This is a traditional West Indies tune about a sunken boat. It was adapted in 1951 by Lee Hays of the Weavers (as “The John B Sails”) and revived in 1960 by Lonnie Donegan.
This was the biggest hit from The Beach Boys landmark album Pet Sounds. The album’s origin was basically Brian Wilson, and he got the title when Beach Boy Mike Love suggested the album had Brian’s “pet” sounds or his favorite sounds. To keep the animal theme, Wilson put some barking dogs on the album.
Al Jardine on Pet Sounds: Mike Love was very confused … Mike’s a formula hound – if it doesn’t have a hook in it, if he can’t hear a hook in it, he doesn’t want to know about it. … I wasn’t exactly thrilled with the change, but I grew to really appreciate it as soon as we started to work on it. It wasn’t like anything we’d heard before.”
The song peaked at #3 in the Billboard 100, #2 in Canada, #1 in New Zealand, and #2 in the Uk in 1966.
From Songfacts
The Beach Boys’ folk music buff, Al Jardine, turned Brian Wilson onto the Kingston Trio’s recording of the song. For their updated version, Wilson added elaborate vocals and a 12-string guitar part. He also changed some of the lyrics, including “This is the worst trip since I’ve been born” to “…I’ve ever been on” as a wink to acid culture.
The song was popularized by The Kingston Trio, who adapted it from a version in poet Carl Sandburg’s 1927 songbook The American Songbag. The Kingston Trio’s version stays true to the song’s Calypso roots, and was released on their first album in 1958. Eight years later, The Beach Boys changed the title to “Sloop John B,” and came away with a hit. Their debt to The Kingston Trio goes far beyond this song: The Beach Boys adopted the group’s striped, short-sleeved shirts and wholesome persona as well.
With Wilson at the controls, the album was recorded at United Western Recorders in Los Angeles, in the studio known as “Western 3.” Wilson coaxed a big sound out of the little room, which measured just 14′ x 34′.
Brian Wilson hired 13 musicians to record this song on a midnight – 3 a.m. session on July 12, 1965. The session players packed into United Western Recorders in Los Angeles that night were:
Hal Blaine (drums) Carol Kaye (electric bass) Al De Lory (keyboards) Al Casey (guitar) Lyle Ritz (upright bass) Billy Strange (guitar) Jerry Cole (guitar) Frank Capp (Glockenspiel) Jay Migliori (clarinet) Steve Douglas and Jim Horn (flutes) Jack Nimitz (sax) Charles Britz (engineer)
Billy Strange did some guitar overdubs at another session on December 29, 1965.
According to pop historian Joseph Murrells, this was the Beach Boys’ fastest selling record to date – over 500,000 within two weeks in the US alone.
Sloop John B
We come on the Sloop John B My grandfather and me Around Nassau town we did roam Drinking all night Got into a fight Well I feel so broke up I want to go home
So hoist up the John B’s sail See how the main sail sets Call for the Captain ashore Let me go home, let me go home I want to go home, yeah yeah Well I feel so broke up I want to go home
The first mate he got drunk And broke in the Cap’n’s trunk The constable had to come and take him away Sheriff John Stone Why don’t you leave me alone, yeah yeah Well I feel so broke up, I want to go home
So hoist up the John B’s sail See how the main sail sets Call for the Captain ashore Let me go home, let me go home I want to go home, let me go home Why don’t you let me go home (Hoist up the John B’s sail) Hoist up the John B I feel so broke up I want to go home Let me go home
The poor cook he caught the fits And threw away all my grits And then he took and he ate up all of my corn Let me go home Why don’t they let me go home This is the worst trip I’ve ever been on
So hoist up the John B’s sail See how the main sail sets Call for the Captain ashore Let me go home, let me go home I want to go home, let me go home Why don’t you let me go home
The song really kicks in when John Bonham enters. The song was released as the B side to Black Dog. Misty Mountain Hop didn’t chart but Black Dog did peak at #15 in the Billboard 100 in 1972. Led Zeppelin didn’t like releasing singles and only had 10 songs in the Billboard 100. They wanted fans to buy the complete album and listen to it in context with the other songs.
Led Zeppelin wrote and recorded this at Headley Grange, a mansion with a recording studio in Hampshire, England, where the band sometimes lived. Jimmy Page wrote the song one night while the rest of the band was sleeping.
The song was off the classic Let Zeppelin IV album that was also known as ZoSo, Ruins, 4 Symbols, and Untitled.
This song was about a love-in happening near London that the police came and broke up. Robert Plant said : “It’s about a bunch of hippies getting busted, about the problems you can come across when you have a simple walk in the park on a nice sunny afternoon. In England, it’s understandable, because wherever you go to enjoy yourself, ‘Big Brother’ is not far behind.”
From Songfacts
The Misty Mountains are in Wales. They are referred to in J.R.R. Tolkien’s The Return Of The King. Plant is a big fan of Tolkien and used references to the Lord Of The Rings series from time to time.
This begins with John Paul Jones playing electric piano.
Robert Plant found himself drawn to Wales and eventually settled in Worcestershire, England, near the Welsh border. “I missed the misty mountains – the wet Welsh climate,” he told Rolling Stone in 2017. “I like weather people run away from.”
The band performed this at the Atlantic Records 40th anniversary concert in 1988 with Jason Bonham sitting in on drums for his late father. They played it again with Jason at the 21st birthday party for Robert Plant’s daughter Carmen, and again in 2007 at a London benefit concert for the Ahmet Ertegun education fund.
The 4 Non Blondes recorded this for the 1995 Led Zeppelin tribute album Encomium. It was one of the last songs 4 Non Blondes recorded. They broke up while they were recording their second album.
Misty Mountain Hop
Walkin’ in the park just the other day Baby What do you what do you think I saw? Crowds of people sittin’ on the grass with flowers in their hair said “Hey Boy do you want to score?”
And you know how it is; I really don’t know what time it was woh oh So I asked them if I could stay awhile. I didn’t notice but it had got very dark and I was really
Really out of my mind. Just then a policeman stepped up to me and asked us said, “Please, hey, would we care to all get in line, Get in line.”
Well you know, They asked us to stay for tea and have some fun, Oh, oh, he said that his friends would all drop by, ooh. Why don’t you take a good look at yourself and describe what you see,
And Baby, Baby, Baby, do you like it? There you sit, sitting spare like a book on a shelf rustin’ Ah, not trying to fight it. You really don’t care if they’re coming, oh, oh,
I know that it’s all a state of mind, ooh. If you go down in the streets today, Baby, you better, You better open your eyes. Folk down there really don’t care, really don’t care,
Don’t care, really don’t Which, which way the pressure lies, So I’ve decided what I’m gonna do now. So I’m packing my bags for the Misty Mountains
Where the spirits go now, Over the hills where the spirits fly, ooh, I really don’t know.
This song was on arguably McCartney’s best album Band On The Run. It didn’t chart but it was released as the B side to the song Band on Run but it was played quite a bit on radio. One of my favorite McCartney album tracks.
Nineteen Hundred And Eighty-Five was never performed live by Wings, and only became part of McCartney’s live set in 2010.
Paul McCartney: With a lot of songs I do, the first line is it. It’s all in the first line, and then you have to go on and write the second line. With Eleanor Rigby I had ‘picks up the rice in the church where the wedding has been.’ that was the one big line that started me off on it. With this one it was ‘No one ever left alive in nineteen hundred and eighty-five.” That’s all I had of that song for months. ”No one ever left alive in nineteen hundred and eighty… six?’ It wouldn’t have worked!
Nineteen Hundred and Eighty-Five
On no one left alive in 1985, will ever do She may be right She may be fine She may get love but she won’t get mine ‘Cause I got you Oh, oh I, oh oh I
Well I just can’t enough of that sweet stuff My little lady gets behind (Shake it, baby, don’t break it)
Oh my mama said the time would come When I would find myself in, love with you I didn’t think I never dreamed That I would be around, to see it all come true Whoa oh oh I, oh oh I
Well I just can’t get enough of that sweet stuff My little lady gets behind
Ah no one left alive in 1985, will ever do She may be right She may be fine She may get love but she won’t get mine ‘Cause I got you Oh oh I, oh oh I
Well I just can’t get enough of that sweet stuff My little lady left behind
I could write pages on this show but I’ll keep it short.
I’ve covered a lot of cartoons but this one is special. This Simpsons is probably my favorite of all time. It has influenced countless TV shows. This show appealed to young and older audiences alike.
The Simpsons was created by Matt Groening, who thought of the idea for the Simpsons in the lobby of James L. Brooks’s office. He named the characters after his own family members, substituting “Bart” for his own name. The family debuted as shorts on The Tracey Ullman Show on April 19, 1987. In 1989, the shorts were spun off into the series The Simpsons which debuted on December 17, 1989.
The family members’ animated bodies have changed shape a bit since, but they have not aged much, aside from shows that looked into characters’ futures. In fact, most people would agree that Matt Groening’s goofy humor hasn’t gotten old either.
The town of Springfield has a cast of characters that really made the show. You get to know them weekly from Mr. Burns, Ned Flanders, Disco Stu, Barney Gumble, Krusty the Clown, Moe Szyslak, Marge, Lisa, and the list goes on.
Other shows such as Family Guy, American Dad, and South Park were influenced by The Simpsons but they are cruder and use more shock value. Nothing wrong with that but I always thought the Simpsons was more clever. The two cartoons that I have really liked since the Simpsons started are King of the Hill and Futurama, the later also created by Groening.
In the early stages, the show revolved around the young Bart Simpson’s trouble-causing antics, making it appeal to a younger crowd. Over the years, however, the writers, which have included Conan O’Brien, found viewers responded more to the father figure Homer Simpson, and he became the show’s main character.
In 2007, the family finally made its way to theaters in the Simpsons Movie.
The Simpsons have ran for 31 seasons and nearly 700 episodes (676 as of this writing). The show is the longest-running scripted series in TV history.
A few of the Catchphrases that have worked into our everyday life.
This very well may be the very first Punk record. The simple riff was raw and cutting and like Louie, Louie and Wild Thing…became a staple of garage bands forever. This song was the first hit for The Kinks. Before releasing it, they put out two singles that flopped: a cover of “Long Tall Sally” and a Ray Davis composition called “You Still Want Me.”
The sound of the guitar was revolutionary. Dave Davies got the dirty guitar sound by slashing the speaker cone on his amplifier with a razor blade. The vibration of the fabric produced an effect known as “fuzz,” which became common as various electronic devices were invented to distort the sound. At the time, none of these devices were available to Dave, so Davies would mistreat his amp to get the desired sound, often kicking it.
Ray Davies wrote this with the intention of making it a big crowd-pleaser for their live shows. He was trying to write something similar to “Louie Louie,” which was a big hit for The Kingsmen.
The song peaked at #7 in the Billboard 100 and #1 in the UK in 1964.
From Songfacts
Kinks frontman Ray Davies wrote the lyric to this rambunctious rocker after watching girls dancing in a club. It’s not the most articulate lyric, but that’s the point: The guy in the song is so infatuated, all he can do is mutter at the girl how she’s really got him.
In 2015, he told Rolling Stone: “I just remembered this one girl dancing. Sometimes you’re so overwhelmed by the presence of another person and you can’t put two words together.”
Davies expanded on the song’s inspiration during a 2016 interview with Q magazine: “I was playing a gig at a club in Piccadilly and there was a young girl in the audience who I really liked. She had beautiful lips. Thin, but not skinny. A bit similar to Françoise Hardy. Not long hair, but down to about there (points to shoulders). Long enough to put your hands through… (drifts off, wistfully)… long enough to hold. I wrote ‘You Really Got Me’ for her, even though I never met her.”
According to Dave, the amp slashing happened in his bedroom in North London when he was irate – he had gotten his girlfriend, Sue Sheehan, pregnant, and their parents wanted to keep them from getting married. Instead of doing self harm, he used the blade on the amp to channel his rage. The amp was a cheap unit called an Elpico that had been giving him problems – he decided to teach it a lesson!
In the studio, the wounded Elpico was hooked into a another amp, which Dave recalls as a Vox AC30 and producer Shel Talmy remembers as a Vox AC10. The sound they got changed the course of rock history, becoming the first big hit to use distortion.
Davies and Sheehan stayed apart, but she had the baby, a girl named Tracey who finally met her father until 1993.
If “You Really Got Me” didn’t sell, there was a good chance their record label would have dropped them, but the song gave them the hit they were looking for. Soon they were making TV appearances, gracing magazine covers, and playing on bills with The Beatles as an opening act. They didn’t have an album out when the song took off, so they rushed one out to capitalize on the demand. This first, self-titled album has just five originals, with the rest being R&B covers – standard practice at the time for British Invasion bands.
The Kinks recorded a slower version with a blues feel on their first attempt, but hated the results. Ray Davies thought it came out clean and sterile, when he wanted it to capture the energy of their live shows. Dave Davies’ girlfriend backed them up, saying it didn’t make her want to “drop her knickers.”
The Kinks’ record company had no interest in letting them re-record the song, but due to a technicality in their contract, they were able to withhold the song until they could do it again. At the second session, Dave Davies used his slashed amp and Talmy produced it to get the desired live sound. This is the version that was released. Talmy liked the original: He claimed it would also have been a hit if it was released.
Ray Davies came up with famous riff on the piano at the family home. He played it for Dave, who transposed it to guitar. Their first version was 6-minutes long, but the final single release came in at just 2:20.
The first line was originally “you, you really got me going.” Ray Davies changed it to “girl, you really got me going” at the suggestion of one of their advisers. The idea was to appeal to the teenage girls in their audience.
The final version of the song was recorded in July 1964, with Ray Davies on lead vocals, Dave Davies on guitar, and Pete Quaife on bass.
The Kinks didn’t have a drummer when they first recorded the song a month earlier, so producer Shel Talmy brought in a session musician named Bobby Graham to play. When they recorded it the second time in July, Mick Avory had joined the band as their drummer, but Talmy didn’t trust him and made him play tambourine while Graham played drums. A session musician named Arthur Greenslade played piano, and Jon Lord, years before he became a member of Deep Purple, claimed he played keyboards. Lord recalled with a laugh to The Leicester Mercury in 2000: “All I did was plink, plink, plink. It wasn’t hard.”
Released in the UK on August 4, 1964, “You Really Got Me” climbed to #1 on September 16, where it stayed for two weeks. In America, it was released in September and reached a peak of #7 in November.
Ray Davies is the only songwriter credited on this track, even though his brother Dave came up with the signature guitar sound. This was one of many friction points for the brothers, who are near the top of any list of the most combative siblings in rock. When they recorded the song, Ray was 22 and Dave was 17.
Shel Talmy, who produced this track, came to England from California and brought many American recording techniques with him. To get the loud guitar sound on “You Really Got Me,” he recorded the guitar on two channels, one with distortion, the other without. When combined in the mix, the result was a loud, gritty sound that popped when it came on the radio.
“I was using some techniques I worked out on how to get a raunchier sound with distortion,” Talmy said in a Songfacts interview. “It wasn’t that difficult because I had done it before in America.”
Talmy added: “It helped that Dave was as good as he was, and that he was quite happy to listen.”
Talmy later produced the first album for The Who, My Generation.
It was rumored that Jimmy Page, who was a session musician at the time, played guitar on this track, which the band stridently denied. According to producer Shel Talmy, Page didn’t play on this song but did play rhythm guitar on some album tracks because Ray Davies didn’t want to sing and play guitar at the same time.
Ray Davies took pains to make sure we could understand the words. “I made a conscious effort to make my voice sound pure and I sang the words as clearly as the music would allow,” he said.
A 1978 cover of this song was the first single for Van Halen, who played lots of Kinks songs in their early years doing club shows. Eddie Van Halen spent the next several years developing new guitar riffs, and like Davies, was known to manipulate his equipment to get just the right sound.
The powerful rhythm guitar riff was very influential on other British groups. The Rolling Stones recorded “Satisfaction,” which was driven by the rhythm guitar, a year later.
According to Ray Davies, there was a great deal of jealousy among their peers when The Kinks came up with this song. He said in a 1981 interview with Creem: “There were a lot of groups going around at the time – the Yardbirds, the Kinks, the Rolling Stones – and nobody had really cracked with a sort of R&B #1 record. The songs were always sort of like The Beatles. When we first wanted to do a record, we couldn’t get a recording gig. We were turned down by Decca, Parlophone, EMI and even Brian Epstein came to see us play and turned us down. So I started writing songs like ‘You Really Got Me,’ and I think there was a sheer jealousy that we did it first. Because we weren’t a great group – untidy – and we were considered maybe a bit of a joke. But for some reason, I’d just had dinner, shepherd’s pie, at my sister’s house, and I sat down at the piano and played da, da, da, da, da. The funny thing is it was influenced by Mose Allison more than anybody else. And I think there was a lot of bad feeling. I remember we went to clubs like the Marquee, and those bands wouldn’t talk to us because we did it first.”
The Kinks’ next single was “All Day And All Of The Night,” which was basically a re-write of this song, but was also a hit.
In a Rolling Stone interview, Ray said that they “evolved” the sound by putting knitting needles in the speakers when recording this song. That statement prompted a rebuttal from his brother Dave, who wrote in to explain: “I alone created the guitar sound for the song with my Elpico amp that I bought. I slashed the speaker with a razor blade, which resulted in the ‘You Really Got Me’ tone. There were no knitting needles used in making my guitar sound.”
One of the many things the Davies brothers disagree on is the Van Halen cover. Ray loves it. He told NME it is his favorite Kinks cover. “It was a big hit for them and put them on a career of excess and sent them on the road. So I enjoyed that one.”
Dave Davies is not a fan. He told Rolling Stone: “Our song was working-class people trying to fight back. Their version sounds too easy.”
The Who played this at many of their early concerts. Their first single was “I Can’t Explain,” also produced by Shel Talmy with a sound clearly borrowed from “You Really Got Me,” as Pete Townshend played a dirty guitar riff similar to what Dave Davies’ did.
You Really Got Me
Girl, you really got me goin’ You got me so I don’t know what I’m doin’ now Yeah, you really got me now You got me so I can’t sleep at night
Yeah, you really got me now You got me so I don’t know what I’m doin’ now Oh yeah, you really got me now You got me so I can’t sleep at night
You really got me You really got me You really got me
See, don’t ever set me free I always want to be by your side Girl, you really got me now You got me so I can’t sleep at night
Yeah, you really got me now You got me so I don’t know what I’m doin’ now Oh yeah, you really got me now You got me so I can’t sleep at night
You really got me You really got me You really got me Oh no
See, don’t ever set me free I always want to be by your side Girl, you really got me now You got me so I can’t sleep at night
Yeah, you really got me now You got me so I don’t know what I’m doin’ now Oh yeah, you really got me now You got me so I can’t sleep at night
You really got me You really got me You really got me
I was reading Jeremy in Hong Kong’s post about Negative Visualisation which was really interesting. It made me think of a line in this song “It’s not having what you want It’s wanting what you’ve got.” Check out the post if you can…
The song peaked at #15 in the Billboard 100, #24 in Canada, #19 in New Zealand, and #16 in the UK in 2002.
The song was on the C’mon, C’mon album that peaked at #2 in the Billbord Album Charts. During the Glastonbury Festival in June 2019, Sheryl Crow dedicated the song to Swedish environmental activist Greta Thunberg.
In the video, Sheryl Crow showed off more skin than she ever had before. She also posed provocatively for the cover of Stuff magazine around the time this was released. She said she did it to prove that women over the age of 40 could still be sexy.
Songfacts
Crow’s co-writer, Jeff Trott, came up with the idea for this on a flight from Portland, Oregon, to New York. He told Songfacts: “I’m thinking this is really ironic that I’m leaving Portland being soaked in rain, and I’m actually going to New York to soak up some sun. I’m going to New York to soak up some sun. That’s got a ring to it. That’s kind of cool.
Then I started thinking about the sun, and I started thinking of these Beach Boys-style harmonies. On that five-hour flight, I had come up with the whole song completely in my head, not all the lyrics necessarily. I had a good chunk of the chorus of ‘Soak Up The Sun,’ but I had harmonies and everything all in my head, and I’m just having to scratch it down on a piece of paper.”
As Trott and Crow started working on the song together, they started talking about the then-recent Columbine shootings, where two students went on a killing spree at their high school before committing suicide.
“We kind of carried that over into the song as the voice of Sheryl as a young teenager with a lot of oddball friends who can’t really quite make out why people are the way they are,” Trott told us. “There’s a reference to ‘I’ve got my 45 on so I can rock on.’ The 45 on was like a kid with a gun, originally, and then we thought that’s a little scary.
We were talking about Columbine and we’re like okay I’ve got my 45 on, so I can rock on, like I can blast you guys. I’m going to blast all the people that are bugging me. That’s kind of where we were at with it, and then we said that’s just a little too… over the top.”
The video was part of a promotional deal with American Express. During the shoot, footage was also collected for an American Express commercial, which came out looking very similar to Crow’s video. American Express helped pay the production costs, hoping that viewers would remember their product every time they saw the video, since it looked so much like the commercial. MTV does not allow sponsors to pay for videos, but because the card never appeared in the video, they didn’t know about the deal and gave it plenty of airplay. Sting had a similar deal with Jaguar in his video for “Desert Rose.”
Crow had some high-profile help with the backing vocals on C’mon C’mon. Liz Phair sang backup on this track, and Stevie Nicks sang on the title track and “Diamond Road.” In 2001, Sheryl helped Stevie write and produce some of her album Trouble In Shangri-La.
This casual song about enjoying the simple things in life was very marketable for Crow, as it enjoyed success on pop radio and was a #1 on the Adult Top 40 chart.
Trott was shocked when he first saw the music video, which completely dulled the song’s edge and transformed it into a fun-in-the-sun surf song. “I thought, ‘Oh my God, Sheryl’s surfing. What the hell is that? It’s not even close to what it’s about.’
I think having Sheryl on a surfboard, being at the beach, is probably more palatable then having her in a trench coat shooting people in a lunch cafeteria. Not that I thought that that’s what the song was, but my impression from writing it was that it was much edgier than what came across. The video of course is like, hey, we’re having a holiday. We’re surfing. We’re catching some sun. Everything’s cool. Strum acoustic guitar. Like, wow! That’s not even close to what we thought it was about.”
Best Buy used this song in television commercials to pitch their electronic consumer goods, conveniently ignoring the song’s message of enjoying the simple things in life:
I don’t have digital
I don’t have diddly squat
It’s not having what you want
It’s wanting what you’ve got
Crow performed a kid-friendly version on Sesame Street in 2003, joining Elmo and the gang to sing about the adventures of the letter I in “I Soaks Up The Sun.”
Soak Up The Sun
My friend the communist Holds meetings in his RV I can’t afford his gas So I’m stuck here watching tv
I don’t have digital I don’t have diddly squat It’s not having what you want It’s wanting what you’ve got
I’m gonna soak up the sun I’m gonna tell everyone To lighten up, I’m gonna tell ’em that I’ve got no one to blame For every time I feel lame I’m looking up
I’m gonna soak up the sun I’m gonna soak up the sun
I’ve got a crummy job It don’t pay near enough To buy the things it takes To win me some of your love
Every time I turn around I’m looking up, you’re looking down Maybe something’s wrong with you That makes you act the way you do
I’m gonna soak up the sun I’m gonna tell everyone To lighten up, I’m gonna tell ’em that I’ve got no one to blame For every time I feel lame I’m looking up
I’m gonna soak up the sun While it’s still free I’m gonna soak up the sun Before it goes out on me
Don’t have no master suite But I’m still the king of me You have a fancy ride, but baby I’m the one who has the key
Every time I turn around I’m looking up, you’re looking down Maybe something’s wrong with you That makes you act the way you do Maybe I am crazy too
I’m gonna soak up the sun I’m gonna tell everyone To lighten up, I’m gonna tell ’em that I’ve got no one to blame For every time I feel lame I’m looking up
I’m gonna soak up the sun Got my 45 on So I can rock on
You know…who wouldn’t like Captain Kirk’s original command chair in their living room? Ok…some people would not like it but I have wondered where it is now. Many people build replicas of the chair but I want to know where the real one is. The real McCoy…pardon the pun.
The original owner picked up the chair and accompanying set pieces in 1969 after he received a call from a friend at Paramount Pictures, who alerted him to the fact that the entire Star Trek set was being scrapped and that, if he was interested, he was welcome to get whatever items he wanted before they were thrown away… I’m not sure where he stored it but I found where it was sold in 2002 for $265,000.
The late Microsoft co-founder Paul Allen then bought the chair for a reported $305,000 in 2009. He also developed The Museum of Pop Culture or MoPOP in Seattle and that is where the chair is right now!
The chair is probably one of the most recognized chairs in the world.
Captain Kirk’s chair was built around the black Naugahyde cushioning and slim walnut arms of a model No. 2405 or No. 4449 armchair produced by Madison Furniture Industries of Canton, Miss., between 1962 and 1968. The industrial designer Arthur Umanoff conceived the chair as part of an attempt to replicate the Danish modern look which was popular in the early sixties.
The Museum of Pop Culture or MoPoP exhibits
This is a link to the current museum…they have exhibits on the music of Nirvana, Jimi Hendrix, and Pearl Jam. It looks like a cool place. Have any of you visited this museum?
