They're surreal and a little childlike, dominated by deep blues and greens.
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Midnight Moonlight was deep blues and purples, where Crush is a combinations of pink and red tones.
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Once in the gallery, cold black is exchanged for bold pinks, deep blues, bright whites, and soft grays.
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Domino had a genius for making light pop songs sound bluesy and deep blues sound fresh and timely.
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They balance deep blues playing with lengthy, minor-key chants, laced through with an explosively rhythmic group dynamic.
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New Yorkers notoriously have a somber palette, and we have a deeper muted palette: grays, blacks, deep blues.
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It carried a deep blues spirit into new hallucinatory realms; 63 years later, it's still overwhelming, dizzying, earthy, ecstatic.
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For settings with warmer tones, like the brown of the desert or beach, try jewel tones, deep blues and whites.
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The piece is an animated painting, colored by deep blues, greens, and yellows that play with the song's escapist theme.
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The photos look beautiful: Just visible, you're surrounded by a halo of vibrant rainbow colors—deep blues, rich magenta, and acidic yellows.
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Crystalline waters perfectly reflect the pool's rocky outcroppings into a sky lush with the deep blues and oranges of a setting sun.
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The Spectacle: Shots inside the spacecraft, shaded in deep blues and reds and yellows, are more mysterious and stunning than the shots of black holes.
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The rivers of Chilean Patagonia cascade from snow-capped mountains through sheer rock facades and rolling hills, radiating bright turquoise, deep blues and vivid greens.
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How can one educate a "hybrid of sea anemone and squid," a liquid sprawl of "rippling colors that strayed from purple toward deep blues and sea greens"?
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Some of the numbers from Fournie's latest collection, in hues of cherry blossom pinks and deep blues meant to evoke an Asian dreamworld, have already been sold, he said.
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Despite the urban location, the room's decor had a distinctly beachy feel, with deep blues and turquoises in the curtains, and accent pillows that formed a nice contrast against the white linens.
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The group was deep in rehearsals for a tour behind Mr. Plant's latest album, "Carry Fire," out on Friday: a swirling mix of deep blues, mountain music, North African rhythms and Zeppelin-heavy weight.
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Trosch uses oil, often applying it in a thick paste the consistency of peanut butter or putty in florid, hothouse colors and pale, pastel hues — pinks, mauve, celadon greens, sunburst yellows, deep blues, and reds.
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An angry "explosion," rendered in hot siennas, oranges, and reds, pushes into the foreground against a veil of watery blues that hold between them a matrix of deep blues and indigos — an interweaving dance of hieroglyphic forms.
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You can see the effects most drastically in the map's thermal overlay, where the generator and its surroundings burn merrily in reds and yellows, while buildings on the edge of the settlement appear in colder aquamarines and deep blues.
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The 'An Italian Attitude' fresh collection, full of earthy colors and deep blues also showed off an elaborate leather cutting technique creating leather 'feathers', which decorated shoes like fringes, gave volume to leather dresses and movement to short skirts.
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Android users will also see an overhaul of the main Google Photos app, with new filters, an improved "auto" function, and more precise editing tools that let users adjust for shadows, white balance, warmth, and settings like "deep blues" or various skin tones.
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The lavenders of twilight are passing into the deep blues of a summer evening as Sir Hugo Latymer, a distinguished older novelist, grumpily prepares to meet, after many years, Carlotta Gray, a semi-celebrated actress who had been his mistress long ago.
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In the same way a great score can manipulate viewers' emotions, heightening drama and adding gravitas to a storyline, moviegoers subconsciously associate color with feeling, from the passion and strength associated with crimson hues to the serenity connoted by deep blues and greens.
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Robert Palmer, in his book " Deep Blues ," writes of griots in Senegambia, on the West Coast of Africa, singing songs of praise, of Yoruba drumming, of the African origins of the "blue notes," the flatted thirds and sevenths, that are so distinctive in early Southern work songs and later blues.
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The hours she spends trail running in the mountains gives her inspiration from the colors of wildflowers, hillsides, redwood trees jutting into the blue skies, and the deep blues of the shadows.
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Dockery Plantation was a cotton plantation and sawmill in Dockery, Mississippi, on the Sunflower River between Ruleville and Cleveland, Mississippi. It is widely regarded as the place where Delta blues music was born.Palmer, Robert (1981). Deep Blues. .
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The Allmusic review by Thom Jurek states "The set is a glorious stretch of the old and new, with deep blues, gospel, and plenty of guttersnipe swing in the mix".Jurek, T. [ Allmusic Review] accessed April 7, 2009.
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Robert Franklin Palmer Jr. (June 19, 1945 - November 20, 1997) was an American writer, musicologist, clarinetist, saxophonist, and blues producer. He is best known for his books, including Deep Blues; his music journalism for The New York Times and Rolling Stone magazine;Kracht, C., & Woodard, D., Five Years (Hanover: Wehrhahn Verlag, 2011), p. 161. his work producing blues recordings and the soundtrack of the film Deep Blues; and his clarinet playing in the 1960s band the Insect Trust. A collection of his writings, Blues & Chaos: The Music Writing of Robert Palmer, edited by Anthony DeCurtis, was published by Simon & Schuster on November 10, 2009.
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Idaho is a jazz song written by Jesse Stone. Stone's early writings show a deep blues influence. An early success was "Idaho", recorded by several artists, with the Benny Goodman version peaking at #4 (pop) in 1942. The recording by Guy Lombardo sold three million copies.
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He makes appearances in Bill Ferris's 1975 documentary about the Delta blues, Give My Poor Heart Ease and in Robert Mugge's documentary film Deep Blues: A Musical Pilgrimage to the Crossroads. Walton died in St. Louis, Missouri, on January 10, 2000, at the age of 80.
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Musical scholars have traced the style's affinity for percussion to influences from West Africa, brought to the American colonies by African slaves. Before the American Civil War, planters restricted slaves' access to drums and other percussion instruments, fearing the use of drums in arousing rebellion.Palmer, Robert (1982). Deep Blues.
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Deep Blues. New York: Penguin Books. In the late 1940s, New Orleans musicians were especially receptive to Cuban influences precisely at the time when R&B; was first forming."Rhythm and blues-influenced by Afro-Cuban music first surfaced in New Orleans." Campbell, Michael, and James Brody (2007: 83).
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He left after two years. Stone was interviewed in the 1986 documentary film International Sweethearts of Rhythm about his time with that band. Stone's early writings show a deep blues influence. An early success was "Idaho", recorded by several artists, with the Benny Goodman version peaking at number 4 (pop) in 1942.
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The use of overdubbing and tape manipulation was controversial with some critics and musicians at the time. "Requiem", a tribute to Parker, who had died a short time earlier, has a deep blues feeling – a style not usually associated with Tristano.Atkins, Ronald (November 1982) "Great Jazz Pianists – 7 Lennie Tristano". Music & Musicians. p. 11.
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Also in 1996, UMBILICUS was exhibited at Lisbon's Instituto Português da Juventude, with selected images printed as large as two-meters wide and toned with deep blues. Later in 1998, UMBILICUS was shown again, this time at Galeria Zé dos Bois (ZDB) in Lisbon, as part of Ithaka's larger photographic exhibit entitled, Quality Time: Part I.
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Stewart, in conjunction with his brother John J. Stewart of Oil Factory Productions, and in collaboration with music critic and author Robert Palmer and documentary filmmaker Robert Mugge made a documentary dealing with Delta Blues music. Deep Blues: A Musical Pilgrimage to the Crossroads, released in 1991, was filmed in Memphis, Tennessee and various north Mississippi counties. Palmer narrated.
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Poopdeflex (sometimes capitalized PoopDeFlex, real name Scott Snyder) is a solo punk blues performer from Fort Wayne, Indiana, United States, known for his crass and spiteful lyrics, and for his hostile treatment of the audience. In 2009, Poopdfeflex performed at SXSW and the Deep Blues Festival in Minnesota. He has toured with Left Lane Cruiser and has also opened for artists such as The Devil Makes Three.
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After the Second World War, she taught painting and drawing in Cork and in London. From 1961 to 1965 Galliner was based in Berlin and concentrated on her art. She painted in acrylic, produced pottery and collages in a style clearly influenced by the Bauhaus and Brücke movements. Her paintings were often abstract and evoked submarine landscapes in a colour palette centred on deep blues.
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Disc 1 is the original album with one bonus track, "Tin Pan Alley". Disc 2 is a previously unreleased concert recorded at Ripley's Music Hall in Philadelphia, Pennsylvania on October 20, 1983. Texas Flood received positive reviews, with critics praising the deep blues sound, and Vaughan’s songwriting, while some criticized the album for straying too far from mainstream rock. A retrospective review by AllMusic awarded it five out of five stars.
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The boogie-woogie fad lasted from the late 1930s into the early 1950s,Palmer, Robert, Deep Blues, 1981, p. 130. and made a major contribution to the development of jump blues and ultimately to rock and roll, epitomized by Fats Domino, Little Richard and Jerry Lee Lewis. Louis Jordan is famous jump blues musician. Boogie-woogie is still to be heard in clubs and on records throughout Europe and North America.
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In 1993, Wilcox released his next album, a box set titled, The Collected Works 1977–1993. It featured live versions of "That Hypnotizin' Boogie" and "Trip Out Tonight". It also featured unreleased material such as "Needle in a Haystack" and "The Groove". Thirteen Songs, released in 1996, featured acoustic-based music played with a small band, playing sax-and-organ jazz "Rainy Night Saloon", country storytelling "Shotgun City" and deep blues "Three Past Midnight".
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Despite being known to posterity almost exclusively for black dresses, her eye for colour was very definite. She favoured dark and deep blues, very dark greens, and heather-toned purples as well as intensely bright orange and deep saffron yellow. She was a perfectionist about her colours, working closely with fabric mills and dyers to achieve her ideal tones. Muir has been described as bringing common sense to clothing design to the pitch of genius.
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Explaining his moves, Traylor later remarked: "My white folks had died and my children had scattered."Kurzmeyer, Roman, "The Life and Times of Bill Traylor (1854-1949)" in Josef Helfenstein and Roman Kurzmeyer (eds), Bill Traylor: 1854-1949: Deep Blues (New Haven: Yale University Press, 1999), p. 172. For 75-year-old Traylor, it would prove to be a challenging new beginning, but he rented a room and later a small shack, and found work to support himself.
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Colors range from matte sandstone yellow to deep blues, greens, whites, reds and various blacks. Some patina colors are achieved by the mixing of colors from the reaction with the metal surface with pigments added to the chemicals. Sometimes the surface is enhanced by waxing, oiling, or other types of lacquers or clear-coats. More simply, the French sculptor Auguste Rodin used to instruct assistants at his studio to urinate over bronzes stored in the outside yard.
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There is a growing view among scholarsFor example, Elijah Ward, Escaping The Delta, 2005, that the distinction made by experts such as Alan Lomax between "deep" blues singers and "songsters" is an artificial one, and that in fact most of the leading archetypal blues artists, including Robert Johnson and Muddy Waters, performed a wide variety of music in public, but recorded only that proportion of their material which was seen by their producers as original or innovative.
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New York: Penguin Books. p. 36. The music writer Robert Palmer believed that after the Civil War, African Americans quickly renewed their long-suppressed percussion traditions: “the passage of the Black Codes, which in most states actually predated the Revolutionary War, did not automatically stamp out all slave drumming”.Palmer (1982). Deep Blues. p. 37. Palmer also noted: > [The style] could not have developed in the first place if there hadn’t been > a reservoir of polyrhythmic sophistication in the culture that nurtured it.
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Mourning In the Morning is a 1969 album by the American blues singer and guitarist Otis Rush. Characterized as his first album, Rush had been cutting singles since 1955. Paired up with some regulars the Muscle Shoals Rhythm Section, Nick Gravenites and Mike Bloomfield who were then a part of Electric Flag, the album fuses Rush's deep blues sound with both soul and rock. When released in August 1969 the album was panned by many critics, but has since grown a cult following.
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The Sun Records and Jewel Records material was re-released on one CD by Charly Records of London, England. Album cover of "Hey Boss Man". In the late 1970s, Frost was re-discovered by a blues enthusiast, Michael Frank, who began releasing albums on his Earwig Music Company label by the trio, now called The Jelly Roll Kings, after a song from Hey Boss Man. Frost appeared in the films Deep Blues: A Musical Pilgrimage to the Crossroads and Crossroads.
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The SeaChanger profile is unique in that its green color filter increases its color gamut to include deep blues, reds and greens that are difficult to create through dichroic color mixing. The green wheel may be replaced with black for mechanical dimming purposes in HID fixture applications or other applications where dimmers are not available. Stepper motors turn each of the wheels to create colors, with wheel position and speed controlled by a four-channel DMX512 or RDM signal from a lighting console.
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He recorded the singer Jack Owens in 1970 and later produced records for Jessie Mae Hemphill and other blues musicians. His research work in the Deep South was mentioned extensively in Robert Palmer's tome, Deep Blues. As head of the University of Memphis's High Water Recording Company, he made numerous recordings of performers in the Memphis area, some of whom were not previously documented. He has written or edited a number of books on the blues and has written liner notes and booklets for various music releases.
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Linda married record producer and owner of Heights Sound Studio, Karl Caillouet in 1984. Working with Tony Rice, Bobby Clark and Linda's Upstairs band they recorded "So Far Apart" (a duet with Steve Gillette) and "Even the Moon" both produced and engineered by Karl Caillouet. Both were released on the Rollin’ Records label. In the late 1980s and early 1990s her producer was Robert Palmer, the author of Deep Blues, staff writer for The Rolling Stone Magazine, and the first New York Times pop music critic.
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Burnside, Kimbrough, Othar Turner, and Jessie Mae Hemphill appeared in the documentary Deep Blues and went on to popularize this sound through recordings released by Fat Possum Records. The families of these artists along with North Mississippi Allstars formed a new generation of hill country musicians. Banjo player Lucius Smith, fife and drum musicians Ed Young and Napoleon Strickland, and guitarist and singer Rosa Lee Hill also influenced this style. Others, such as Terry "Harmonica" Bean, Cedric Burnside, and Kenny Brown carry on the hill country blues tradition today.
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Harry Clarke was an Irish stained-glass artist and book illustrator. He produced more than 130 stained glass windows, he and his brother Walter having taken over his father's studio after his death in 1921. His glass is distinguished by the finesse of its drawing and his use of rich colours, and an innovative integration of the window leading as part of the overall design, originally inspired by an early visit to see the stained glass of the Cathedral of Chartres. He was especially fond of deep blues.
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Geneva Window, 1930 Clarke produced more than 130 windows, he and his brother Walter having taken over his father's studio after his death in 1921. His glass is distinguished by the finesse of its drawing and his use of rich colours, and an innovative integration of the window leading as part of the overall design, originally inspired by an early visit to see the stained glass of the Cathedral of Chartres. He was especially fond of deep blues. Clarke's use of heavy lines in his black-and-white book illustrations echoes his glass techniques.
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Swedish original, via Google Translate Burnside found a new stable band and would usually perform with Brown and drummer Cedric Burnside, his grandson. In a New York concert around the release of the documentary Deep Blues, he attracted the attention of Jon Spencer, the leader of the Jon Spencer Blues Explosion. He started touring with this group in 1995, both as an opening act and sitting in, gaining much new audience. The 1996 album A Ass Pocket of Whiskey was recorded with Spencer's band and was marketed for their audience, but was credited to Burnside.
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The project began as a single event, with Ford needing assistance to play the Deep Blues Festival in Minnesota in July 2008. GravelRoad, longtime fans of Ford and performers already scheduled for the festival, agreed to provide support for a ten-show United States tour for Ford through July. Ford had a pacemaker inserted at the end of that tour, but appeared on stage again with GravelRoad in 2008, 2009 and 2010. He suffered a stroke in early 2010, but despite difficulty with right-hand mobility, managed to complete a successful tour with GravelRoad.
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His second CD was with Christopher Ames, AKA "Chris Rhodes". William "Skippy" Clarke, one of John's friends/fans, was Chris's booking agent. John, Ryan Munsey, Skippy, and Shawn Smith went to Texas to the studio that was supposedly where SRV had done some recording, where John played the electric guitar on some tracks, Ryan Munsey played bass and Smith and Clarke are both credited on one song as well. The CD by Christopher Ames as "Chris Rhodes" on Deep Blues, a blues-based Christian CD is available from JohnnyJam.
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The colour range in these works consists of dark, noble colours: blacks, greys, browns, deep blues and bronzes. Minko's abstract painting stage continued until 1965. He then started looking for a new way of expressing his emotions, leading him down the path to a new style of painting which the artist out of convenience calls figurative painting.Афанасьєв В. Сучасний живопис: здобутки, проблеми, тенденції // Образотворче мистецтво. – 1987. – № 5. – С. 1-6: про творчість О. Мінька. From 1967 to 1969, he created a series of works entitled "Zhyttia masok" (The Life of Masks).
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Tony McPhee left the band shortly after to re-form The Groundhogs. The second album, The John Dummer Blues Band, featured Dummer, Hall, Thomson, Dave and Jo Ann Kelly (vocals), with a new lead guitarist Adrian "Putty" Pietryga from The Deep Blues Band from Bristol. This band toured extensively in Britain and Europe for two years. By the third album, John Dummer's Famous Music Band (1970), Dave Kelly and Bob Hall had left to be replaced by Nick Pickett (guitar, violin and vocals) Pietryga and Thomson remained, being augmented by Chris Trengove (alto sax).
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They were often included, showing strong influence from the Italian painters, but typically as minor elements of the composition, seen in the far distance and lacking any real observation of nature.Burroughs, 188 This diptych, however, contains one of the most memorable landscape backgrounds in Northern 15th-century art. The panoramic view of Jerusalem extends upwards in the distance to the mountainous peaked range in the background. The sky, which continues to the upper part of the right hand panel, is rendered in deep blues and lined with cumulus clouds.
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The Rock and Roll Hall of Fame included "Shake Your Moneymaker" on its list of the "500 Songs that Shaped Rock and Roll". In 2019, the Blues Foundation inducted "Every Day I Have the Blues" into the Blues Hall of Fame as a "Classic of Blues Recording". The induction statement describes it as "an exuberant, uptempo departure from slide guitar master Elmore James' deep blues recordings" and notes its popularity among rock musicians, including Fleetwood Mac (1968, Fleetwood Mac), George Thorogood (1988, Born to Be Bad), the Black Crowes with Jimmy Page (1999, Live at the Greek), and Rod Stewart (2013, Time).
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He became known for his "strong electric bass playing, rocking stage presence, deep blues singing, and the friendly laugh and smile he had for all". In the 1980 film The Blues Brothers, Jones appeared as the bassist in the blues band on Maxwell Street, Chicago, outside the Soul Food Cafe. The same year, Jones and others from Muddy Waters's backing group formed the Legendary Blues Band, which recorded seven albums with Jones playing bass and occasionally providing vocals, until the group split up, in 1993. Jones also recorded with Mississippi Heat, performing on their debut album, Straight from the Heart (1993).
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" Richard Roeper ranked it number one on his "Worst movies of 2007" list; a few years later, Roeper named it the worst film of the 2000s. It was also on MRQE's 50 Worst Movies list. The film did receive some positive reviews. Fangoria praises the film's imaginative use of color, saying "[T]he director and his visual team bathe the film in deep blues and reds, a welcome departure from the dirty green, sodium-lit palette of similarly themed horror fare, and the end result is simply a beautiful, eye-popping visual treat, so stylized that one can't help recalling Argento's approach to Suspiria.
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Géricault's palette is composed of pallid flesh tones, and the murky colours of the survivors' clothes, the sea and the clouds. Overall the painting is dark and relies largely on the use of sombre, mostly brown pigments, a palette that Géricault believed was effective in suggesting tragedy and pain.Miles, 180 The work's lighting has been described as "Caravaggesque", after the Italian artist closely associated with tenebrism—the use of violent contrast between light and dark. Even Géricault's treatment of the sea is muted, being rendered in dark greens rather than the deep blues that could have afforded contrast with the tones of the raft and its figures.
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The Arkansas Delta is known for its rich musical heritage. While defined primarily by its deep blues/gospel roots, it is distinguished somewhat from its Mississippi Delta counterpart by more intricately interwoven country music and R&B; elements. Arkansas blues musicians have defined every genre of blues from its inception, including ragtime, hokum, country blues, Delta blues, boogie-woogie, jump blues, Chicago blues, and blues-rock. Eastern Arkansas' predominantly African-American population in cities such as Helena, West Memphis, Pine Bluff, Brinkley, Cotton Plant, Forrest City and others has provided a fertile backdrop of juke joints, clubs and dance halls which have so completely nurtured this music.
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Wirz, S. Illustrated R. L. Burnside discography Beside the traditional influence, David Evans credited him with bringing in the modern funk, RnB and soul influences of the band.David Evans, notes to High Water 410 EP, 1980 (scan), and to Sound Machine Groove, 1981/1997 (scan). Later Jackson appeared on record with Junior Kimbrough (including in the cult documentary, Deep Blues), Jessie Mae Hemphill, CeDell Davis, R.L. Boyce and Markus James He performed live with Lightnin' Malcolm, Sean "Bad" Apple, and Little Joe Ayers.Little Joe Ayers, a set on Flickr, by Steve Likens In the mid 1990s he moved to the Netherlands to continue his musical careerBirgitta Larsson.
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The new blues revolution refers to the time in the late aughts when the contemporised form of the deep blues caught the mainstream imagination, and the blues thereby gained a wider audience. It is akin to the British blues boom of the mid-1960s pioneered by artists such as Eric Clapton, Jeff Beck, Jimmy Page, and Phil May, who adapted and added creatively to traditional American blues (e.g., Delta blues, Country blues, Chicago blues, and other blues genres originating in early 1900s America). The British blues boom made British blues popular both in the United Kingdom and in the United States during this time.
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There, Patton developed his musical style, influenced by Henry Sloan, who had a new, unusual style of playing music, which is now considered an early form of the blues. Patton performed at Dockery and nearby plantations and began an association with Willie Brown. Tommy Johnson, Fiddlin' Joe Martin, Robert Johnson, and Chester Burnett (who went on to gain fame in Chicago as Howlin' Wolf) also lived and performed in the area, and Patton served as a mentor to these younger performers. Robert Palmer described Patton as a "jack-of all- trades bluesman", who played "deep blues, white hillbilly songs, nineteenth- century ballads, and other varieties of black and white country dance music with equal facility".
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Burnside at the Liri Blues Festival, Italy, in 1992 In the late seventies or early eighties Burnside was introduced and struck a partnership with Junior Kimbrough. Roughly a decade later, his own "Burnside Palace" had shut down and the family lived next to the Kimbroughs' new "Junior's Place" in Chulahoma, Mississippi and collaborated with the counterpart musical family. The music writer Robert Palmer, teaching for a time in the University of Mississippi in Oxford, frequented the scene with some celebrity musicians, which led to the making in 1990 of the documentary Deep Blues, in which Burnside was prominently featured. Burnside began recording for the Oxford, Mississippi, label Fat Possum Records in 1991.
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The physical presence of these dynamic works is compelling in itself, but there are also forms reminiscent of both natural and urban environments:linear elements may refer to tree trunks, horizons, rocks, rivers, cliffs, shorelines. And it has been noted that the gritty, rusted- industrial or bituminous looking surfaces of the paintings echo Edward's experiences of twice renovating filthy, former commercial loft spaces in the SoHo and TriBeCa areas of New York. In 1985, Edwards' black paint began to merge into deep colors: ochres, earthy reds and deep blues. These paintings, writes curator Jeanne Wilkinson, "portrayed darkness as a universal constant; not empty but filled with some mysterious presence; an origin, not a lack of light".
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With his band, the Soul Blues Boys (then consisting of bassist George Scales and drummer Calvin Jackson), he recorded again in the 1980s for High Water, releasing a single in 1982 ("Keep Your Hands off Her" backed with "I Feel Good, Little Girl"). The label recorded a 1988 session with Kimbrough and the Soul Blues Boys (this time consisting of bassist Little Joe Ayers and drummer "Allabu Juju"), releasing it in 1997 with his 1982 single as Do the Rump! In 1987 Kimbrough made his New York debut at Lincoln Center. He received notice after live footage of him playing "All Night Long" in one of his juke joints appeared in the film documentary Deep Blues: A Musical Pilgrimage to the Crossroads, directed by Robert Mugge and narrated by Robert Palmer.
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In the mid-to-late 1980s, Dickerson was the publisher/editor of Nine-O-One Network Magazine, the first magazine located in the Mojo Triangle to obtain newsstand circulation in all 50 states. He co-owned and produced a radio syndication, Pulsebeat—Voice of the Heartland, which focused on the music produced in the Mojo Triangle. Dickerson, James L. "Goin' Back to Memphis: A Century of Blues, Rock 'n' Roll, and Glorious Soul" (Schirmer/Simon & Schuster/1996) Other music historians who have written about musicians from the Mojo Triangle are Stanley Booth (The True Adventures of the Rolling Stones, Rhythm Oil, and Furry's Blues); Peter Guralnick (Sweet Soul Music) and Robert Palmer (Deep Blues). None of those writers were born in the Triangle, but all wrote extensively on the blues.
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The alt=English and Dutch ships clash at night; the sky is dark, with the last colour of the day in the centre. The surrounding edges of the picture fade into deep blues and darkness. The English plan for 1673 centred on first achieving naval dominance, followed by landing an army in Zeeland. The King appointed the Duke as supreme commander, with Rupert as his deputy, combining the ranks of general and vice admiral of England.Kitson, p. 257. During the winter of 1672, however, Charles—still (legitimately) childless—decided that the risk to the Duke, his heir, was too great and made Rupert supreme Allied commander in his place.Kitson, p. 259. Rupert began the 1673 campaign against the Dutch knowing the logistical support for his fleet remained uncertain, with many ships undermanned.
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In 1987/1988, with funding from PBS, he directed Entertaining The Troops, featuring a reunion of Bob Hope with surviving members of his WWII troupe of performers. In 1988/1989, with funding from the State of Hawaii and in collaboration with kumu hula (master teacher) Vicky Holt Takamini, he directed Kumu Hula: Keepers Of A Culture, an 85-minute film about the history of Hawaiian dance. In 1990/1991, with funding from Dave Stewart of Eurythmics and Britain's Channel 4, Mugge directed (for producers Eileen Gregory and John Stewart) Deep Blues, a 91-minute exploration of Mississippi blues made in collaboration with music writer Robert Palmer. In 1992, with funding from BMG Video and others, he directed Pride And Joy: The Story Of Alligator Records, a portrait of Bruce Iglauer's contemporary blues label.
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After living near Memphis from 1988 through 1992, he spent about six months at a country estate near Little Rock, AR before relocating in early 1993 to New Orleans, Louisiana, his home until his death. Two of his better-known books are the historical study Deep Blues (1982) and Rock & Roll: An Unruly History (1995), the latter of which was the companion book to the ten-part BBC and PBS television documentary series Rock & Roll (aka Dancing in the Street)' on which he served as chief consultant. In 1985, he was recruited to play clarinet by friends Keith Richards and Ronnie Wood on the song "Silver and Gold" by U2's Bono for the Artists United Against Apartheid album Sun City. Throughout his life, Palmer published scholarly liner notes for albums by dozens of top jazz, blues, rock and roll and world music artists, including Sam Rivers, Charles Mingus, Miles Davis, Yoko Ono, John Lee Hooker, Albert King, Bo Diddley, Ray Charles, Ornette Coleman, the Master Musicians of Jajouka, La Monte Young, and many more.
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