers, and Apple would embrace it in a heartbeat. If the big four music companies would license Apple their music without the requirement that it be protected with a DRM, we would switch to selling only DRM-free music on our iTunes store. Every iPod ever made will play this DRM-free music.

Why would the big four music companies agree to let Apple and others distribute their music without using DRM systems to protect it? The simplest answer is because DRMs haven’t worked, and may never work, to halt music piracy. Though the big four music companies require that all their music sold online be protected with DRMs, these same music companies continue to sell billions of CDs a year which contain completely unprotected music. That’s right! No DRM system was ever developed for the CD, so all the music distributed on CDs can be easily uploaded to the Internet, then (illegally) downloaded and played on any computer or player.

In 2006, under 2 billion DRM-protected songs were sold worldwide by online stores, while over 20 billion songs were sold completely DRM-free  and unprotected on CDs by the music companies themselves. The music companies sell the vast majority of their music DRM-free, and show no signs of changing this behavior, since the overwhelming majority of their revenues depend on selling CDs which must play in CD players that support no DRM system.

So if the music companies are selling over 90 percent of their music DRM-free, what benefits do they get from selling the remaining small percentage of their music encumbered with a DRM system? There appear to be none. If anything, the technical expertise and overhead required to create, operate and update a DRM system has limited the number of participants selling DRM protected music. If such requirements were removed, the music industry might experience an influx of new companies willing to invest in innovative new stores and players. This can only be seen as a positive by the music companies.

Much of the concern over DRM systems has arisen in European countries.  Perhaps those unhappy with the current situation should redirect their energies towards persuading the music companies to sell their music DRM-free.  For Europeans, two and a half of the big four music companies are located right in their backyard.  The largest, Universal, is 100% owned by Vivendi, a French company.  EMI is a British company, and Sony BMG is 50% owned by Bertelsmann, a German company.  Convincing them to license their music to Apple and others DRM-free will create a truly interoperable music marketplace.  Apple will embrace this wholeheartedly.

The above circulated a while ago, but I post it today to recognize this special ALA Midwinter edition of Casual Fridays. And while I’m not suggesting libraries will or should become 21st century dance halls, Lichen’s title, “1.0 -> 2.0, the video” has some resonance here.

And on the theme of music videos that tell stories comes Miranda’s Yo Te Dire, which I like both because it’s funny and because I’m instantly attracted to foreign pop culture.

miranda, music videos, yo te dire, cascada, every time we touch, music, video, ala midwinter, libraries, lib20, library 2.0

Props to Tim for offering linking me to a remix of Feist’s Mushaboom. I like the original better, but, well, I’m also a fan of remixes.

feist, free, mp3, mushaboom, music, remix

While looking up Bonobo — who is soon to have a new album out — I discovered not only some videos of his tunes, but also a path leading to videos from other Nijna Tune artists, including this goodie from Kid Koala.

electronica, fender bender, Kid Koala, music, video

Richard Cheese’s lounge-core renditions of pop favorites (and some not-so-favorites) have been cracking me up every time they chime into the mix on random, but I didn’t know what the guy looked like until I spied Beatnikside’s photo of the man in among his Vegas people set.

“Cheese,” of course, is a pseudonym for LA comedian Mark Jonathan Davis, who’s been performing with a band of cheese-named musicians since 2000. His five albums are available on iTunes and at Amazon.

comedy, lounge, lounge against the machine, lounge core, music, parody, richard cheese

The music has been on random for weeks now, but 33.3’s “Joanne Will,” from Plays Music played this afternoon as soundtrack to the summer rains. Brent Sirota may struggle to tell us how bad it is (while also giving it a 4.5 rating), but this “easier to listen to jazzy than to listen to jazz” turned out to be the perfect accompaniment for the ballet of raindrops and splashes just out of reach from my seat on the porch.

“Three” and “Quilted Giraffe” and a couple more tracks are downloadable from aesthetics, the band’s label, but don’t go looking for new works, as the band has been broken up for a while.

33.3, free mp3s, jazzy, music, rain, summer, thirty three point three

Today’s terms
tags: , concert, music, political criticism, politics, show, the sun, they might be giants, tmbg
echo through pine walls
stretch sun along desire’s coast

They Might Be Giants, playing at Mohegan Sun, drew roars of approval from the crowd when John Flansburgh went off-lyric sheet during The Sun (which they amusingly described as part of their Venue Songs series):

…The heat and light of the sun are caused by nuclear reactions between a failed foreign policy, a failed domestic policy, and a failed presidency…

I’ve not known TMBG to be at all political, just smart. But then, the past six years have awoken a lot of people to outrage. Take note of Call Connected Thru The NSA, a free download from the They Might Be Giants music store.

Don’t forget: TMBG as a podcast. This show is said to be released as a later episode of the podcast.

concert, music, political criticism, politics, show, The Sun, They Might Be Giants, tmbg

I just bought Whiskey Blanket’s It’s Warmer Down Here (2004) on the basis of a few tracks they offered on MySpace.

It’s hip hop, socially critical hip hop (crit hop?), set atop a well constructed downtempo trip hop music bed (yeah, I’ll cut it with the hops already). It immediately brought to mind MC 900 Ft. Jesus’s The City Sleeps and other tracks, but with better, sharper raps and without the MC’s somewhat whiny voice.

Land of the Free stands atop a woody-sounding synth asking us who or what we’re willing to die for, while Cultivation hooks us with a cello trick while speaking of economic and political inequality. What’s the rest of the album hold? I’m looking forward to finding out.

Looks like WHisky Blanket’s performing Saturday night in Boulder, so close and yet so far away from my conference in Denver.

Top photo by Sarah Cass.

boulder, boulder co, colorado, crit hop, cultivation, free mp3, hip hop, land of the free, mp3, music, politics, rap, social criticism, trip hop, whisky blanket

Other than the notion that I heard it on a KCRW music show, I couldn’t put my finger on the tune weaving through my head. So I listened, and listened carefully, waiting to hear it again. Eventually I learned the earworm was Gnarls Barkley’s Crazy (thanks to Molly for the mp3 download link).

The group, a collaboration between DJ Danger Mouse (of The Grey Album infamy) and Cee-Lo, released the single on MySpace and created a new instant sensation in late March. A BBC News story of 02 April claims the duo’s tune had already been downloaded 31,000 times from a variety of sites — qualifying it as a number one hit in the UK. With the single now available on CD, retailers are hoping to catch a piece of that action, with an HMV spokesman saying the album will likely be the year’s biggest seller.

Thanks again to a good tip from Ryan, I’ve get something new to laugh at: The Aural Times.

Aural Times, music, news, podcast, singing news, The Aural Times, The Times

Ryan sent along a link to Flight of the Concords‘ Business Time last week and I’m still laughing over it. With some exploring at a fansite, What the Folk!, I dug up a trove of other amusements, including She’s So Hot Boom.

For more info, I turned (as usual) to the Wikipedia article. And if I had HBO, I could have caught a repeat of them on One Night Stand this past Wednesday. But alas, no.

bret mckenzie, comedy, flight of the conchords, folk, fotc, free mp3s, funny, jemaine clement, music, New Zealanders

The Willie Mae Rock Camp For Girls: just another example of why New York is cooler than New Hampshire. Photo by Rocco Kasby, performance by the Pink Slips.

Yet again, a tip of the hat to Ryan Eby for the pointer.

Willie Mae Rock Camp For Girls , Rock Camp, Rock Camp For Girls, Willie Mae Rock Camp, music, music instruction, new york, rock, summer camp, youth camp