Frances Bean Cobain

Frances Bean Cobain (born August 18, 1992) is the only child of the late Nirvana frontman, Kurt Cobain and spouse Courtney Love. She was born at Cedars-Sinai Medical Center in Los Angeles, California at 7:48 AM, weighing 6 lb 1 oz

Frances is named after Frances McKee from Scottish band The Vaselines but is often said to be named after Frances Farmer, a troubled and suicidal actress from the 1930s. The middle name Bean was chosen because Kurt thought she looked like a kidney bean on the ultrasound. Her godfather is R.E.M. frontman Michael Stipe, and Drew Barrymore is her godmother

EARLY LIFE

Frances Bean Cobain was born to musicians Kurt Cobain and Courtney Love on August 18, 1992 in Los Angeles, California. During Courtney Love's pregnancy with Frances, there were rumors suggesting that Courtney used heroin. This scandal intensified when Vanity Fair published Lynn Hirschberg's article "Strange Love" that alleged Love admitted to taking heroin even after learning of her pregnancy. The response to this article caused serious damage to Love's public standing, and many parenting groups called for Frances to be removed from her parents' custody immediately after birth. Along with Cobain, Love maintained that Vanity Fair took her words out of context. This continued after her birth, with tabloid reporters wanting to know if Frances was born addicted to drugs. The notoriety of the article resulted in child welfare services launching an investigation into the couple's ability to parent. The investigation was eventually dismissed, but not without a significant amount of legal wrangling and two-week-old Frances being removed from her parents' custody for a short time and placed into the care of Love's sister.

FATHER DEAD

April 1, 1994 was the last time Frances saw her father alive while she was visiting him at Exodus Recovery Center, the L.A. rehab clinic he had entered the previous day. The two of them played, and Kurt sang to her. A week later, on the morning of April 8, 1994, Cobain was found dead in his home from an apparent suicide.The following fall, Love enrolled Frances at Happy Medium School in Seattle, now called Giddens School. During her kindergarten year, Frances attended Highland Hall (a Waldorf school) in Northridge, California.

Life after her father's suicide

To date, Frances has given four official interviews. In September 2005, at age 13, Cobain gave her first ever interview to Teen Vogue where she discussed her personal style and mentions her parents. The second interview appeared in i-D magazine in January 2006, where she expressed negativity over tabloid portrayals of her mother, saying, "when you see a lot of lies about her in the tabloids...it can be hurtful." In August 2006, she was photographed for ELLE in her father's famous red cardigan and his pajama pants that he got married in. "I wore his pajamas because he got married in them to my mom in 1992 in Hawaii so I thought they would be cute if I wore them today ... he was too lazy to put on a tux so he got married in pajamas!" she said. She also said that she wears his clothes now and then, and owns more than 137 pairs of shoes, 200 pairs of jeans, and many designer bags. In February 2008, Frances appeared in a photo spread for Harper's Bazaar.According to her mother, Frances is set to inherit "a sweater, a guitar, and the lyrics to 'Smells Like Teen Spirit'" from her father's possessions. Many other possessions will be sold in an upcoming auction held by Courtney Love, with the majority of the proceeds going to charity. According to Rolling Stone magazine, the title and cover photograph for Sliver: The Best of the Box, the latest posthumous Nirvana release, were chosen by Frances. The cover photograph shows a pile of Nirvana and Cobain tapes strewn about, including a copy of the "Fecal Matter" demo.

Mick Jagger

Jagger was born into a middle-class family at the Livingstone Hospital, Dartford, Kent, England. His father, Basil Fanshawe ("Joe") Jagger, and his paternal grandfather, David Ernest Jagger, were both teachers; his mother, Eva Ensley Mary Scutts (13 April 1913 – 18 May 2000), an Australian immigrant to England, was an active member of the Conservative Party. Jagger was the eldest of two sons and was raised to follow in his father's career path.
In the book According to the Rolling Stones, Jagger states "I was always a singer. I always sang as a child. I was one of those kids who just liked to sing. Some kids sing in choirs; others like to show off in front of the mirror. I was in the church choir and I also loved listening to singers on the radio - the BBC or Radio Luxembourg - or watching them on TV and in the movies."
Academically successful, he attended Dartford Grammar School where he passed 3 A-levels, before entering the London School of Economics on a scholarship. As a student, Jagger frequented a London club called "The Firehouse". At the age of 19, Jagger began performing as a singer. Jagger had no formal musical training and did not know how to read music.

In the early 1950s Keith Richards and Mick Jagger (who as a youngster preferred the nickname Mike) were classmates at Wentworth Primary School in Dartford, Kent. Richards and Jagger were reunited in 1960 and found they shared a love for rhythm and blues music. They moved into a flat in Chelsea with guitarist Brian Jones. While Richards and Jones were making plans to start their own rock and roll band, Jagger continued his business courses at the London School of Economics. He studied for a degree in accounting and finance, with a minor in physical education, but attended for less than a year and did not graduate, leaving to pursue a musical career.
In their earliest days the members played for nothing in the interval of Alexis Korner's gigs at a basement club opposite Ealing Broadway tube station (subsequently called "Ferry's" club).

At the time the band had very little equipment and needed to borrow Alexis' gear to play. This was before Andrew Oldham became their manager. The band’s first appearance under the name The Rollin' Stones (after one of their favourite Muddy Waters tunes) was at a jazz club called the Marquee Club on 12 July 1962. The lineup did not at that time include drummer Charlie Watts and bassist Bill Wyman. By 1963, they were finding their stride as well as popularity. By 1964 two different opinion polls named them as England's most popular group outranking even the Beatles.
By the autumn of 1963, Jagger had left the LSE in favour of his blossoming musical career with the Rolling Stones. The band continued to mine the works of American rhythm and blues artists such as Chuck Berry and Bo Diddley, but Jagger and Richards soon began to write their own songs. This core songwriting partnership would flourish in time; one of their early compositions, "As Tears Go By", was a song written for Marianne Faithfull, a young singer being promoted by Loog Oldham at the time. For the Rolling Stones, the duo would write "The Last Time", the band's third number-one single in the UK (their first two UK number-one hits had been cover versions). Another of the fruits of this collaboration was their first international hit, "(I Can't Get No) Satisfaction". It also established The Rolling Stones’ image as defiant troublemakers who were definitely not The Beatles.
"I wasn't trying to be rebellious in those days," Jagger told Stephen Schiff in a 1992 Vanity Fair profile. "I was just being me. I wasn't trying to push the edge of anything. I'm being me and ordinary, the guy from suburbia who sings in this band, but someone older might have thought it was just the most awful racket, the most terrible thing, and where are we going if this is music?... But all those songs we sang were pretty tame, really. People didn't think they were, but I thought they were tame."

The band released several successful albums including December's Children (And Everybody's), Aftermath, and Between the Buttons, but their reputations were catching up to them. In 1967 Jagger and Richards were arrested on drug charges and were given unusually harsh sentences: Jagger was sentenced to three months' imprisonment for possession of four over-the-counter pep pills he had purchased in Italy. On appeal Richards' sentence was overturned and Jagger's was amended to a conditional discharge, but the Rolling Stones continued to face legal battles for the next decade. Around the same time internal struggles about the direction of the band had begun to surface.
Their Satanic Majesties Request was released in 1967. Critics soundly panned the album, which many of them derided as a poor attempt to copy The Beatles'

Never

sOmet!mEs I tHiNk of yOu,

yOu're the waNt tHat cHan9eS me

bUt we'Re it so different

yOu're not of my an9eL...

neVeR loVed tO me...!

neVeR loVed tO me...!!

neVeR loVed tO me...!!!

Surabaya Zoo

The Surabaya zoo (KBS) was one of the popular zoo in Indonesia, located in Setail 1 street Surabaya, is the zoo that had been most complete in South-East Asia, inside was gotten more than 351 species of the fauna that was different which consisted more than 2.806 animals. Including inside the Indonesian endangered species and the world consisted of the Mammal, Aves, reptiles, Pisces.

KBS was the tourism attraction that was interesting because of it location factor that was in the middle of the Surabaya city, around the activity of the metropolis city evidently still could be found by us the place of various fauna sorts that most usually live in the wild, this could become a kind denied measured for humankind to continue in maintaining the balance of nature in conserving the fauna but also for children who visited KBS was the educational part that in a indirectly was useful to know various faunas sorts to be available to be buried since early the feeling loved all nature and the contents. Moreover, KBS was the fauna garden which means that the place with the main function of conservation ex-situ that carried out maintenance efforts and breeding of various fauna kinds in order to form and develop the new habitat as protection means and conservation of nature that was made use for the development of SCIENCE AND TECHNOLOGY as well as for healthy facility of nature recreation.

The last target of this fauna garden was: widened the community understanding and appreciation about the function of the fauna garden, increased fauna welfare efforts created the connection between conservation ex-situ and in-situ, formed the global network between the fauna garden. The educational program and the research in Surabaya Zoo carried out the development of science and technology was the scientific vehicle for the community and was the living laboratory to more loved and appreciated the flora and the fauna as our property nature wealth together. Until now every Sunday or other holiday days, KBS was always crowded by the visitor who came from various areas, the city, even foreign tourists. If being seen appear at first glance the development of the Surabaya Zoo was very good and appropriate to be spoken of highly as the tourist attraction in East Java and in especially Surabaya.

KBS philosophy

Various widespread animals in this earth was the Lord's gift and was useful for humankind and the balance of nature as the characteristics pengejahwantahan the characteristics the Great Generous and Great Loyalty from the Lord to all it creature.

The histories of Kebun Binatang Surabaya

It was established based on Acceptance Letter of the general Dutch Governor- on August 31, 1916 No. 40, by the name of “Soerabaiasche Planten-en Dierentuin” (the Botany Garden and the Surabaya Animal) on the merit of a journalist named H. F. K. Kommer who had the hobby of gathering the animal. From the financial aspect H. F. K Kommer received help from several people who had enough capital.

The First Management composition of the Surabaya Zoo: Leader : J.P Mooyman Secretary: A.H. de Wildt The Treasurer: P Egos, was helped by his 6 members that are:

1. F.C. Frumau

2. A. Lenshoek

3. H.C. Liem

4. J. Th Lohmann

5. Edw. H. Soesman

6. M.C. Valk

The established location:
The KBS location that was first in Kaliondo, during 1916, afterwards on September 28 , 1917 moved in the Groedo road. And during 1920 moved to the Darmo area because of OOST-JAVA STOOMTRAM MAATSCHAPPIJ or the railway Company merit who was tried to get the location measuring 30.500 m2.

The Geographical KBS location
07o 17' 34” LS dan 07o 17' 51” LS112o 34' 56” BT dan 112o 35' 15” BT The Distance from the centre of the city: + 5 km The Distance from sea: + 12 km The general Rainfall: 127 mm3/ml Height: 3 – 6 m. dplAtmosphere Temperature per year: 27,6oC Humidity per year: 74 %The land structure: the Layer Aluvialthe Seasonal: the special Season

The area of the KBS Territory was utilized to:
Reforesting in the cage: 3,1 ha (20.7 %)Reforesting outside the cage: 1,8 ha (12 %)Open reforesting space: 4,9 ha (37.7 %)Street: 0,8 ha (5.3 %) The water Channel: 0,2 ha (1.3 %)The Pond and the building: 2,5 ha (16.7 %) The fauna Cage: 1,7 ha (11.3 %) Parked: 1 ha

Operational and development

For the first time in April 1918, KBS was opened but by paying the sign entered (the ticket). Afterwards resulting from the high operational cost, then on July 21 1922 the botany garden/KBS experienced the crisis and will be dispersed, but some of the members did not agree. In this year, it also being in a meeting of the management was decided to disperse KBS, but be prevented by the Surabaya municipality side at that time.

On May 11, 1923 , the meeting of the member in Simpang Restaurant decided to establish the Association of the new Zoo, and to be indicated by W. A. Hompes to remain in the garden and arranged all the activities of the garden (the management). Aid that was big for continuation of the life when in 1927 was from Mayor DIJKERMAN and the council's member A. Van Genrep could persuade the People's Representative Council the Surabaya City to gain attention to KBS, with SK People's Representative Council on July 3, 1927 was bought the land that measuring 32.000 m3 the contribution from the railway Company (OJS). In 1939 until now the KBS area increase to 15 hectare and during 1940 was finished the production of the garden that the width 85.000 m2.

In KBS development had changed the function from year to year. The Surabaya zoo that beforehand only for the place of recreation was developed by the function into protection facility and conservation, education, the research and recreation. Animals that became the KBS collection from year to year the number and the variety continued to improve, both came from overseas and that came from inside the country.
Vision and Mission of KBS

Conservation, education, research and recreation
The KBS superiority:
• the strategic location, was easy to be reached• the KBS fauna Collection that had been most complete in South-East Asia• Apart From the fauna that was exhibited in the cage also had the fauna that was left free occupied in the KBS flora
RegionThe Visit hour:
Opened began to strike 07.00 WIB – 17.00 WIB
HTM (the Price of the Admission Ticket):
The children supervised 12 years @ Rp.4.000.- Mature on 12 years @ Rp.5.000.- The minimal party 30 people, the discount 20% - 25%
Others
KBS was the member of PKBSI that is the Association of all the Indonesian Zoo.According to results of the meeting agreement was severed the zoo only was the place of the development of the fauna, so as eventually available attractions in the zoo gradually will be eliminated because of being the exploitation action of the fauna

Wayang

Wayang is an Indonesian and Malay word for theatre. When the term is used to refer to kinds of puppet theater, sometimes the puppet itself is referred to as wayang. "Bayang", the Javanese word for shadow or imagination, also connotes "spirit." Performances of shadow puppet theater are accompanied by gamelan in Java, and by "gender wayang" in Bali.
UNESCO designated Wayang Kulit, a shadow puppet theater and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
Wayang is one of the form of culture which contain all the material of art. Mostly wayang included puppets as a main thing in a performance, in 2 dimensions or 3 dimensions. As we all know, in wayang we may find others art such as batik which is used as the cloth of each character, and also keris as weapon. From these two things; batik and keris, if we’d like to, we can learn so many things. Other supportive components are gamelan as backsound music, Javanesse verses as song sang by sinden (javanesse singer), and so on. All of them are combined to be one complex shadow puppet performance. In fine art itself, wayang always grows. Start from wayang beber, wayang kulit, wayang golek, and many other kinds. In this performance, I focus on wayang kulit or shadow puppet. Wayang kulit has quality of form in stylizing and deformation which is unique. Even on its stylizing technique, it symbolized each character which is performed. from http://www.planet-diversity.org/storiesandvideos/wayang-traditional-indonesian-puppets.html

WAYANG KULIT

Wayang kulit, shadow puppets prevalent in Java and Bali in Indonesia, and Kelantan in Malaysia, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiseled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.
The stories are usually drawn from the Ramayana, the Mahabharata or the Serat Menak. The island of Lombok has developed its own style of Serat Menak called Wayang Sasak.
There is a family of characters in Javanese wayang called Punakawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes. Semar is the father of Gareng (oldest son), Petruk, and Bagong (youngest son). These characters did not originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu-Javanese stories. They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.
The puppets figures themselves vary from place to place. In Central Java the city of Surakarta (Solo) is most famous and is the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in West Java, Banyumas, Cirebon, Semarang, and East Java. Bali produces more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.
Historically, the performance consisted of shadows cast on a cotton screen and an oil lamp. Today, the source of light used in wayang performance in Java is most often a halogen electric light. Some modern forms of wayang such as Wayang Sandosa created in the Art Academy at Surakarta (STSI) has employed spotlights, colored lights and other innovations.
The handwork involved in making a wayang kulit figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto kulit (skin or parchment), providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week.
The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.

WAYANG TOPENG or WAYANG GEDOG or WAYANG WONG

Wayang wong is a type of theatrical performance with themes from the kingdom of Jenggala, in which the players wear masks known as wayang topeng or wayang gedog. The word "gedog" comes from "kedok", which, like "topeng" means "mask". The main theme is the story of Raden Panji and Candra. This is a love story about princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was the incarnation of Dewi Ratih (goddess of love) and Panji was an incarnation of Kamajaya (god of love). Kirana's story was given the title "Smaradahana" ("The fire of love"). At the end of the complicated story they finally can marry and bring forth a son, named Raja Putra. Panji Asmarabangun ruled Jenggala under the official names "Sri Kameswara", "Prabu Suryowiseso", and "Hino Kertapati". Originally, wayang wong was performed only as an aristocratic entertainment in four palaces of Yogyakarta and Surakarta. In the course of time, it spread to become a popular and folk form as well.
Wayang wong has fixed patterns of movement and costume:
For male performers:
Alus: very slow, elegant and smooth movement. For example, the dance of Arjuna, Puntadewa and all other slimly built Kshatriyas. There are two types of movement, lanyap and luruh. Gagah: Kambeng: a more athletic dance, used for the roles of Bima, Antareja, and Ghatotkacha. Bapang: gagah and kasar for the warriors of Kaurawa. Kalang kinantang: falls somewhere between alus and gagah, danced by tall, slim dancers in the roles of Kresno or Suteja. Kasar: a coarse style, used in portraying ogres and demons. Gecul: ponokawan and cantrik Kambeng dengklik: for ape warriors, such as Hanuman. Kalang kinantang dengklik: for ape warriors, such as Sugriwa and Subali. For female performers: Kshatriya noblemen. Costumes and props distinguish kings, Kshatriyas, monks, princesses, The movements known as nggruda or ngenceng encot in the classical high style of dance consist of nine basic movements (joged pokok) and twelve other movements (joged gubahan and joged wirogo) and are used in portraying Bedoyo and Srimpi.
Today, the wayang wong, following the Gagrak style of Surakarta, is danced by women. They follow the alus movements associated with a Kshatriya, resembling Arjuna. Following the Gagkra style from Yogyakarta a male dancer uses these same Alus movements to depict princes and generals. There are about 45 distinct character types.

WAYANG GOLEK

Wayang golek are wooden doll puppets that are operated from below by rods connected to the hands and a central control rod that runs through the body to the head. The simple construction of the puppets belies their versatility, expressiveness and aptitude for imitating human dance. Little is known for certain about the history of wayang golek, but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. Some of the oldest traditions of wayang golek are from the north coast of Java in what is called the pasisir region. This is home to some of the oldest Muslim kingdoms in Java and it is likely the wayang golek grew in popularity through telling the wayang menak stories of Amir Hamza, the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as wayang golek menak, and in Cirebon, wayang golek cepak. Legendary origins of wayang golek attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to prosletize Muslim values. In the 18th century the tradition moved into the mountains of West Java where it eventually was used to tell stories of the Ramayana and the Mahabarata in a tradtion now called wayang golek purwa, which can be found in Bandung, Bogor and Jakarta. Wayang golek purwa has become the most popular form of wayang golek today and the most famous puppeteer family is the Sunarya family which has produced several generations of stellar performers.

WAYANG KARUCIL OR WAYANG KLITIK

Wayang klitik figures occupy a middle ground between the figures of wayang golek and wayang kulit. They are constructed similarly to wayang kulit figures, but from thin pieces of wood instead of leather, and, like wayang kulit figures, are used as shadow puppets. A further similarity is that they are the same smaller size as wayang kulit figures. However, wood is more subject to breakage than leather. During battle scenes, wayang klitik figures often sustain considerable damage, much to the amusement of the public, but in a country in which before 1970 there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis the wayang klitik figures, which are to appear in plays where they have to endure battle scenes, have leather arms. The name of these figures is onomotopaeic, from the sound klitik-klitik, that these figures make when worked by the dalang.
Wayang klitik figures come originally from eastern Java, where one still finds workshops turning them out. They are less costly to produce than wayang kulit figures.
The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala, Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras, which tells of the adventures of a pair of village youngsters with their fighting cocks. The Damarwulan presents the stories of a hero (Damarwulan) from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara, makes a surprise attack on the neighboring kingdom and brings down Minakjinggo, an Adipati (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife. This story is full of love affairs and battles and is very popular with the public. The dalang is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.

WAYANG BEBER

The wayang beber has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe. They have also been subject to the same fate – they have nearly vanished. A few scrolls of images remain from those times, found today in museums. Performances, mostly in small auditoriums, take place according to the following pattern:
The dalang gives a sign, the gamelan orchestra (or a musician with a violin-like instrument) begins to play and the Dalang unrolls a picture related to the story. Then, speaking and singing, he narrates the story in more detail. In this manner, in the course of the evening he unrolls several pictures. The pictures are shown one at a time and are successively unrolled. Each picture represents a story or part of a story. The content of the story typically stems from the Ramayana, the Mahabharata, the Jenggala stories or profane stories from other villages and kingdoms.

Tielman Brother's

The story of THE TIELMAN BROTHERS begin in Surabaya, where the 4 little brothers Tielman and little sister Jane started performing together in 1945 folk songs and traditional dances. Father Herman a captain and later quartermaster in the KNIL (Royal Dutch Indonesian Army) and he had stayed in a Japanese concentration camp. He owned a house in Surabaya and started to play music together with his friends. Herman Tielman was a gifted all round musician and he was the one that supplied Reggy, Ponthon, Andy, Loulou and Jane with their rich musical luggage. From the started Ponthon wanted to play the big double bass. Reggy wanted to play banjo and little Loulou was fond of the drums. Andy learned to play lead guitar. During their first performance during a house party they surprised their fathers friends with difficult numbers like Tiger Rag and 12th Street Rag.

Gigs followed at several private parties in Soerbaya. It went fast and within half a year they went on tour as THE TIMOR RHYTHN BROTHERS -Timor is the island, where the Tielman family inherited from - along the camps of the Dutch soldiers. There after they received offers from the NIWIM (National Effort Welfare Indonesia) and together with famous Dutch artists like De Wama’s, the Ramblers and the Skymasters they toured along the major cities of Indonesia. Their shows consisted of music and dances from all over the Indonesian islands including corresponding costumes and ritual attributes like war spears and swords. During these shows father Herman Tielman joined in on guitar mother Flora took care for the general presentation.
The Timor Rhythm Brothers (early 50's)l/r: Ponthon, Andy, Loulou, Wim Noya, Herman Tielman, Reggy

On the 29th December 1949 the official independence proclamation of Indonesia took place. The Tielman family now performed for the Indonesians. They even performed in the palace of president Soekarno in Djakarta. When they grew older they started to cover the top hits in perfect close harmony. In 1951 they were introduced to Guitar Boogie of Arthur Smith. Andy later told in an interview: ‘this was the first song which my brothers and I converted into rock ‘n roll by adding drums to it’. Later they started playing number of Les Paul, Elvis Presley, Little Richard, Bill Haley, Fats Domino, Chuck Berry and Gene Vincent. Andy also played together with Dolf de Vries in the band THE STARLIGHTS in Djakarta. Also on Sumatra he played without his brothers in the Hawaiian band of Freddy Wehner.

THE TIMOR RHYTHM BROTHERS –THE FOUR TIELMAN BROTHER-THE 4 T’s (Breda 1957-1959)

Andy Tielman (lead guitar, vocals)Reggy Tielman (2nd lead guitar, vocals)Ponthon Tielman † (double bass, vocals)Loulou Tielman † (drums, vocals).
The 4 T's showing their brandnew Miller and Wilson guitars. (Breda 1957)

At a certain moment they were offered an extensive tour throughout Indonesia, but only on condition that they should change their Dutch nationality into Indonesian. In the opinion of Herman Tielman his children would have a better future in the Netherlands and in 1957 the family repatriated to Holland by boat. Ponthon was already repatriated one year earlier and lived with his wife in Bussum.
After arrival in Holland they were settled in Breda in boarding house Smulders at the Baronielaan. They possessed only of a small suitcase with thin tropical cloths and they were confrontated with the cold Dutch winter. Luckily the DMZ (Military Affairs Service) supplied them with warm clothings. Edu Schalk - later singer with the Poetiray Brothers from Oosterhout- was their first Indonesian friend in Breda. The brothers went to the music shop Spronk in Breda and after they had convinced the owner of their great talents with their version of Bye Bye Love by The Everly Brothers, they were allowed to buy the most expensive guitars from the shop at instalment purchase. That became the legendary big white Miller guitars and a sunburst Wilson guitar. These were products of the Egmond company from Eindhoven (type ES 57). Later they also bought Egmond combo amplifiers to replace the old radio’s they were using. Their first appearances took place in Hotel De Schuur at the Catharinalaan in Breda. In the beginning they performed as the TIMOR RHYTM BROTHERS but soon they called themselves THE FOUR TIELMAN BROTHERS or THE 4 T’s. They soon went famous in Breda and started gigging other places in the province Brabant like Kamp Lunetten in Vught and dancing De Cosmopoliet in ‘s Hertogenbosch.
The Four Tielman Brothers on stage (Haagsche Dierentuin, The Hague ca.1957/1958)
The big aluminium balls of the Atomium in Brussels, Belgium still remember us of the world exebition Expo 58, which was held from the 17th April until the 19th October. At that time Hawaiian music was very popular in Europe and as a part of the Attraction Park a Hawaiian Village was created. With a decoration of palm trees, a blue sky and exotic plants and flowers Rudi Wairata (steel guitarist) and Mike Anoi (Guus 'broer' Arends) and their Hawaiian band played as main act. Several Dutch bands appeared and also THE FOUR TIELMAN BROTHERS were invited. They were allowed to fill a break of 20 minutes. They gave a spectacular rock ‘n roll show as never in Europe performed before. Andy played guitar with his foot, the guitars were played reverse in the neck, his guitar was played with the drumsticks of Loulou, the double bass was handled in a sheer acrobatic way and guitars were tossed between the brothers. The 20 minutes became almost 6 months.
The Four Tielman Brothers at Hawaiian Village, Brussels 1958
The Belgian René ‘Nappie’ Vlasselaar became their manager and arranged a recording session for his label Fernap. Together with his brother Ferry he owned the jukebox company Fernap (Ferry and Nappy). Rock Little Baby Of Mine was an up tempo rock song written by Andy Tielman as well as the flip side the ballad You’re Still The One. The inspiration for both songs came from his idol Elvis Presley, but the specific Tielman style was already present despite the primitive recording techniques. During that period Andy got married in Brussels to Jeanine M. When after one night all their guitars and amplifiers were destroyed by a fire at the Expo his father in law Roger M. bought them enormously expensive Gibson guitars and amplifiers brought in straight away from the U.S.A. Hans Joachim Kulenkamp and Peter Frankenfeld, famous German TV showmasters, discovered the Tielman Brothers at the Expo and invited them at the end of 1958 to Germany for a guest appearance in their TV show and a musical show act in the movie Paprika

The Four Tielman Brothers in the movie Paprika (Germany 1958)
The very first performances of THE TIELMAN BROTHERS in Germany took place at at "Plankenkaffee Kosschenhaschen" in Mannheim from 3 up to 16 January 1959. One night their show was filmed by Hessischer Rundfunk (HR) and was live on German TV January 27, 1959. This footage was transmitted again in Germany in the SWF-Abendschau. The Tielman Brothers were also invited on the 29th January 1959 at Hotel Deutsches Theater in München during a movies ball at the occasion of the premiere of the movie Paprika. There they met actress Romy Schneider and were rewarded with movie medal. In 1959 the played mainly as an act in between in circuses and year fairs. Their Belgian manager had placed them that in that scene. With Circus ‘Fisher’ they travelled throughout Germany and they also did a guest appearance at the famous ‘Oktoberfest’ in München. Cor Aaftink at that time label manager (Imperial) of record company Bovema had the courage to offer the for Dutch standards very wild rock ‘n roll group a recording contract. Their debut single became one of the highlights in the Dutch pop history. The catchy rhythm in Record Hop and Swing It up, the unique vocal achievements of Andy and the instrumental backing with Ponthon still on double bass sounded very international.THE TIELMAN BROTHERS (1960-1963) Imperial recordings + Ariola (3 singles + 1 EP)
Andy Tielman( lead guitar,vocals)Reggy Tielman( 2nd lead guitar, vocals)Franky Luyten( rhythm guitar, vocals)Ponthon Tielman † ( bass guitar, 6 string bass, vocals)Loulou Tielman † ( drums vocals)
The Tielman Brothers in the Koepelzaal of the Haagse Dierentuin (The Hague Zoo). 3rd. January 1960.
In January 1960 the Netherlands and especially The Hague made their first aquaintance with THE TIELMAN BROTHERS. On the 3rd January 1960 they played in the Koepelzaal of the Haagse Dierentuin(The Hague Zoo). A show of which the happy few who attended it still talk about it with enormous respect. On the 23rd January 1960 they appeared on television. A typical Dutch winter evening to gather around he the stove and on the only TV channel available there was a broadcast of the AVRO (a Dutch Broadcasting Company). In the Weekendshow (broadcoasted from 't Spant in Bussum) four slim brothers appeared, who called themselves The Tielman Brothers. They started their spectacular performance with Black Eyes and continued their appearance with Rollin’Rock and every possible show element was brought into the floodlight. For instance a log drum solo from Loulou in which he took a drumming stroll around his drum kit, Ponthon crawling on the floor but still playing his white double bass, Andy playing guitar with his teeth and foot and reverse in his neck standing on the double bass and Loulou pounding musically on the strings of Andy’s guitar. Of course some elements were copied from Spike Jones and Bill Haley.
The Tielman Brothers. Dutch TV Show (AVRO) 23rd. January 1960
Such a sensational and wild rock ‘n roll show never ever occurred on Dutch television and in my personal opinion it was in no way surpassed any more. The rock ‘n roll of the Indonesian guys was so heart-warming in our cold and orthodox country, but the TV reviewers and music experts thought differently. A load of negative critics was printed in the news papers. These historic moments are luckily preserved and 45 seconds of it were used by Hans Heynen in his film documentary Rockin’Ramona. We see in this movie how the long and slender fingers of Andy run along his Gibson Les Paul guitar in Black Eyes. Rarity Records released later in 1991 this TV show in cooperation with Tojo even integrally and the sound track on CD. Also in January 1960 they recorded 4 songs in the Bovema Studio Heemstede. My Maria( through the years the most requested number), You’re Still The One( re-release of their first recording in 1958 sounded perfectly now), Black Eyes( their first instrumental which would become one of the highlights in the history of so called Indo Rock) and Rock Little Baby (also a re-release of their first record from 1958, but it sounded much better now).
The Tielman Brothers at dancing Westhof, Heidelberg 1960
After that they left for Germany. They started their well paid month contracts in the Ringstube in Mannheim. The family Fluhrman owned this dancing and the Ringstube was always called the Spudnik by the bands and visitors because of its decoration with rockets and futuristic space ships. The TIELMAN BROTHERS would return there often. Then they went to Studio 15 in Dusseldorf and the nice dancing Westhof in Heidelberg (also a legendary location because of the American GI’s who stayed there). Another famous dancing was the Jolly Bar in Hanau (this was also an American army camp). The returned once again to the Bovema to do some recordings for their first 10 inch LP and they asked for assistance of guitarist/singer Franky Luyten (no family despite the fact some people say that he was cousin or a married in family member). It concerned the following songs: O Sole Mio (a beautiful cover of the Elvis Presley hit- It’s Now Or Never), 18th Century Rock (the first Dutch rock band, who rearranged a classical music piece featuring twin lead guitars- their version of W.A. Mozart's Piano Sonata in C Major, K.545, main theme, got a load of negative criticisms. However the main theme was already addapted in 1939 by Raymond Scott and released as In An 18th Century Drawing Room and f.e. also covered by Guy Lombardo (1939), Glenn Miller (1944) and Hank Snow (1955), A.A.A. (an interesting instrumental based on Big Guitar by Owen Bradley), Pretend (perfect cover of the Carl Mann hit), April in Paris (a beautiful instrumental, but the actle title was I love Paris), Oh Rosalie (a hit for Conway Twitty), I Can’t Forget You (another typical and sensible vocal song by Andy Tielman in an unique way that only he could do) and Night Train (a sublime interpretation of this jazz standard written by Jimmy Forrest). 6 of these 8 recordings appeared earlier as singles. 18th Century Rock/Pretend even in the U.S.A. on Capital Records.O Sole Mio came in 1964 also on their 12 inch LP with on the sleeve the clear statement: We don’t have Indonesia anymore ………….. but we still have The Tielman Brothers. The instrumental Night Train remained very rare because this number only figured on their 10 inch LP ‘Tielman On Stage’ released in 1961.
The Tielman Brothers at dancing Westhof, Heidelberg 1960
Franky Luyten went along to Germany and he would be part of THE TIELMAN BROTHERS until the middle of 1964. In the spring of 1961 Andy Tielman bought his first (white) Fender Jazzmaster. Andy knew this guitar from the LP sleeves of The Ventures. This guitar appeared to be quite suitable for stage bouncing (much lighter then Gibson Les Pauls) and other guitar acrobatics and stage acts. This was quite important and in the end they band bought a complete Fender equipment outfit at Radio Barth in Stuttgart. During that period THE TIELMAN BROTHERS had their own mansion in Heidelberg.
The Tielman Brothers at the Ringstube (Sputnik), Dusseldorf 1961
In 1963 Jane Tielman went more and more on tour with the band. The same year that obtained also a recording contract in Germany for the Ariola label On the A side of their 1st single came Tahiti Jungle (an arrangement of Hawaiian War Chant of The Ventures) and on the B side the German song Fern Am Amazonas (Ariola had herewith the success of The Blue Diamonds in mind). The same recipe was followed for their 2nd German single: Java Guitars ( Andy's own interpretation Guitar Boogie, enormously popular and still copied today) with Weine Nicht Kleine Tamara (cover of the German singer Rudi Schurike from 1951) - in 1964 covered instrumentally in a very nice way by Jan de Hont and his ‘Maskers’ (a famous Dutch guitar group). Their 3rd single in 1962 was completely instrumental with an arrangement of a German folksong: Little Hänschen Twist and a magisterial treatment of Twistin’The Carioca (Les Paul instrumental originating from the film musical ‘Flying Down To Rio’ with Fred Astaire and Ginger Rogers from 1933).

THE TIELMAN BROTHERS (1963-1964)
Andy Tielman( lead guitar,vocals)Alphonse Faverey (lead guitar) ex Strangers; to The Four Beat Breakers >The Time BreakersReggy Tielman (2nd lead guitar, 6 string bass, vocals)Franky Luyten (rhythm guitar, vocals) to the The Four Beat Breakers>The Time BreakersPonthon Tielman †(bass guitar, 6 string bass, vocals) to Tielman Royal ; afterwards back to IndonesiaLoulou Tielman † (drums, vocals)Jane Tielman † (vocals)
The Tielman Brothers with sister Jane and Alphonse Faverey (left)(1963)
In 1963 Andy and Reggy Tielman were involved with a severe car accident and came under a freight truck. Reggy recovered after 2 weeks, but Andy was for 4 days in coma and his arm was broken at 8 spots. His arm was put in plaster and his recovery lasted many months. As replacement Alfons Faverey joined THE TIELMAN BROTHERS. His band THE STRANGERS had split and he would remain with the band after the return of Andy. The guitar playing was less good and Andy concentrated even more on his vocals. Nevertheless Andy created a real innovation in the guitar world. He put 4 extra banjo strings on his Jazzmaster and with this 10 string guitar he could achieve very special effects and a big sound. The rumour goes that an employee of Fender came to the Sputnik to watch Andy’s unique guitar. Framus and Vox made prototypes of a 9 string guitar, probable influenced by Andy and almost all Indo- Rock bands in Germany followed Andy’s conversion of their lead guitars, Fender Jazzmasters of course. Together with Alfons they did a tour in Israel. Unfortunately no records were made during they stay of Alfons in the band. During 1964 Franky Luyten and Alfons Faverey were drafted for the Dutch military service. Because of disagreements Ponthon left THE TIELMAN BROTHERS played for some time with hs own band TIELMAN ROYAL and after that he went back to Indonesia where he stayed until his decease in April 2000.

THE TIELMAN BROTHERS( 1964-1969)
Andy Tielman( lead guitar,vocals)Reggy Tielman( 2nd lead guitar, 6 string bass, vocals)Hans Bax( rhythm guitar, vocals) Robby Latupeirisa( bass guitar, 6 string bass)Loulou Tielman †( drums, vocals)Jane Tielman †( vocals)
The Tielman Brothers with Hans Bax(left) and Rob Latupeirisa (right)
Together with Hans Bax and Robby Latupeirisa coming from the broken up legendary Indo-Rock group THE JAVALINS started touring again in Germany again under the name THE TIELMAN BROTHERS, despite the fact that Andy himself had problems with this name. He would have preferred to continue as THE TIELMAN BAND. In this formation they recorded end of 1964 a live LP as well as a number of singes of which Hello Caterina was one of the better own compositions. This LP contained mainly covers because the repertoire had to be adapted more and more to due the pending trend of that period.
In 1965 they were invited to perform in the best known dancing of the Netherlands the posh Palais de Danse in Scheveningen( the seaside village of The Hague). Although they hadn’t played in Holland for years their fans came from all over the country and had to cue for the entrance well in advance, watching the sharp dressed band members arriving in their big limousines. They appeared with big success during July and August and their opening acts were the well known ZZ EN DE MASKERS and ANDY STARR & THE STRIPES. Jos Van Vliet, earlier president for THE CRAZY ROCKERS fan club and now Press Manager with Negram/Delta records invited them to the studio and the result was the beautiful album ‘East & West’, on which Andy excelled in 5 wonderful ballads like Unchained Melody, Maria and Danny Boy. Jane sang lead in Bring It On Home To Me. Reggy was the lead singer in a number of traditional Indonesian songs like Ole Sio and Kekasih Ku. The number Maria( West Side Story) was released as a single and reached with number 20 in the Dutch Top Forty its highest position in 1965. The self penned impressive instrumental Marabunta was also released in the U.S.A. on the Scepter label.
Andy, Jane and Reggy Tielman (Germany 1966) + VOX Guitar Organ
Andy was as far as we know the only famous lead guitarist who used the meanwhile very rare Vox Guitar Organ on stage in 1966. This instrument could reproduce organ- and guitar sounds. With its multiple controls and knobs it was not easy to play. More over this organ guitar could only be played with an electronic plectrum which was connected with the PC boards of the guitar. This organ guitar soon disappeared from the market, but once again Andy Tielman proofed to be a true innovator in guitar sound.
Until 1967 they recorded for the German Ariola label, but the typical Tielman style was most of the times far gone. In 1967 they had totally unexpected their biggest hit in their career. Little Bird was recorded in 1967 in the Netherlands and reached the number 7 in the Dutch Top Fourty. The record was released in the U.S.A. on the Ranwood label.
There after followed a period of constantly changing formations and they appeared as ANDY TIELMAN & THE TIELMAN BROTHERS. The typical Tielman sound even further disappeared and only in 1979 Andy would show something of his old glory. Especially the instrumental Sarinandé made quite an impact and it was very remarkable tot see at last a LP with 4 instrumental numbers, after all these were the real roots of the Tielman Brothers.
Andy Tielman & The Tielman Brothers in de 70'sAndy with Vox Mando-Guitar (12-string elec. mandolin). Behind him a Vox AC 100 De Luxe and Fender XII
ANDY TIELMAN and his INDONESIANS (1969-1971)
Andy Tielman (leadguitar, vocals)Reggy Tielman (2nd lead guitar, 6-string bass, vocals)Rob Latupeirisa (bass guitar, 6-string bass)Loulou Tielman † (drums, vocals)Benny Heynen † (tenor saxophone, rhythm guitar)Leo Masengi † (tenor saxophone, rhythm guitar) ex- The High Five
ANDY TIELMAN & THE TIELMAN BROTHERS
Eddy Chatelin (guitar, vocals)Reggy Tielman (2nd lead guitar, rhythm guitar)Hans Bax (rhytm guitar)Maurice de la Croix (rhythm guitar))Leo Masengi † (tenor saxophone, rhytm guitar) Rob Latupeirisa (bass guitar)Benny Heynen † (tenor saxophone, trompet, guitar)Loulou Tielman (drums, vocals)
Story and Copyright: Piet Muys 07/2003Editing and translation: Cees Bakker 03/2005