RIP every Office Manager at San Francisco Chronicle 1988-2001

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41 years later, and this song still hits just as hard as it did on day one. ✨

Marc Bolan – Circus Cover Feature (October 1972) Marc Bolan appeared on the cover of the October 1972 issue of Circus magazine as T. Rex's latest album, The Slider, continued to build the band's reputation in America. The cover promoted a feature on T. Rex alongside stories on Alice Cooper, Chicago, Long John Silver, Grace Slick and Black Sabbath. Published during the height of T. Rextasy, the issue reflected Bolan's growing international profile beyond the UK.

9 year old me watched this live ..50 years ago

Same Frames. Different Walk. Speed Matters. The speed at which the Patterson-Gimlin Film is played changes how we perceive Patty’s gait. At roughly 16 to 18 frames per second the walk is slower and has long been described by analysts as less human-like in several respects. At 24 frames per second the same frames produce a brisker motion that looks more human. This is far from a recent observation and yet many people have never heard of it. The question of the correct camera speed has been examined since the early 1970s. René Dahinden noted that the earlier horse footage looks unnaturally jerky when projected at 24 fps and that people attempting to cover the same ground at the film site could not do so in the time required by a 24 fps rate. Grover Krantz and Igor Bourtsev synchronized the regular bounces in the opening portion of the film with Patterson’s known height and running approach; at 24 fps the cadence becomes implausibly rapid. John Napier observed that at 24 fps the walk is difficult to distinguish from a normal human walk, while at 16 or 18 fps it differs in important respects. Bill Munns later added technical detail on the Kodak K-100 itself, including reports that some of these cameras ran closer to 18 fps even when the dial was set to 16, and he has consistently treated the 16 to 18 fps range as the realistic one for analysis. Patterson’s camera had a continuously variable speed dial marked at 16, 24, 32, and higher, with no click stops. He did not record the setting on the day of filming. He later told John Green that the camera was on 18 when he next checked it. Absolute certainty is impossible without a contemporaneous note of the dial position, but the converging lines of evidence — camera behavior, the appearance of the horse footage, the bounce analysis, and the on-site timing tests — favor the slower rate. A digital scan does not settle the question. The scan produces a sequence of frames; those frames can be played back at 16 to 18 fps or at the more common 24 fps video default. Most widely circulated versions of the film, from television transfers to older DVDs to many online clips, have long used something closer to the faster rate. Viewers therefore often first encounter the version in which the gait looks more human. The difference is material to arguments about authenticity. Analysts who favor a real subject have pointed to features of the slower playback — stride length relative to height, arm swing, overall cadence — as difficult to reconcile with a man in a 1967-era suit. The faster playback reduces some of that difficulty. So when a project presents new high-resolution material and claims to test the film’s authenticity, the choice of rate is therefore one of the technical decisions that can be examined on its own terms. A recent podcast presentation of a direct 4K scan used the faster rate without remarking on the long-standing distinction. The observation is offered here simply as a current example of how easily the difference can go unaddressed, and as a reminder that both rates remain available for anyone who wants to compare them directly.

Main question that still haunts me: who is the female singer that sings "Come back and make your wife?" Paper Lace - Billy Don't Be a Hero (TOTP 25th December 1974)

Hollywood tem tudo para temer Inteligência artificial

Noddy holder one of the greatest rock voices of all time and Slade one of the greatest rock groups of all time Slade - Coz I Luv You (1971)

Jerry Rice and the San Francisco 49ers drop bars in 1989. Today is Jerry's 64th birthday, so here’s the story behind the video. 🏈🎉🎂 Bay Area native Peter Michael Escovedo, who is the brother of Sheila E. (she’s in the video briefly), wrote and produced the music for the 49ers Rap and also shot the video. Both he and his sister Sheila were raised as 49ers fans in the Bay Area. Here’s a condensed oral history of it. PME: “The year we did that video, they kept winning, and I thought, ‘Man, they’re going to go to the Super Bowl. I would love to direct a music video for them.’ I had a meeting with Roger Craig and told him my idea. He said, ‘Man, that would be great.’ So he ended up calling Jerry Rice and Ronnie Lott.” Most participants have only foggy memories of when and where the 49ers Rap session took place, but some are adamant that it was done at a recording studio in SF, not far from the old Slim’s nightclub. Rice: “I’m not a rapper or an entertainer. It was fun but tough. Sheila E. and them were in there trying to help. The most important thing was: you didn’t want to make yourself look stupid. It just took a while. You just had to go with it.” PME: “I wrote the song, and I’m teaching them line by line. So it’s, ‘Hey, my name is Jerry Rice / Please don’t try to guard me or you’ll pay the price.’ ‘OK, stop right there! Say that same thing!’ Then I’d film it, and then I’d get the next line. So we just pieced it together.” Then there was the matter of getting them to perform for the camera. The 49ers were encouraged to ham it up on set so that Peter had some footage for the video. That meant lots of bold fashion choices and questionable dancing. PME: “I don’t think there was any time for outtakes. We used every single bit of footage we had, even the bad.” It helped that there was a genuine star on set, Sheila E. She didn’t sing on the track, but she joined her brother in coaching during the session. In the quest to liven up the footage, Peter choreographed a scene in which the 49ers players lined up on their knees as Sheila E. emerged from the crowd. But the resulting image lasts only a second, and her face is obscured by graphics. To this day nobody is sure about what happened to the master tapes. source music & footage 🎹🎥: Peter Michael Escovedo

The Beatles’ “In My Life (Take 1)” from the Rubber Soul reissue is absolutely stunning

oh yes, these were the good old days, when all musicians looked like young doctors Unit 4 + 2 - Concrete And Clay

I've watched this 20 times and I still can't believe what I'm seeing . 🤣🤣🤣 Tom Jones Sloop John B

Mike Evans checking to see who was talking to him might be the most GOAT’d thing I’ve ever seen

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Van Brocklin with a heater, white socks, short sleeve and tie, cajoling, dressing down, joking, instructing, demanding, motivating - anything it takes to win.

Two Minutes. One Take. Nothing to Hide! Recorded in December 1964, this extraordinary two-minute performance was captured in a single, unedited take—no flashy cuts, no Auto-Tune, no digital polish. Just the artist, the camera, and a moment that had to be perfect in real time. Every breath, glance, and note was exposed. Behind those effortless two minutes were millions of rehearsals and enormous pressure: one mistake could mean starting all over again. That is what makes this footage so powerful. In an age of filters and endless editing, its raw honesty still feels remarkable intimate. Sometimes, the most timeless performances are the ones with nothing to hide.

I wasn’t even there and I still wanna refund

Mike Ditka made a golf etiquette video that’s 5% about fixing your ball marks and 95% about how you need to hurry your ass up because you’re holding up the whole damn course! (paraphrasing)