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Al Dexter

Clarence Albert Poindexter (May 4, 1905 – January 28, 1984), known best as Al Dexter, was an American country musician and songwriter.

He is best known today for his most popular song "Pistol Packin' Mama," a 1943 hit which was one of the most popular recordings of the World War II years and later became a hit again with a cover by Bing Crosby as well as The Andrews Sisters.

Biography
Born in Jacksonville, Texas, United States, Dexter owned a bar in the 1930s and helped popularize the style of country music known as honky tonk. He made his recording debut on November 28, 1936, for ARC Records. and was probably the first artist to ever use the term "honky tonk" in a country song when he recorded "Honky Tonk Blues" at his first session.

His self-penned hit, "Pistol Packin' Mama", became the 1943 marching chorus of the New York Yankees. The 1943 movie of the same name, made by the Republic Pictures, gave Dexter close to $250,000 in royalties. Another hit from the 1940s was "Guitar Polka", which entered Billboard's list as the "Most Played Juke Box Folk Record" for 16 weeks running in 1946. Still other hits include "So Long Pal", "Triflin' Gal", "I'm Losing My Mind Over You" and "Too Late to Worry, Too Blue to Cry."

Dexter was the first country singer to perform on Broadway, and in 1971, was inducted into the Nashville Songwriters Hall of Fame.

He died on January 28, 1984, in Lewisville, Texas.

On August 21, 2010, Dexter was inducted into the Texas Country Music Hall Of Fame, located in Carthage, Texas. Other inductees that night were George Jones along with composer Ray Winkler.

Following Al Dexter's death in 1984, his family discovered 50 master tapes containing studio recordings. In 2010, Al Dexter's son, Carl Wayne Poindexter, released the three-disc CD box set entitled Al Dexter's Found Masters Volume 1–3 on his independent record label, Al Dexter Estate Productions. This professionally produced collection contained digitally re-mastered studio recordings which were made by Dexter with various band line-ups and configurations.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Al Dexter


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Flea market

A flea market (or swap meet) is a type of street market that provides space for vendors to sell previously owned (second-hand) goods. This type of market is often seasonal. However, in recent years there has been the development of 'formal' and 'casual' markets which divides a fixed-style market (formal) with long-term leases and a seasonal-style market with short-term leases. Consistently, there tends to be an emphasis on sustainable consumption whereby items such as used goods, collectibles, antiques and vintage clothing can be purchased, in an effort to combat climate change and fast fashion.

Flea market vending is distinguished from street vending in that the market alone, and not any other public attraction, brings in buyers. There are a variety of vendors: some part-time who consider their work at flea markets a hobby due to their possession of an alternative job; full-time vendors who dedicate all their time to their stalls and collection of merchandise and rely solely on the profits made at the market. Vendors require skill in following retro and vintage trends, as well as selecting merchandise which connects with the culture and identity of their customers.

In the United States, the National Association of Flea Markets was established in 1998, which provides various resources for sellers, suppliers and buyers and also provides a means for suppliers and sellers to communicate and form affiliations.

Origin of the term

While the concept has existed for millennia, the origins of the term flea market are disputed. According to one hypothesis, the Fly Market in 18th-century New York City, located at Maiden Lane near the East River in Manhattan, began the association. The land on which the market took place was originally a salt marsh with a brook, and by the early 1800s the Fly Market was the city's principal market.

A second hypothesis maintains that flea market is a common English calque from the French marché aux puces, which literally translates to "market with fleas", labelled as such because the items sold were previously owned and worn, likely containing fleas. The first reference to this term appeared in two conflicting stories about a location in Paris in the 1860s which was known as the "marché aux puces".

The traditional and most-publicized story is in the article "What Is a Flea Market?" by Albert LaFarge in the 1998 winter edition of Today's Flea Market magazine:

The second story appeared in the book Flea Markets, published in Europe by Chartwell Books, reading in its introduction:

Regional names
In the United States, an outdoor swap meet is the equivalent of a flea market. However, an indoor swap meet is the equivalent of a bazaar, a permanent, indoor shopping center open during normal retail hours, with fixed booths or storefronts for the vendors.

Different English-speaking countries use various names for flea markets. In Australian English, they are also called 'trash and treasure markets', while the term 'swap meet' is used for a market held primarily to sell car- and motorcycle parts and automobilia. In Philippine English, the word is tianggê from the word tianguis via Mexican Spanish coming from Nahuatl. Despite common misconception, it is not derived from Hokkien. The word supplants the indigenous term talipapâ. In India, it is known as gurjari or shrukawadi bazaar or even as juna bazaar in Pune.

In the United Kingdom, they are known as car boot sales if the event takes place in a field or car park, as the vendors will sell goods from the boot (or 'trunk' in American English) of their car. If the event is held indoors, such as a school or church hall, then it is usually known as either a jumble sale, or a bring and buy sale. In Quebec and France, they are often called Marché aux puces (literally "flea market"), while in French-speaking areas of Belgium, the name brocante or vide-grenier is normally used.

In German, there are many words in use but the most common word is "Flohmarkt", meaning literally "flea market". The same applies to Dutch "vlooienmarkt", Swedish "loppmarknad" and Finnish "kirpputori". In the predominantly Cuban/Hispanic areas of South Florida, they are called [el] pulguero ("[the] flea store") from pulga, the Spanish word for fleas. In the Southern part of Andalusia, due to the influence of Gibraltar English, they are known as "piojito", which means "little louse". In Chile they can be called persas or mercados persa ("persian market") and ferias libres, if mostly selling fruit and vegetables. In Argentina they are most likely called "feria artesanal" (artisan's or street fair) or "feria americana" (American fair), the latter name is due to have taken the idea from their United States counterpart. In Moroccan Darija, the term for "flea market" is جوطية juṭiyya, which either derives from French jeter or jetable (throwable), or is an older term derived from جوقة juqa meaning "gathering of people". An ancient village on the bank of Sebou River by the name جوطة "Juta" may have been a big medieval market.

In the Philippines "Tiangges" or bazaar shopping is famous in spacious markets like Divisoria, Greenhills, and Baclaran. It features rows of stalls with displays for sale of variety items like clothes, accessories, gadgets at incredibly low prices.

title: Flea market


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Dumbek rhythms

Dumbek rhythms are a collection of rhythms that are usually played with hand drums such as the dumbek. These rhythms are various combinations of these three basic sounds:

 * Doom (D), produced with the dominant hand striking the sweet spot of the skin.
 * Tak (T), produced with the recessive hand striking the rim.
 * Ka (K), produced with the dominant hand striking the rim.

Notation
In a simple notation, these three sounds are represented by three letters: D, T, and K. When capitalized, the beat is emphasized, and when lower-case, it is played less emphatically. These basic sounds can be combined with other sounds:

 * Sak or slap (S) (sometimes called 'pa'), produced with the dominant hand. Similar to the doom except the fingers are cupped to capture the air, making a loud terminating sound. The hand remains on the drum head to prevent sustain.
 * Trill (l), produced by lightly tapping three fingers of one hand in rapid succession on the rim
 * Roll or (rash, r), produced by a rapid alternating pattern of taks and kas

This is the simple dumbek rhythm notation for the 2/4 rhythm known as ayyoub: 1-&-2-&- D--kD-T-

Rhythms
There are many traditional rhythms. Some are much more popular than others. The "big six" Middle Eastern rhythms are Ayyoub, Beledi (Masmoudi Saghir), Chiftitelli, Maqsoum, Masmoudi and Saidi.

title: Dumbek rhythms


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Allen Toussaint

Allen Richard Toussaint (January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger, and record producer. He was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures." Many musicians recorded Toussaint's compositions. He was a producer for hundreds of recordings: the best known are "Right Place, Wrong Time", by longtime friend Dr. John, and "Lady Marmalade" by Labelle.

Early life and career
The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. Toussaint was raised Catholic.

After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers.

After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s.

Minit and Instant Records
In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961.

The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album and was in the Grateful Dead's early repertoire. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School; it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran.

Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand.

Sansu: Soul and early New Orleans funk
Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound.

1970s to 1990s
Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers).

In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear.

In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country, and adult contemporary charts. Toussaint's song "I'll Take A Melody" figured permanently in the repertoire of the Jerry Garcia Band.

In 1987, he was the musical director of an off-Broadway show, Staggerlee, with a score composed of songs from his catalog, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s.

2000s

Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life.

Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success".

The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino on Vanguard.

In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu.

Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful".

His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Toussaint's two marriages ended in divorce.

Death
Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at the hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on December 8. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016.

He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years.

Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is..." Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad."

The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers," adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists." He had written so many songs, over more than five decades, that he admitted to forgetting quite a few.

Partial discography

 * The Wild Sound of New Orleans (1958)
 * Toussaint (1971, a.k.a. From a Whisper to a Scream)
 * Life, Love and Faith (1972)
 * Southern Nights (1975)
 * Motion (1978)
 * I Love a Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987)
 * Connected (1996)
 * A New Orleans Christmas (1997)
 * Allen Toussaint's Jazzity Project: Going Places (2004)
 * The Bright Mississippi (2009)
 * American Tunes (2016)

Awards and honors
Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame, and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. In January 2022, the New Orleans City Council voted unanimously to rename one of the city's thoroughfares, Robert E. Lee Boulevard, to Allen Toussaint Boulevard in his honor.

title: Allen Toussaint


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Hal Blaine

Hal Blaine (born Harold Simon Belsky; February 5, 1929 – March 11, 2019) was an American drummer and session musician, thought to be among the most recorded studio drummers in the music industry, claiming over 35,000 sessions and 6,000 singles. His drumming is featured on 150 US top 10 hits, 40 of which went to number one.

Born in Holyoke, Massachusetts, Blaine moved with his family to California in 1943 and began playing jazz and big band music before taking up rock and roll session work. He became one of the regulars in Phil Spector's de facto house band, which Blaine nicknamed "the Wrecking Crew". Some of the records Blaine played on include the Ronettes' single "Be My Baby" (1963), which contained a drum beat that became widely imitated, as well as works by popular artists such as Frank Sinatra, Elvis Presley, the Beach Boys, Simon & Garfunkel, the Carpenters, Neil Diamond, and the Byrds.

Blaine's workload declined in the 1980s as recording and musical practices changed. In 2000, he was among the inaugural "sidemen" inductees to the Rock and Roll Hall of Fame. In 2007 he was inducted into the Musicians Hall of Fame and Museum as a member of the Wrecking Crew and in 2018 he received a Grammy Lifetime Achievement Award.

Life and career
Blaine was born Harold Simon Belsky to Jewish Eastern European immigrants, Meyer and Rose Belsky (née Silverman), in Holyoke, Massachusetts, United States. When he was seven, he moved with his family to Hartford, Connecticut. He began playing drums at the age of eight, and again moved with his family to California in 1943.

From 1949 to 1952, Blaine learned drums from Roy Knapp, who had also taught jazz drummer Gene Krupa. He began his professional career playing overnight sessions in Chicago strip clubs, which allowed him to practice and perfect his sight reading skills. He subsequently played as part of Count Basie's big band and toured with Patti Page and Tommy Sands before taking up session work. Unlike many of his jazz contemporaries, Blaine enjoyed playing rock and roll and this meant he played on numerous such sessions during the 1950s. Blaine rarely performed live, with the exception of working with Nancy Sinatra at Caesars Palace in Las Vegas in the 1960s, and with John Denver's band in the 70s.

He was a core member of the Wrecking Crew, the close-knit group of Los Angeles session musicians that played on hit records during the 1960s. Blaine claimed to have invented the name as the "old-school" studio musicians feared these new, younger guys were a "destructive force" in the conservative studio environment of the time.

Blaine played with guitarists Glen Campbell and Tommy Tedesco, bassists Carol Kaye and Joe Osborn, and keyboardists Leon Russell and Don Randi. Mr. Blaine played on thousands of recordings through the mid-1970s. John Denver brought Blaine on tour in the mid-1970s.

Blaine played less session work from the 1980s onwards as computers and electronics began to be used in studios, and producers began to bring in younger players. The popularisation of the drum machine also reduced demand for session drummers like Blaine. He kept busy recording advertising jingles for a number of years, before semi-retiring from performing. He lost most of his wealth following a divorce. At one point, he was working as a security guard in Arizona.

Death
Blaine died of natural causes on March 11, 2019, at age 90 in Palm Desert, California. A statement from his family read "May he rest forever on 2 and 4", referring to the second and fourth beats of a measure in music. Beatles drummer Ringo Starr and Beach Boys leader Brian Wilson expressed public condolences and praised Blaine's musicianship. Ronnie Spector praised Blaine for "the magic he put on all our Ronettes recordings".

Legacy and recognition
Blaine was a prolific session player and by his estimation played on over 35,000 recordings, including 6,000 singles. He is widely regarded as one of the most in-demand drummers in rock and roll history, having "certainly played on more hit records than any drummer in the rock era". His drumming can be heard as part of the Wall of Sound on the Ronettes' 1963 single "Be My Baby", produced by Phil Spector at Hollywood's Gold Star Studios. Bruce Gary, drummer for the Knack, once said he was disappointed to find that his 10 favorite drummers turned out to all be Hal Blaine. Drummer Max Weinberg wrote, "If Hal Blaine had played drums only on ... 'Be My Baby', his name would still be uttered with reverence and respect for the power of his big beat." The pattern was created when Blaine accidentally hit the snare on just the fourth beat, instead of the two and four. It was a mistake that Spector decided to leave in.

Blaine is also credited with popularising the "disco beat" after he recorded a "pshh-shup" sound by opening and closing the hi-hat at appropriate intervals on Johnny Rivers' "Poor Side of Town". The effect had been widely used in jazz, but professional recording engineers disliked it because of its resemblance to white noise. The sound subsequently became sought-after by producers in the 1970s.

"Hal Blaine Strikes Again" was a rubber stamp used by Blaine to mark music scores and places where he played. When asked to explain about the stamp, Blaine said, "I always stamp my charts. And there's a reason why I started that; it wasn't all ego." The stamp was used for any piece of music Blaine played on. Another drummer, Mike Botts, then with the band Bread, recalled: "Every studio I went to in the late sixties, there was a rubber stamp imprint on the wall of the drum booth that said, 'Hal Blaine strikes again.' Hal was getting so many studio dates he actually had a rubber stamp made. He was everywhere!"

In 2014, Blaine was portrayed by Johnny Sneed in the film Love & Mercy, a biopic of the Beach Boys' Brian Wilson.

The instrumental song "Hal McBlaine" – a portmanteau combining the names of Blaine and guitarist John McBain – by psychedelic garage rock band Wellwater Conspiracy on their 1999 album Brotherhood of Electric: Operational Directives is an homage to Blaine.

Awards and accolades
Blaine played on six consecutive Grammy Award Record of the Year winners:
 * Herb Alpert & the Tijuana Brass in 1966 for "A Taste of Honey"
 * Frank Sinatra in 1967 for "Strangers in the Night"
 * The 5th Dimension in 1968 for "Up, Up and Away"
 * Simon & Garfunkel in 1969 for "Mrs. Robinson"
 * The 5th Dimension in 1970 for "Aquarius/Let the Sunshine In"
 * Simon & Garfunkel in 1971 for "Bridge over Troubled Water"

In March 2000, Blaine was one of the first five sidemen inducted into the Rock and Roll Hall of Fame (one of the other inductees was his long-time friend and drumming colleague Earl Palmer). He was inducted into the Modern Drummer Hall of Fame in 2010. In 2018, he received a Grammy Lifetime Achievement Award.

Selected performances

 * Elvis Presley's '68 Comeback Special, which introduced the world to the power ballad "If I Can Dream", a dramatic tribute to the recently assassinated Dr. Martin Luther King, reaching No. 12 on the Billboard Hot 100.

In addition to playing on 150 US top 10 singles, Blaine played drums on 39 recordings that hit number one on the Billboard Hot 100. The dates given are when each song reached number one:

 * "Johnny Angel" – Shelley Fabares, April 7, 1962
 * "He's a Rebel" – The Crystals, November 3, 1962
 * "Surf City" – Jan and Dean, July 20, 1963
 * "I Get Around" – The Beach Boys, July 4, 1964
 * "Everybody Loves Somebody" – Dean Martin, August 15, 1964
 * "Ringo" – Lorne Greene, December 5, 1964
 * "This Diamond Ring" – Gary Lewis & the Playboys, February 20, 1965
 * "Help Me, Rhonda" – The Beach Boys, May 29, 1965
 * "Mr Tambourine Man" – The Byrds, June 26, 1965
 * "I Got You Babe" - Sonny & Cher, August 14, 1965
 * "Eve of Destruction" – Barry McGuire, September 25, 1965
 * "My Love" – Petula Clark, February 5, 1966
 * "Monday, Monday" – The Mamas & the Papas, May 7, 1966
 * "Strangers in the Night" – Frank Sinatra, July 2, 1966
 * "Poor Side of Town" – Johnny Rivers, November 12, 1966
 * "Good Vibrations" – The Beach Boys, December 10, 1966
 * "Somethin' Stupid" – Frank & Nancy Sinatra, April 15, 1967
 * "The Happening" – The Supremes, May 13, 1967
 * "Windy" – The Association, July 1, 1967
 * "Mrs. Robinson" – Simon & Garfunkel, June 1, 1968
 * "Dizzy" – Tommy Roe, March 15, 1969
 * "Aquarius/Let the Sunshine In" – The 5th Dimension, April 12, 1969
 * "Love Theme from Romeo and Juliet" – Henry Mancini, June 28, 1969
 * "Wedding Bell Blues" – The 5th Dimension, November 8, 1969
 * "Bridge Over Troubled Water" – Simon & Garfunkel, February 28, 1970
 * "(They Long to Be) Close to You" – The Carpenters, July 25, 1970
 * "Cracklin' Rosie" – Neil Diamond, October 10, 1970
 * "I Think I Love You" – The Partridge Family, November 21, 1970
 * "Indian Reservation" – The Raiders, July 24, 1971
 * "Song Sung Blue" – Neil Diamond, July 1, 1972
 * "Half Breed" – Cher, October 6, 1973
 * "Top of the World" – The Carpenters, December 3, 1973
 * "Annie's Song" – John Denver, July 27, 1974
 * "Thank God I'm a Country Boy" – John Denver, June 7, 1975
 * "Love Will Keep Us Together" – Captain & Tennille, June 21, 1975
 * "I'm Sorry"/"Calypso" – John Denver, September 27, 1975
 * "Theme from Mahogany (Do You Know Where You're Going To)" – Diana Ross, January 24, 1976

Discography

 * ''Deuces, T's, Roadsters and Drums (1963)
 * Drums! Drums! A Go Go (1966)
 * Psychedelic Percussion (1967)
 * Have Fun!!! Play Drums!!! (1968)
 * Buh-Doom (1998)

title: Hal Blaine


text:
User:Ulas Burkay

Ulas Burkay was born in Izmir, a city known as pearl of Aegean Sea and located in western part of Turkey.

He studied Industrial Engineering at Middle East Technical University, which is an international university well known by its qualified scientific education and research in the Middle East Region and most of its engineering faculties has been accredited by the Accreditation Board of Engineering and Technology as "substantially equivalent similarly titled and accredited programs in U.S.A.

Ulas Burkay is currently enrolled at Norwegian School Of Management BI and having his masters degree in Information Technology Management.

title: User:Ulas Burkay


text:
Talk:Hubble Deep Field

Image
There is now a new Hubble ULTRA Deep Field image available (TODAY 3/9/04). I would love to see that entered into wikipedia, but I do not have the technical expertise to do the edit myself. Any volunteers? - FrankH 3/9/2004

Contradiction?
The Hubble Deep Field page says that the HDF image is the deepest image of space taken in visible wave lengths, but the Hubble Ultra Deep Field page says the HUDF page is the deepest image taken in visible wave lenghts... Wouldn't it be logical to conclude the the Hubble Ultra-Deep Field image is the deeper image of the two? --5ptcalvinist 17:18, 14 October 2006 (UTC)

It says that the HUDF is 11.2 square arcminutes and the HDF is 144 arcseconds across, which equates to a maximum of 5.76 square arc minutes. I doubt we did a tinier slice of sky in the 90's than the 2000's and some change is needed to clear it up. I'll look around for a scholarly citation of the actual arc lengths of sky each respective deep field surveyed and give some citation. --150.216.128.186 17:47, 14 November 2007 (UTC)

http://hubblesite.org/newscenter/archive/releases/2004/07/ So hubble says HUDF is 12.7 millionth of the sky. The sky contains 14851080 square arcminutes (41253 square degrees * 360 http://www.badastronomy.com/bitesize/bigsky.html) so one 12700000 of that would be 1.169 square arcminutes.

http://www.cosmiclight.com/imagegalleries/deepfield.htm this site says deep field is 15 arcminutes across, 225 square arc minutes at most... but a little less from not being a perfect square.

http://hubblesite.org/newscenter/archive/releases/1998/41/image/c/ This is hubble's site saying 15 arc minutes across as well. So I think it's safe for me to go ahead and change the data of both --150.216.128.186 18:15, 14 November 2007 (UTC)

 * I think this is a misunderstanding. The hubblesite.org page cited explains:
 * "The carefully selected HDF-S target field in the constellation Tucana, as imaged by the 4-meter Blanco telescope at the Cerro Tololo Inter-American Observatory in Chile. The field of view is 15 arc minutes, approximately half the angular diameter of the full moon. The respective fields of Hubble's three instruments are outlined."
 * so the Cerro Tololo image shows the targeted field, which has a FOV of 15 arc minutes, and as shown in the image the FOV of HDF-S is only a fraction of that, most probably 144 arc seconds (2.4 arc minutes) as stated in the article earlier. Please note also, that the specs of the WFPC2 used for the imaging of HDF-S state a FOV of 2.7 arc minutes. Please check and consider reentering the original value for the FOV. --Sir48 (talk) 19:32, 16 December 2007 (UTC)
 * There has been no response to this, so let me add, that the source: states the size of the field as 5.7 arcminutes2 for both the HDF and the HDF-S. Please note, that this corresponds to 2.4 arcminutes across.--Sir48 (talk) 18:16, 20 January 2008 (UTC)

Some queries
'A special Institute Advisory Committee'—can 'special' be removed or qualified?
 * It was described as such in Williams et al (1996) - I'm guessing they mean an advisory committee which was specially convened rather than a standing committee, although I couldn't say for sure - will try to find out. Worldtraveller 11:42, 30 August 2005 (UTC)

Please check my change: 'the areas of sky towards the poles of Hubble's orbit that are not occulted by the orbit of the Earth or its Moon'—the role of 'orbit' was unclear.
 * Tried to clarify this in the text, and Image:Hubble Deep Field observing geometry.png in the Observations section also illustrates how the CVZs come about. Worldtraveller 11:42, 30 August 2005 (UTC)

congrats!
Well done indeed. Tony 05:11, 4 September 2005 (UTC)

Data processing, some queries
How many pixels does the HDF contain ? The statement "final pixel sizes of 0.03985 arcseconds" and an image size of 144 arcseconds implies that it is 3613.5 pixels wide. 0.03985 arcseconds is a very odd number; there is almost certainly some rounding or uncertainty which makes this inappropriately precise, especially in contrast to the ".09 arcseconds" for the unprocessed pixels. What is the bit depth of the image ? It seems odd that an article about a digital image doesn't say how big it is. Great article though. PeterGrecian 12:57, 13 October 2005 (UTC)

 * The original science frames each contain four blocks of 800x800 pixels = 2.56×106, but the drizzling resampling does give that very exact pixel size, smaller than the original pixel size due to the image reconstruction from sub-pixel pointing changes. Don't know about bit depth, each monochrome image has an 8 bit greyscale, but I don't know enough about the terminology to know whether that means the total bit depth is 2564.  Will do some reading and add what I find out to the article.  Worldtraveller 08:57, 14 October 2005 (UTC)

 * The HDFN images I have are all in FITS format, and measure in COUNTS. That is, there is no bit depth per se, but each pixel is assigned an integer corresponding to the number of photons detected. On top of that, there are considerable blank areas around the perimeter of the image, which is an artifact of the optics. The normally quoted figure for WFPC2 images is 2 megapixels, although the drizzeling probably increased this. Incidentally, should we link to the actual data files themselves, or is that something only of interest to us astronomers? Modest Genius 17:07, 18 February 2006 (UTC)

Scott Wyffels???
I find it unlikely that any one astronomer could single-handedly repair a satellite in orbit without any mention appearing online about his acheivements. Accordingly I've removed the daft reference to "Scott Wyffel" repairing the hubble optics. If this is in error, please provide a reference here. Mat-C 22:08, 13 October 2005 (UTC)
 * Even if that could be referenced, that information would belong in the Hubble space telescope article and not this one Majts 22:40, 13 October 2005 (UTC)

To the Stars Manifest Destiny
The United States needs the technology to get to the stars in a reasonable time. Reasonable is any star in the Milky Way galaxy (our galaxy) within an hour. The technology for space travel for life support systems is not mature enough and needs a new technology advance for deep space travel lasting years making it very difficult for any person to currently travel beyond the Earth's Moon.

The United States needs a ways and means to get to the stars. However it may be, a new and better understanding of the Universe, new and better understanding of life support systems for space travel, new and better ways of travel (airpower, by example, was a unexpected and very successful), new and better power sources including power sources for space travel, and new and better propulsion for space travel needs to be made. We need something better than chemical, nuclear, or ion rockets (all three have been examined) to get us past the light barrier problem to first take the Milky Way galaxy for humanity and the United States, and second take the Universe as it is ours. The galaxy called the Milky Way galaxy belongs to the United States and then humanity, so it is ours to take and use to our prosperity with full authority over the galaxy given to the United States and humanity. The rest of the Universe is ours for the taking for the United States and then humanity to use for our prosperity with full authority over the Universe given to the United States and humanity. Manifest destiny is there, all the people of the United States and the rest of humanity shall take advantage of any ways and means to improve technology; all of the people of the United States and the rest of humanity shall take advantage of any opportunity go out into our galaxy initially starting from our solar system the United States has called the Sol system, and then go to the rest of the Universe and take it, since it is ours and ours by authority. Every day in science fiction entertainment the capability for people to travel and prosper across the galaxy and the Universe is imagined. We have the ability to imagine it, now we must do it and go to the stars for our purposes and claim what belongs to us as the United States and rest of humanity.

 * Even though your ideas are intriguing, this page is just for talking about the article. Majts 23:08, 15 October 2005 (UTC)

 * What has the United States got to do with anything? 203.218.87.40 12:37, 16 December 2005 (UTC)

Very unclear
"galaxies, some of which are among the youngest and most distant known." If they are the most distant, they must be the oldest, not the youngest, that's very basic cosmology. If the intended meaning is "observed as they were at a very early stage of development" or "observed as the were at a very young age of the universe", please say so. Thanks. 84.141.103.132 11:34, 19 August 2007 (UTC)

emptiest section of space?
I heard several astronomer types say that the Hubble Deep Field was a result of scientists pointing it to the emptiest part of the sky. Nothing in this article tells that story. Has anyone else heard this?69.76.132.166 (talk) 03:17, 12 June 2009 (UTC)

 * This is mentioned in the article: "The field selected for the observations needed to fulfill several criteria. [...] The target field had to avoid known bright sources of visible light (such as foreground stars), and infrared, ultraviolet and X-ray emissions, to facilitate later studies at many wavelengths of the objects in the deep field" — Twas Now ( talk • contribs • e-mail ) 22:10, 12 June 2009 (UTC)
 * yawn69.76.132.166 (talk) 03:37, 13 June 2009 (UTC)

I have to laugh at the reaction "yawn" by the IP editor. Sorry the HDF is boring you!

But seriously about this issue, the information in the article and clarified above does seem to imply that the selected field is an emptier part of space, without actually stating it. What is really the case? What's the relationship between the density of near and far parts of space? Is it really that an absence of near space obstructions correlates with far space spareness? Or our near space obstacles just obstructing even emptier space? +|||||||||||||||||||||||||+ (talk) 11:23, 29 June 2012 (UTC)

Youngest galaxies?
in the article, the opening paragraph includes: "...almost all of the 3,000 objects in the image are galaxies, some of which are among the youngest and most distant known. By revealing such large numbers of very young galaxies, the HDF has become a landmark image in the study of the early universe,..." "...youngest and most distant.." is by itself a contradiction, surely the contributor meant oldest..? If nobody objects, I'll change these two occurrences. If similar errors are also present elsewhere in the article they should also be changed, although I haven't noticed any. S B O R K  04:22, 29 July 2009 (UTC)
 * There is no error. Those galaxies are the youngest—they are observed in the process of formation. Ruslik_ Zero 06:01, 29 July 2009 (UTC)
 * Ok, but since those galaxies are the 'most distant known' that also means that are the oldest known because the light has taken 12 billion years (or however far away they are) to get here. It reads as a contradiction to me. Also, with regard to the 'study of the early universe', I would've thought that the HDF image was important because it contained many galaxies that were so distant - rather than galaxies that were so young. Just some thoughts. S B O R K  07:31, 1 August 2009 (UTC)
 * There's two different aspects: the age of the galaxies that we're seeing (which are some of the youngest seen), and the light travel time (the photons that are travelling towards us are old). Astronomers tend to define young and old the same way as you'd define it for people - whether you're seeing them earlier or later in their life. You wouldn't call a baby old just because you're seeing it from a long distance away. ;-) Mike Peel (talk) 08:52, 1 August 2009 (UTC)
 * Fair enough, I guess the connection between how far away the galaxies are and therefore what the minimum age of the universe must be belongs elsewhere. The section 'Scientific Results' basically describes what I was referring to anyway. Also, I just noticed another user had queried the older/younger description some time ago - guess I'll read the discussion page next time before commenting ;-) In any case, it's a nicely written and informative article. S B O R K  04:29, 4 August 2009 (UTC)

Redshift and Distance
The article says that there are many galaxies with a redshift of around 6, corresponding to a distance of 12 billion light years. Is this distance estimated by the luminosity of the galaxy? (JDoolin (talk) 15:11, 6 August 2010 (UTC))

Black corner?
Why does the HDF have a black corner - did one of the sensors not work right? --84.119.68.66 (talk) 21:16, 16 December 2011 (UTC)
 * It's part of the design of the camera. That corner is half the size, but twice as detailed. See Wide Field and Planetary Camera 2 and File:Jfader hubble.jpg. Modest Genius talk 15:10, 6 March 2014 (UTC)

HDF and big bang theory
I just read that very interresting article, and one very basic question came to my mind: If the HDF image shows galaxies ~12 billion lightyears far away, that means that the light took 12billion years to reach the hubble telescope. How did the objects came to the place from where they sent the photons to us 12 billion years ago ? If the big bang happend 13,7 billion years ago, these objects had to travel the 12 billion lightyears in just 1,7 billion years, which would mean an avarage speed of sol7 ?!? Most propably there is a major mistake in my thinking. Is there anyone who can explain this to me ? 86.56.255.10 (talk) 09:33, 19 February 2012 (UTC)

http://en.wikipedia.org/wiki/Metric_expansion_of_space Viciouspiggy (talk) 08:39, 20 November 2012 (UTC)

How many arcminutes?
This evening I have been working to clarify the relative sizes (in arcminutes) of the HDF, the HUDF, and the HXDF. I had success with the latter two articles, but I am struggling on the HDF. Can anyone find a reliable source on this?

Currently this article (HDF) says, "2.5 arcminutes across." However, it does not provide a source, and also it does not clarify whether this refers to the edge or diagonally. (You laugh, but the prior text of HUDF also used "across," and only after research did I learn that this was meant diagonally.)

Further down, the article states that the area is "5.3 square arcminutes." This corresponds to an edge of 2.38 arcminutes (assuming the area refers to a rectangular area -- but since the HDF is not a complete rectangle, this conveys the idea of a longer edge if taken literally.)

My own researches have turned a handful of reliable-looking, but non-academic, claims that the dimensions are 2.7 arcminutes square. ,,.

Finally, in a discussion on this page from 2007, it was observed that the "Wide Field and Planetary Camera 2" has a field of view of 2.7 arcminutes. However, I am not a specialist and I don't know how to evaluate this information. (Isn't it possible that the image was cropped?)

Thanks,

Andrew Gradman talk/WP:Hornbook 09:22, 26 February 2014 (UTC)

 * The HDF is basically the same dimensions as the WFPC2 camera (modulo a few arcsecond dither pattern). WFPC2 is images a 150"x150" area, minus the cutout due to the Planetary Camera.1. It's probably worth mentioning the dimensions on on the WFPC2 wiki page, too. - Parejkoj (talk) 17:15, 28 February 2014 (UTC)

I updated the width of the HDF to 2.6 arcmin following two sources that have been already cited in the article: and MaruchoV. (talk) 00:52, 27 April 2016 (UTC)

Portion of the night sky?
Currently the article says that the HDF is one 24-millionth of the whole sky. This fraction seems too small. The Hubble website says "The whole sky contains 12.7 million times more area than the Ultra Deep Field." (The Ultra Deep Field is about the same size as the first Deep Field.)

http://hubblesite.org/newscenter/archive/releases/2009/31/fastfacts/

But even this fraction seems too small. There are about 41253 square degrees in the night sky or 41253 * 360 = 14851010 square arcminutes. If the HDF is about 2.6^2 = 6.76 square arcminutes, then shouldn't the HDF be 6.76/1485101 = 1/2196905.325 or one 2-millionth of the whole sky?

https://en.wikipedia.org/wiki/Square_degree — Preceding unsigned comment added by TrainRobberGZ (talk • contribs) 10:49, 31 October 2016 (UTC)

 * I think you are calculating the surface area of the sphere of observation as being the square of the radius. If you use the correct area which is four PI times the radius squared you arrive at the number the author used - one 24 millionth of the sky. — Preceding unsigned comment added by 2600:1700:8e00:db00:2d21:1473:e9e3:4853 (talk • contribs) 03:44, 12 July 2022 (UTC)

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Can't find what I'm looking for in this article.
People are coming to this article from search results on Google or other search engines wanting to know, specifically, how far from Earth the Hubble Deep Field is located. That information should be in the first sentence or two of the article. I couldn't find the answer reading the first couple of paragraphs and I gave up and will look to a different source for the answer. If it's there near the top of the article and I missed seeing it, I'm sorry for complaining. 2600:8801:B011:300:DCC5:2BA5:8F5B:EB91 (talk) 20:23, 26 April 2021 (UTC) James.

 * "How far from Earth" is unfortunately not a well-formed question. It is just a patch of sky; it isn't any particular distance from Earth. The objects in it are a variety of distances away: see the "Scientific results" for some more details, but there is no one distance you could ascribe to the whole field. We could see if there is a plot of the redshift distribution of objects, to show the range of distances? - Parejkoj (talk) 16:00, 27 April 2021 (UTC)

Reference links
I just noticed that most of the paper references here don't have links to the actual publications, just "author, year". We should start chipping away at turning those into proper references. - Parejkoj (talk) 12:48, 28 July 2022 (UTC)

title: Talk:Hubble Deep Field


text:
Meredith Brooks

Meredith Ann Brooks (born June 12, 1958) is an American singer-songwriter and guitarist. A member of the Oregon music scene since the mid-1970s, she received international acclaim in the 1990s with her solo album Blurring the Edges (1997) and its single, "Bitch", which reached the top 10 in many countries and earned her a Grammy Award nomination.

Career
Brooks started her music career in 1976 as a member of an all-female band called Sapphire, based in Eugene, Oregon, touring and recording with CMS Records in the Pacific Northwest. Her bandmates were Janis Gaines, Cynthia Larsen, Patricia French and Pam Johnson. Seeking greater success, Brooks pushed the band to move to Seattle without Gaines on keyboards, reducing Sapphire to a foursome. In Seattle, Sapphire recorded at Kaye-Smith Studios at the same time as Heart. When this version of the band split in 1982, Brooks moved to Los Angeles to develop a solo career, releasing an album titled Meredith Brooks in 1986, which saw limited success in Mexico. In 1987, she joined Charlotte Caffey and Gia Ciambotti to form the trio the Graces, releasing the single "Lay Down Your Arms" which rose to number 56 on Billboard's charts. The Graces subsequently released an album, Perfect View, and three more singles, but these did not chart, and the Graces were dropped from the A&M label in 1991.

In 1995, Brooks landed a solo contract with Capitol Records. After two years, her first single, "Bitch", was released, and she was nominated twice for the 1998 Grammy Awards, for Best Female Rock Vocal Performance and Best Rock Song. The single went Platinum in Australia.

Her album Blurring the Edges achieved Platinum sales, peaking at 22 on the Billboard 200 and 5 on the UK Albums Chart. The album was produced by David Ricketts, formerly of David and David, and he also played keyboards (among other instruments) on the album. Brooks toured in the US and Europe in 1997 and 1998 to support the album, and also participated in the Lilith Fair music festival tour in both of those years.

On March 29, 1998, in Argentina, she opened for the Rolling Stones. During her set the crowd demanded the Stones and became violent, throwing objects including rocks and tampons at the stage and bruising her eye. She appeared again the next day wearing an Argentine football shirt, but the crowd again threw things at her, so after singing "Bitch" she yelled to the crowd, threw the shirt on the ground and walked off.

In 1999, Brooks recorded her third album, Deconstruction. The track "Sin City" was recorded for the movie Snake Eyes.

In 2002, Brooks signed with independent label Gold Circle Records. She worked on her fourth album, Bad Bad One. The label folded immediately after releasing the album.

In 2002, she produced Jennifer Love Hewitt's album BareNaked and appeared on VH1 Divas Las Vegas as a guest guitar soloist with Celine Dion and Anastacia.

Brooks signed a record deal with SLG Records and re-issued Bad Bad One as Shine in 2004. The track "Shine" was used as the theme music for Dr. Phil from 2004 to 2008. The instrumental remix appears as the last track on the album.

In 2007, Brooks completed a children's album titled If I Could Be... She also began developing Portland-area Sony Music Entertainment artist Becca.

Brooks is a member of the Canadian charity Artists Against Racism.

In 2018, the song "I'm a Mess" was a worldwide chart hit for Bebe Rexha. While an original song, it does borrow some of its melody from Brooks' earlier hit "Bitch". As a result, Meredith Brooks is listed as a co-writer of the song.

Awards and nominations
{| class=wikitable ! Year !! Awards !! Work !! Category !! Result
 * rowspan="6" | 1997
 * Billboard Music Video Awards
 * rowspan="3" | "Bitch"
 * Best New Artist Clip (Pop/Rock)
 * Nominated
 * rowspan="2" | MTV VMA
 * Best New Artist
 * Nominated
 * Best Female Video
 * Nominated
 * MTV EMA
 * rowspan="7" | Herself
 * Best New Act
 * Nominated
 * Billboard Music Awards
 * Top Hot 100 Artist - Female
 * Nominated
 * Žebřík Music Awards
 * Best International Female
 * Nominated
 * rowspan="7" | 1998
 * Pollstar Concert Industry Awards
 * Best New Artist Tour
 * Nominated
 * Brit Awards
 * Best International Female
 * Nominated
 * ECHO Awards
 * Best International Newcomer
 * Nominated
 * Blockbuster Entertainment Awards
 * Favorite Female - New Artist
 * Won
 * rowspan="2" | Grammy Awards
 * rowspan="3" | "Bitch"
 * Best Rock Song
 * Nominated
 * Best Female Rock Vocal Performance
 * Nominated
 * APRA Awards
 * Most Performed Foreign Work
 * Won
 * Won
 * rowspan="2" | Grammy Awards
 * rowspan="3" | "Bitch"
 * Best Rock Song
 * Nominated
 * Best Female Rock Vocal Performance
 * Nominated
 * APRA Awards
 * Most Performed Foreign Work
 * Won
 * APRA Awards
 * Most Performed Foreign Work
 * Won

Extended plays

 * Celebrating Pride (Greatest Hits EP) (2022)

Tracklist: • [1] Bitch • [2] Lay Down (Candles In The Rain) [ft. Queen Latifah] • [3] Wash My Hands • [4] I Have Everything • [5] Shout • [6] Stop

title: Meredith Brooks