“When the deep purple falls over sleepy garden walls
And the stars begin to flicker in the sky
Through the mist of a memory you wander back to me
Breathing my name with a sigh
In the still of the night once again I hold you tight
Though you’re gone, your love lives on when moonlight beams
And as long as my heart will beat, lover we’ll always meet
Here in my deep purple dreams
Here in my deep purple dreams”
The song was written by the composer and radio performer Peter De Rose in the early 1930s, and it became a standard when the lyricist Mitchell Parish added words to it in 1938. Parish was known for sweeping, romantic lyrics – some of his other compositions include “Stardust” and “Sophisticated Lady” – and he turned the song into a touching ballad. The song was recorded by a number of orchestras, including those led by Artie Shaw, Paul Whiteman, Guy Lombardo and Larry Clinton. In 1939, it was a #1 hit for Larry McClinton and His orchestra.
Many popular vocalists also recorded it, including Frank Sinatra, Ella Fitzgerald, and Sammy Davis Jr. In the Rock Era, the song charted first when Billy Ward & His Dominoes took it to #20 US in 1957 (their last crossover Top 40 hit). Tempo and Stevens had by far the biggest hit with the song, but Donny & Marie Osmond returned it to the charts in 1976 when their version hit #14 in the US.
Nino was supposed to sing the second chorus by himself, but he “blanked out,” so April fed it to him line by line as the tape was rolling. A friend listening to the recording thought that April’s “narration” would make “Deep Purple” a #1 record… but not Nino, initially – April took two months to convince him that the narration was OK. Ertegun didn’t like “Deep Purple,” either – he mothballed it and released “Paradise” instead. “Paradise” sank without a trace.
Nino demanded that Ertegun release “Deep Purple” as a single or release them from their contract from Atlantic Records. Ertegun agreed to the single release, stating that if “Deep Purple” didn’t become a hit, his and April’s contract would be terminated.
When this song was released as a single, Ahmet Ertegun had so little faith in it that he thought the B-side, “I’ve Been Carrying a Torch for You so Long That I Burned a Great Big Hole in My Heart,” had a better chance of becoming a hit.
Won the Grammy for Best Rock & Roll Recording of 1963.
I ask for prayers for myself (and my wife) tomorrow morning. I go in for another heart cath in hopes of finding the cause for my lingering angina (18 months post triple bypass). Been a rough road to recovery and am confident I have the right cardiologist for the job.
PEACE OUT ††† jw
“Photography takes an instant out of time, altering life by holding it still.”
– Dorothea Lange
Ah the fun that an old man can have with the simplicity of a small piece of an already beautiful thing. How light reflects, creates shadows, small valleys and rises. The color, already vibrant, can be made to seem to make a solid into transparency. All with the simplicity of a bloom and a small maglite. Add the fact that in can all be done within the comfort of eighty degrees when it’s 101 outside.
It somehow seems a bit of cheating the mindful practice, using artificial means to achieve what used to take hours of waiting until the natural light became what you needed or wanted. I long to be of the nature like Ansel Adams. I had read of the lengths that Mr Adams would go (or wait) for the images to form to his liking. But then I read his description of the making of his haunting image: Moonrise over Espanola.
From Ansel Adams, in Examples:
“We were sailing southward along the highway not far from Espanola(NM) when I glanced to the left and saw an extraordinary situation—an inevitable photograph! I almost ditched the car and rushed to set up my 8×10 camera. I was yelling to my companions to bring me things from the car as I struggled to change components on my Cooke Triple-Convertible lens. I had a clear visualization of the image I wanted, but when the Wratten No. 15 (G) filter and the film holder were in place, I could not find my Weston exposure meter! The situation was desperate: the low sun was trailing the edge of the clouds in the west, and shadow would soon dim the white crosses.
I was at a loss with the subject luminance values, and I confess I was thinking about bracketing several exposures, when I suddenly realized that I knew the luminance of the moon—250 c/ft2. Using the Exposure Formula, I placed this luminance on Zone VII; 60 c/ft2 therefore fell on Zone V, and the exposure with the filter factor o 3x was about 1 second at f/32 with ASA 64 film. I had no idea what the value of the foreground was, but I hoped it barely fell within the exposure scale. Not wanting to take chances, I indicated a water-bath development for the negative.”
Realizing as I released the shutter that I had an unusual photograph which deserved a duplicate negative, I swiftly reversed the film holder, but as I pulled the darkslide the sunlight passed from the white crosses; I was a few seconds too late!”
Please do not think that I am comparing myself to “Da Man”, other than we both use the same tool (of sorts), the likeness fades like an under-fixed print…..Peace Out †††
“WE BUILD TOO MANY BRIDGES AND NOT ENOUGH WALLS.” Isaac Newton…..
While it is using some old images, I’ve been playing with the magic powers of Photoshop CS6. Working on finding a new route eventual into collage and multi-medium creations. Taking an online course with Kelly Rae Roberts,(http://www.kellyraeroberts.com/) who just does some blow me away work and trying to find new avenues to travel.“
“I get symptoms . . . I’ll start to get in trouble . . . When you don’t do your work, vices start to creep into your life—and they get worse and worse and worse. They start out with potato chips and wind up with crack smoking or something like that.” Steven Pressfield. (http://www.stevenpressfield.com)
Find you path! monos en theos
I am always reading of the artist that had their creative nature snuffed at an early age by well meaning adults. I was fortunate to have two grandparents that were artists. They even both had separate studios in their home.
It was always a grand adventure to wander about their tools. The tubes, palette knifes, brushes of all sizes and shapes. It always made me wonder why my watercolor paint kit for school was so limited with the one brush and only eight colors.
I was encouraged to slop paint and to attempt to create the visions that danced in my imagination. My canvases never reflected the beauty that their hearts could move hands to create the beauty that lived in their hearts.
Yet, I was always told it was okay that my paintings did not look like theirs. We were all different and so we laid down paint differently. What love and encouragement I was shown and given.
Now I have photoshop and the best wonder of it is that using it always brings back the fun I had as a child. It is such fun to press a few keys and pretend I have the talent of my loving Grandparents: James Wesley and Grace.
Create YOUR art in YOUR image…†…monos en theos…jim
I haven’t a clue what the meaning behind this image is. I had this old wrench of my granddads’, a rusty metal sheet that I love to use as a background. And then there is the egg. I wish I had some artsy fartsy lingo to explain away my madness, but I don’t. That is where I fail as an artist, or maybe not. So enjoy it if you like it, otherwise fix yourself some egg salad.
cheers from a goof ball………nada da turbe…jim