I don't know if this topic is thoroughly exhausted but I feel like saying something that hasn't been mentioned before. Thta is that Napster allows global access to music. And global doesn't just mean Europe and the US (which is where the whole discussion has been centered in this list).
A little bit of my personal experience: I am living in London now (until september) but before this year I lived in Bogota (that is the capital of Colombia in South America). And I can see very well the advantages of Napster when I return there. In fact a fast internet account is the second thing I'm going to get when I go back (the first one being a job, of course).
I don't know if any of you have been to record stores in third world countries but the variety that most people in Europe or the US take for granted is not a fact there. So if you are into different kinds of music, there simply is no way you can get it locally. You can order it from the internet but then you have to pray that the local post office agent doesn't find the covers of your CDs interesting and then decides to steal your whole package (it has been known to happen).
And then there is the issue of the prices. If you think prices are high in the UK (and they are) you should see the prices in Colombia. Nowadays a Cd goes around for ú20 (30 U$) and that happens in a country where the minimum wage is less than 200 U$ a month. So piracy is rampant. How can you expect it not to be? If people like music and want a cassette or a CD they are not going to pay such ludicrously high prices in a store when they can buy a pirate copy in the street for 1/4th or 1/5th of the price.
There should be some kind of global scale for music prices. Do something like what Coca Cola does, accomodate the price of its product to the real economic possibilities of the local people. But of course, that doesn't happen.
So going back to Ashley's sarcasm against bumpy: It IS a FACT that if you lived in Colombia (or in any third world country) and wanted to buy as much music as you buy with your usual first world wages, you WOULD have to have 3 or 4 jobs. Or pirate music from the internet.
I really think that it is easy to overlook the economic differences between countries and think that if all your life you've had cool record stores a couple of blocks away that is the same case with everybody else. And that is not the case. The world is a very big place. And I think that your geographical location shouldn't interfere with the pleasure you get from listening to the kind of music you like. And that is why I think Napster is great.
Having said that, now that I am in London I buy all the music I can. Legally, no bootlegs. And have no Napster. But that is going to change in Bogota. Or I will become very depressed.
Hope this helped in the discussion,
Cheers,
Manuel
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>It may only be a matter of time until music industry is seriously <damaged by free downloads. It seems kind of obvious that more and >more people will choose to do that.
About this: Someone told me about a college book store that stopped selling CD's because the students stopped buying. Doin' the MP3 thing.
These stores are typically more expensive anyways so who knows.
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> Next time you buy a copy of a CD that says "For Promotion Only"
> or words to that effect, just remembert that the person who >recorded the music receives
> NO monetary compensation, but the record company weasel who stole
> the CD's from the label library gets thousands of dollars annually >due to the kickback he has in place
In Boston, a huge radio market, the used record stores are full of promotional items. Most of them unopened with the shrinkwrap still on them. Especially the soundtrack section with all those RYKO reissues. And I posted a few months ago about a store full of Capitol releases. Somebody cleaned out a closet.
Right now because of station policy/politics/personalities I can not solicit labels for items to play on my radio show. If I did and got "caught" I would lose the show.
Purchasing promo items has been a (slightly) inexpensive way to get music and at least these CD's, in my case, are used for their original intent. Airplay. But it really is a darn shame that this is happening. Plus I've heard that record companies are really stingy with promo items.
As for a previous post about asskissing and posting playlists: I've asked myself that question many times. Because it does seem like asskissing. I've even given some of these artists, who are not in my listening area, tapes of my show so they can hear there stuff "on the radio". Folks like "Daves True Story", "Seks Bomba" and Astroslut". Plus these folks gave personally gave me the promo items and I want to show that there CD's are but to good use. the way that I llok at it? In the age of Britney and InSync these folks need the encouragment and support to follow their muse and keep on going.
Domenic Ciccone
"Martinis with Mancini" WJUL 91.5FM FridayÆs 6-9AM EST
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Subject: (exotica) Got some records from an aquaintance
Date: 01 Aug 2000 11:29:36 -0700 (PDT)
There is this fellow, Joe, who does a 50Æs radio show here in central Mass on WICN Worcester. And heÆs in the estate auction business too so he has lots of records.
My timing was great a few Saturday mornings ago when I dropped in and found him going thru his records in his warehouse. He knows me because IÆve been helping out with pledge drives at WICN and his show for a while.
I got a chance to digitize a couple of Shorty Roger LPsÆ and gave him a copy of that. I offered to digitize some of his favorite hard to find LPÆs (for me and him) but heÆs not really interested. HeÆs not really into CDÆs and for years only played LPÆs exclusively on his show. Hope my CDr of the Shory Rogers changes his mind.
Well while there I was putting together a pile of records to ask if I could borrow. I stuck with stuff he would not like and does not play. Too Latin or percussion based. Space Age pop stuff.
He was really wary about lending me stuff. Because he felt he would never see it again. So Joe went thru what I picked out and actually gave me some records instead of borrowing them under the condition that I donÆt ôbother him for a whileö. HeÆs really a curmudgeony fellow in an endearing way really. Going thru the records I would hold up a LP and I would ask him questions about people like Ann Richards and get the greatest comments....öwhen she was young she was married to Stan Kenton. He was a real prick. DonÆt you know ANYTHING??ö HeÆs like a rude Yoda or something.
But it was worth being humble and and an eagerbeaver to learn. Or maybe it was asskissing? Maybe. HereÆs some stuff I got.
Great Scott Shirley Scott Trio with Orchestra conducted be Oliver Nelson. (Nice "Shot in the Darkö on this)
Pete Rugolo and his Orchestra An Adventure in Sound-REEDS
Pete Rugolo Music for Out of Space
Enoch Light Lets Dance Bossa Nova (includes dance instructions)
Edmundo Ros Latin Boss Senor Ros
Frank Chacksfield The Great TV Themes
Dick Shory Music to Break and Mood. (mentioned on the list recently)
Tak Shinko Brass and Bamboo
Lew Davies Strange Interlude (Command)
Buddy Morrow Double Impact
Peggy Lee Latin a La Lee
Shorty Rogers Meets Tarzan (Played one cutàthis is great!)
Mary Gold Sounds Unlimited
Hal Mooney Woodwinds and Percussion
The Jazz Combo from I Want To Live
Gerald Wilson Toredo Impressions in Jazz..The Golden Sword
Dick Shory Supercussion
About 3 Dick Hyman Command recordsà..
And 2 Esquival LPs! My first ones! He had another 3 and if I threw them in the pile I would have had them. He really does not like him. I have all this stuff on CD and donÆt really know why I even but them into my pile but they are nice to have, I guess.
IÆve been talking to WICN for a few years about doing a ôloungeö show and they are tweaking the schedule for this fall. They seemed a little more receptive this time. It would be perfect to have one after Joe's show. They have so much Jazz on the schedule and know they need something else on but are not sure what. And they are finally going on the net this fall. If any of you are WICN listeners or supports please give them a call and help me out.
Domenic Ciccone
"Martinis with Mancini" WJUL 91.5FM FridayÆs 6-9AM EST
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> The CD's you make will not sound better than the cassettes you are >making them from, but at least they won't wear out, you'll never have to rewind, etc etc
>
A DJ friend of mine bought a minidisk player and used it to transfer a lot of his blues tapes onto minidisk. He claims that the minidisks actually improved the sound. Something in the way the sound was converted, taking away the tape hiss perhaps.
It sounds weird but I have no reason to doubt his claim.
Domenic
As for sending a signal into my computer from my receiver: After some inital success I'm having some problems. Nothing any of you could help me with...I just needed to bitch and moan....and humm....Scotty! Locate that ferrite core I lost!!
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> Your friend probably thinks the Mini Disc sounds 'better' becasue >the Mini Disc can't reproduce the highest frequencies of the tape >hiss of his original cassettes - but he is also trimming the highest
> frequencies of the music.
This is what must be happening.
and from DJ Jimmy:
>Maybe this friend is a Lo-Fi kinda fella or just digs those long lost mids (minds Jimmy??)
Besides blues he was doing Grateful Dead concert tapes. So who really needs those high ends when you are already high.......
Could not resist.
Domenic Ciccone
"Martinis with Mancini" WJUL 91.5FM FridayÆs 6-9AM EST
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> Could whoever re-post those comments to what are acceptable subsititutes directly to me again.
Go to a coffee specialty store and look for the Italian flavoring syrups that they put into your non-whip, no-fat, double lattes with a twist of lemon. The most widely available brand is Torani. Orgeat is an actual Torani flavor. a 24oz. bottle should
run you about 8 bucks.
Cheers, and Bottoms Up!
Matt Marchese
mjmarch@charter.net
http://reality.sgi.com/mattm_americas/
"Lucky Fruit, the dried corpse is horrible!" -Peacock King
Subject: Re: (exotica) an old low-tech fart speaks
Date: 06 Aug 2000 13:37:58 -0700 (PDT)
As a 41 year mystified by the music being promoted today I sometimes feel the way you do Chuck. I was a boy when the phrase ôdonÆt trust anyone over 30ö came out and IÆve tried to be more opened minded than my dad and his attitude towards the hippie long hair days.
But good music can be found and there is always those of the ôyoungerö generation who will look back to those who came before and learn from them. These are usually the ones who create something worth listening too.
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Subject: Re: (exotica) Minidisk And High Frequencies
Date: 06 Aug 2000 19:05:49 -0700 (PDT)
From Steve,
>If the blues he transferred were originally from a 78 source, odds
>are the music didn't extend up into the higher frequencies. I snip
>off the top end would only cut out surface noise.
My friend has been doing the Blues show here at WJUL for the last 20 years and has a lot of groups come on and do live gigs. He's taped all these shows over the years and has been putting these tapes on the mini disks.
I believe he played one of these "from the vaults" recordings today, maybe re-recorded from the original tape. Sounded fine while I was in the truck going to the liquor store. (had a family party and am pissed (drunk) right now...can you tell??)
I would never bother with mini-disks now that I have a CD-RW drive anyways....make a mistake and your only out 50 cents. Plus you can play it anywhere. the home, the office, the car...
As thinkmatic would say...( and he's off the list for a bit) you have to be a dog to tell the difference. And it may be true that you are missing some of the high end but your mind adjusts quicky to the sound quality and you just focus on the music. Like with those all Billie Holiday and Caruso recordings.
As as Steve mentioned about the 78's....The high end would just be surface noise...so get rid of it and enjoy the music.
Domenic Ciccone
"Martinis with Mancini" WJUL 91.5FM FridayÆs 6-9AM EST
http://www.geocities.com/martinimancini/
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Subject: (exotica) Re: an old low-tech fart speaks
Date: 08 Aug 2000 05:52:25 -0700
I'm afraid I don't agree. I think we are in a very good time creatively speaking. Of course I'm not talking anout Britney Spears or any of those Boybands. I really like the inheritance of punk and the DIY message. I think this is the right direction that music should take. Now everybody could make music. And that can produce some very unique and personal things that would be completely out of place a couple of decades ago.
An example of this is The Shaggs. I know they were from the 60s but they only became relatively popular in the last couple of decades. And I think now, with the conceptual ruptures of punk and the ease of use of the musical instruments, it is more possible to have this unique Shaggs-like kind of music all over the world. The possibilities are endless. we could finally get rid of all the standard music out there and become a world where everybody produces his (her) own peculiar style of music. And then you can exchange it, copy, pirate it or do whatever you want with it, and other people can do the same with what you do.
I think we are living in a really rich time. And that there is something for everybody out there. As Mo said you just have to try and "sort the pearls from the swines". And there are some really nice pearls out there.
I know this is really idealistic but I think that the whole thing with Napster and the internet is that it can turn music back from a business into a hobby. And this is a great change. People will do music not to make money but because they want to or need to or whatever drives artists to create without thinking of money.
I have a band in Colombia and last year we put out 1000 copies of a CD (it's called Las Malas Amistades). We haven't sold that many but that wasn't the idea anyway. We are proud of what we do (did) and we want to share it with other people. And I think that's the whole spirit of the moment.
But at the end, of course, it just becomes a matter of taste. If you don't like Shaggs-like, personal and simple music, then this scenario I imagine can be absolute hell for you.
Bye,
Manuel
> Subject: (exotica) an old low-tech fart speaks
>
> I've been reading all the posts about Napster, and reminiscing about the
> days when:
>
> 1- Music became popular because the melodies and/or harmonies were
> skillfully crafted by real musicians, (not posers and costumed choreography,
> not scratchers and samplers, not casting-call gymnast-pretty boys)
> 2- People that played music understood the beauty of understatement, didn't
> try to fill up every measure with every hackneyed lick they ever copied off
> somebody else's recording, understood dynamics and the concept that silence
> is an important element in music....
> 3- Instrumentals didn't involve hypnotic repetition of one riff over and
> over and over and over and over again etc.
> 4- Lyrics were suggestive, provocative, understated, imaginative, clever,
> presented old ideas in innovative ways, and didn't need to be hostile for
> lack of anything interesting to say...
> 5- Creativity didn't mean finding new ways to abuse a musical instrument.
> 6- When a musician was asked "What do you play?", the answer wasn't "A
> Marshall stack"....when musicians got together to chat, it was likely to be
> about chord changes to an old standard, and rarely if ever about
> equipment....
> 7- When pre-teenagers finally became adults, they stopped listening to
> pre-teenage music.....
>
> Oh well, that's just me....
>
>
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"Some hear choruses singing folk songs, others hear Mozart or even the Glenn Miller Orchestra -- but there is no music; they are hallucinating. New research in the August 8 issue of Neurology, the scientific journal of the American Academy of Neurology, confirms the region of the brain and condition that causes this rare and bizarre disorder..."
Subject: Re: (exotica) Re: an old low-tech fart speaks
Date: 08 Aug 2000 11:52:43 -0700
> If you are going to accept the DIY approach to art, how can you exclude
> Britney, the Boybands, or any others of that ilk? Because you don't like
> their DIY approach?
Well, because they don't have much of a 'self' in the Do It Yourself departament. Or do they? I think they just sing what they are told to. They are performers not creators and, strictly speaking, they aren't doing anything, just repeating what they are told.
> --Ease of use of musical instruments? Is that what we are striving for? Is
> that the end result of evolution? Fast food, instant coffee,
> learn-a-language-overnight videos, McMusic?
Well in a way yes. This whole discussion has happened in the arts and there are interesting parallels with painting. Would you say that the introduction of photography and the abandonment of figurative painting was a loss for painting? I don't think so. When I look at a painting by Rothko or at a huge canvas by Jackson Pollock I can see things (and feel things) that wouldn't be possible in a figurative painting. So we can mourn that nowadays painters do not know the laws of perspective, but so what? The laws of perspective are not the only way of looking at the world. If we reject this laws in order to get a richer vision of the world, then I won't be complaining.
But then again I agree with you that judging becomes much more difficult and that a lot of mediocrity can pass itself as avant-garde by avoiding any class of critical judgement. There are no rules, so finding what is sincere and real and what is not is much more difficult.
>
> --Are you suggesting getting rid of classical music, jazz, musicals, opera,
> standards, etc.? Is literature next?
Basically what has happened in the XXth century is that we have gotten rid of all standards. In all areas. And that brings positive things (a sense of freedom) but also negative things (rootlessness, disorientation). The only exception to this would be narrative film.
The novel discovered that it didn't need plot. Music that it didn't need melody. Painting that it didn't need realism. And I think that at the end we live in a richer world because of that.
> --I live in Jacksonville, Florida, a cultural wasteland. I have students who
> have been playing instruments for (sometimes) 6 months or less. They put
> bands together that last 3 weeks. They can't play for shit but they always
> get mom and dad to finance a CD. They don't stay together long due to
> conflicts which result when people are incompetent and blaming the other
> guy. They sell them at their performances and give copies to their
> relatives. What distinguishes one band from another? (I'm talking music,
> not volume/equipment/costumes/lyrics/attitude)
Well. Your students seem pretty uncommited to me. Me and my group we've been playing on and off for 7 or 8 years. We are not very disciplined but then we don't need to be (we don't live off music or plan to). We are not professionals and that's what makes it is so valuable to us.
And also the fact that we are not profesionals allows us to play something that doesn't sound like anything else.
>
> --I managed to avoid the Shaggs all these years, but on your suggestion I
> will find and listen to some of their stuff and try to understand better
> your position.
I hope you like The Shaggs. But I can understand if you don't. It really is the absolute destruction of popular music. It's like breaking pop music with a hammer and rearranging the pieces at random. But it IS something unique and different. And as someone said here before, you would have missed something if you die without having listened to them. And perhaps they can be a teaching aid in one of your classes (as in 'don't do that or else you'll become like them' kind of device).
Cheers,
Manuel
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>but have serious problems FINDING things in stores since >categorization is nearly impossible these days and I just don't know >where to look. Now if this isn't an indication of
That's why I generally look through all the sections, esp in used record shops. Once found two Can albums in a folk section, Martin Denny in New Age, and for some reason Tzadik releases nearly always show up in rock.
LT
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The argument that the Beatles ruined music is ridiculous. In fact it the Beatles were one of the groups who helped to add diversity to the typical rock music of the period.
What the argument neglects to point out is that back in the '60s there was only one Billboard chart. Just take a look at the current issue and you will see many many charts for the various kinds of music that there are. Go into any record store or on-line music seller and you will see a far greater diversity of music today than ever before. (Why even in the grouping of just electronic music there are diverse splits such as drum n bass, downtempo, breakbeat, leftfield, house, techno and others that I am just now forgetting)
Star power ruining musical diversity is another false argument. Back in the '30s it was Bing Crosby who emerged as the first recording superstar and it is due to him in large part that records became so popular that actual record stores started up versus buying records at outlets like department stores. Star power has always led to more records being sold regardless of the recording artist being a single star or a group or band or even orchestra.
The argument regarding radio does have some merits as radio reflected more and more in the direction of the audience that was primairly buying records. So as the young audience in greater numbers than ever before started to displace the older audience who was buying less music, so radio followed this change in consumer tastes. However, if you move the dial around you can actually hear more diverse music what with more segmented programming and even album tracks which 20 or 30 years ago were taboo territory on radio that only played singles!
Ashley
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> Some of it is tremendous and hits on a new level of pop
> excellence. Many of
> the songs sound like early 1968 pop ditties. The great Rita Lee
> does a bang
> up version of Caetano Veleso's "Baby". Her voice emotes
> beautifully in
> English, (I highly recommend her first solo album)
>
Thanks Chuck for mentioning this album! I did a search at CDDB and noticed a "Best of" CD too. That has a 1968 version of "Baby".
Heard them for the first time Friday on Kaci's show on Luxuria.
I've been talking to La Jane and she recommends OS MUTANTES, and LA COMEDIA.
But I'm thinking for a 1st disk with going for the "best of". Anybody know where I can find a bio on this group with descriptions of their output? Dusty Grooves descriptions of the albums gave me the impression that there style changed over time.
P.S. for those of you have been asking....real audio at WJUL is back on line....
Domenic Ciccone
"Martinis with Mancini" WJUL 91.5FM FridayÆs 6-9AM EST
http://www.geocities.com/martinimancini/
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Subject: Re: Re: (exotica) an old low-tech fart speaks
Date: 10 Aug 2000 10:10:51 -0400
>Once recorded music came out, there was suddenly a hit version that >the musicians were expected to reproduce. I would think that in >those days, a local band could be highly praised for being able to
That wouldn't have been until well after WW2. The first few decades of recorded music, the records weren't that important, sheet music and then radio were. That's one reason a popular song existed in numerous versions, sometimes recorded for separate markets but just as often competing; there was no definitive version to reproduce. The most infamous last gasp of this were the cover versions of rock 'n' roll during the 50s and early 60s like Pat Boone etc; widely misunderstood by r'n'r fans as cynical attempts at watering the music down this was actually just an older approach to music or at least the music business.
LT
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Jerome Smith, of K.C. and the Sunshine Band, Dies at 47
Jerome Smith, the original guitarist for the disco party kings K. C. and the Sunshine Band, died on Friday after a construction accident, The Associated Press reported. He was 47 and lived in Miami.
His body was crushed in the accident, which took place at the construction site where he worked in West Palm Beach, the news agency said.
Mr. Smith's suave sound became familiar to disco fans before he joined K. C. and the Sunshine Band, when he played the signature riff on George McRae's "Rock Your Baby." He was soon invited by the production team of Harry Wayne Casey (also known as K. C.) and Richard Finch to join the Sunshine Band.
His guitar, altered in the studio to sound like a synthesizer, provided the hook for "Get Down Tonight," the band's breakthrough hit. Before he left the group in 1979, it had five No. 1 songs, including "That's the Way (I Like It)," "(Shake, Shake, Shake) Shake Your Booty" and "I'm Your Boogie Man."
Mr. Smith had other musical successes, playing on 10 albums by the disco burlesque artist Blowfly and touring in America with the Australian group the Divinyls.
In the 1990's he contributed to the soundrack of the television show "Melrose Place." He was reportedly hoping to rejoin K. C. and the Sunshine Band at the time of his death.
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> Great joke Jane, great joke Jane, great joke Jane,
> MimimimimimimimimimimimimimimimimimimimimimimiM
>
Glassworks got me into this stuff about 20 years ago. The operas are a little too long and repetitive for even me! But I take one out of the library every once in a while.
Another great CD is the soundtrack "Mishima" with some cuts by the Kronos Quartet. And I remember liking "The Photographer"
I really enjoy the music of another minimalist, who gave up on minimalism, John Adams and his opera "Nixon in China". For orchestral music by him check out Harmonielehre. Very dramatic start that Adams thought up as he was crossing the Golden Gate Bridge and looking at the supertankers...he envisioned one 'taking off" into the air, almost like a rocket, and how dramatic the rusted red-ish hull would look......
Carol, my wife calls Glass's music "do pee pee" music because that is what is sould like he's saying...
If this doesn't work, go to http://gemm.com and enter "design" in the "label" search field. The results'll give you a good idea of what Design was selling (basically anything and everything!).
Lou
lousmith@pipeline.com
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I'm thinking of taking a little trip down to Wildwood, NJ in the next couple of weeks.
I remember someone on the list talking about this place as a cool place to see some 50s/60s Americana. Can anyone who knows this place maybe email me off-list with more info - e.g. places to stay, other recommendations?
thanks very much,
Jonny
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I did a song search for ôMoon Riverö and came up with 1967 matches!
And speaking of "Moon River"àthe version on the Delfi comp ôShots in the Darkö by Nan Vernon is very interesting. JetSetAir played it on there show a few weeks ago. But what was up with the huge audio gap between the English and Japanese version?
Domenic
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Didn't someone recently ask (in passing) about jew's harps?
Here's the dictionary def:
JEWÆS HARP (possibly a corruption of "jawÆs harp"), musical instrument in which a small frame flanks a narrow, flexible tongue attached at one end to the frame. The frame is held against the teeth near the free end of the tongue, which is set in vibration by various methods. The tongue produces only one tone; when the shape of the playerÆs mouth cavity is altered, various harmonics (component tones) of this fundamental tone are made prominent. The harmonic series produced is the same as that of a trumpet.
JewÆs harps of India and, at least since about 1350, of Europe have onion-shaped forged-iron frames that narrow to two protruding arms; a separate tongue is affixed to the frame. The player twangs the free end of the tongue with a finger. Clothespin-shaped jewÆs harps with the frame and tongue cut of the same piece of bamboo are found in Oceania (often sounded by jerking a cord attached to the instrument). In Southeast Asian jewÆs harps, probably the oldest form, the narrow, rectangular frame (of bamboo or, rarely, sheet metal) completely surrounds the free end of the tongue, which is vibrated by plucking a tab on the flexible frame.
--------
If you can cram this URL into your browser you'll find more pages on the subject than you can reasonably hope to visit.
Just got a Cd called Misfits. Was doubting if I should get it or not, maybe it was the punk band and I'm not into that kind of stuff anymore. Anyway, saw the song listing and it was a compilation. And it included a cover of The Clash's 'Should I Stay or Should I Go' performed by The Ukelele Orchestra of Great Britain. So I bought it and that song is great.
Another good one is 'The Crumble Song' by The Lorraine Brown Experience. No ukeleles on that one, though.
While reading the liner notes about The Ukelele Orchestra I remembered that I saw not that long ago a news report about a convention of ukelele players and how they were trying to get some respect for their instrument. So I have several questions: Any ideas about why is the ukelele so generally disliked? Is this a fact? Are there any good ukelele records out there? And does anyone kknow where can I buy a cheap ukelele in London?
I'm posting here the liner notes of the Misfits Cd about The Ukelele Orchestra, just in case anyone is interested.
Bye,
Manuel
"We are regarded as the anarcho-syndicalists of the ukelele world. The ukelele establishment has ostracised us for refusing to play George Formby numbers".
Don't mention the F-word around the Ukelel Orchestra of great Britain, the lamp post-leaning cheeky chappie is emphatically not someone they wish to be associated with, as george Hinchloffe, the suave-and-sophis UOGB cultural attachΘ, explains: "We try to have as little to do with that as possible. It's all about watchhing ladies undressing through windows." Terribly vulgar.
The UOGB repertoire is more tasteful, eclectically mixing and matching classy classics: the Velvets 'Candy Says' with Hawkwind's 'Silver Machine', Tchaikovsky's 'Piano Concerto N. 1' with Kate Bush's 'Wuthering Heights'. Everything is up for grabs. "We are happy to pillage anything from music's rich pageant," says George. "There's no orthodox'repertoire' for the ukelele, so we take a classic song or sound, and rise to the challenge of a Van Halen guitar solo or an Eric Clapton slide piece. Sometimes it's doomed to failure, but we're valiantly rising to the challenge."
Gentelaman George first conceived the orchestra in 1985, when he picked up a child's ukelele and had a sudden flash of inspiration. A vista of possibilities opened up bfore him: an entire orchestra that could fit in the back of a transit, an orchestra fully equipped for the price of a decent clarinet case, a world tour with hand luggage only! A year later George's dream was realised as, with co-director Kitty Lux -Emma Peel to his John Steed- he assembled a fledgling eleven-strong orchestra under his baton. The young ukes had barely taken their first steps before success came round to ask them out to play: one minute they were gigging at whistable Oyster Festival, the next playing sell-out concerts in Japan and getting mobbed by teenage girls on the streets of Tokyo. Then Ronnie Scott's, Hyde Parke, Pebble Mill... And then the albums: 'The Ukelele Variation', 'A Fistful of Ukeleles', 'Pluck'...
The orchestra's championing of the humble ukelele struck a chord. George puts it down to the uke's hidden depths, "The ukelele is like an iceberg," he reckons. "It seems small and insignificant, but nine tenths of its presence is far larger than its physical dimensions." The orchestra is working on another album, 'Anarchy in the Ukelele', a tribute to mark the 20th anniversary of punk. And that's not all. Oh no, George has big plans for his little ukeleles. He dreams of a uke-fest, an orchestral orgy of 1000 ukelele-ists playing together in the Albert Hall. To quote one of their Japanese headlines: Gather Many Small Instruments And Play Big Music.
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An interesting article in the NY Times Magazine about the future of television. Many of the things discussed here in the Napster debate are revisited but with emphasis on the effects of the digital revolution on commercial television.
Interesting read. To think that capitalism at the end might turn itself into some kind of socialism is very strange indeed. Seems like Marx was right after all.
the url is http://www.nytimes.com/library/magazine/home/20000813mag-boombox.html
Cheers,
Manuel
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Someone in a recent post was wondering about anything after Os Mutantes besides Rita Lee solo efforts...I couldn't find the original message, but whoever you were, you might be interested to know about Novos Baianos (New Bahaians). They were a post Mutantes effort with Baby Consuelo and Moraes Moreira, before Moraes went solo into the MPB style and churned out musical butter. Novos Baianos had more of a progressive, gritty rock feel combined with less of a psychedelic essence that Os Mutantes had. I would recommend their early to mid 70s works preferably to the late 70s works, if you can find them. I picked up some cheap vinyl in Rio, so I haven't investigated if albums have been reissued onto CD as I'm a much bigger fan of Tim Maia and Chico Buarque. I was in Dusty Groove the other week and I saw a copy of their "Acabou Chorare" album, priced relatively high. If anyone is a Tim Maia fan, the 1971 album has just been reissued onto vinyl anyway, and there were a bunch of copies there too.
Mr. Unlucky
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Mr. Unlucky presents Shoot To Kill, a weekly hour of crime jazz, soundtrack music, and Now Sound, on Supersphere.com, Thursdays @ noon (CST).
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Subject: Re: RE: (exotica) Really Bad Sinatra Music
Date: 14 Aug 2000 20:23:32 -0400
> 8. Downtown - Frank Sinatra
> 2. Girl From Ipanema - Frank Sinatra
> Well..If you are looking for some really weird
> stuff from 'Ol Frank ...
then nothing compares to the Gordon Jenkins-arranged disc ("The Future") from Frank's 3-lp concept package, Trilogy.
http://allmusic.com/cg/x.dll?p=amg&sql=A70147
To quote from the above URL:
However good the first two records are, "The Future" is an unqualified mess. Written by Jenkins, the songs on "The Future" are ambitious, experimental, and self-referential ù in fact, it's more of a free-form suite than a set of songs. Most of the record is devoid of melody, and while the arrangements and orchestration are certainly interesting, they aren't very effective. Singing clichΘd, trite lyrics about peace, space travel, and his past, Sinatra sounds lost in the murky, atmospheric music of "The Future."
Lou
lousmith@pipeline.com
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That's what mr. Joe Carducci (former head of STT records) says in this article. Again, it has to do with what has been discussed here and is interesting as the possition of a commited rock fan.
The url is http://www.newtimesla.com/issues/2000-06-15/music.html
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> I MUST agree whole-heartedly..As a mondo-Sinatra babe,
> the entire FRANCES ALBERT SINATRA/ANTONIO CARLOS JOBIM
> album is simply beautiful and breath-taking. Sinatra
> fans will love his cadence and phrasing on GIRL!
> Frank and Tom, TAKE ME NOW!
> Breathlessly, Jane Fondle
I just got this on CD and agree.Except for the
"take me now" part.... The Downtown track is from the ôStrangers in the Nightö record and despite the cheezy organ creeping into the Nelson Riddle arrangements I like this one too. Hey, they had to try something different as they already have done everything.
Even the ôBad Bad Leroy Brownö cut I mentioned earlier is not bad. It just seems that the selection is so inappropriate for Sinatra and that is what makes it camp.
When I was little I used to help my bicklayer dad and he always used to sing ôStrangers in the Nightö and it would drive me crazy! I would make noises and tell him to stop. Now I own a copy. IÆm going to have to sing it to my kids and ôcontinue the traditionö.
Domenic Ciccone
"Martinis with Mancini" WJUL 91.5FM FridayÆs 6-9AM EST
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Subject: Re: (exotica) The future is... THE SHAGGS
Date: 16 Aug 2000 13:35:58 -0700 (PDT)
bigshot@spumco.com wrote:
> >I think
> >now, with the conceptual ruptures of punk and the ease of use of
> the
> >musical instruments, it is more possible to have this unique
> Shaggs-like
> >kind of music all over the world. The possibilities are endless.
>
There was a nice cover story about The Shaggs in this Sunday's Boston Globe. As mentioned before there might be a movie in the works. nice interviews with some of the ladies.
Domenic
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> Lest I stir up the embers from the Napster conflagration of a few weeks
ago, the September 2000 edition of Atlantic Monthly (should be on your
newsstands now) features a cover article on the internet jukebox you love to
hate. While I haven't read the article in its entirety, the author's gist is
that the record companies are the real problem.
And how does the author feel about free electronic distribution of his article (assuming it ultimately is put up on the Atlantic Monthly's web site) without compensation?
Lou
lousmith@pipeline.com
PS If you're ever in NYC, a visit to othermusic is a must.
Playlist for Mr. Unlucky's Shoot To Kill, for 8.17.00, a weekly hour of crime jazz, soundtrack music, and Now Sound, on Supersphere.com, Thursdays @ noon (CST). Just in case anyone is curious about the songs you heard if you listened, and the types of things you hear every week.
"Dead Duck" (Mirage) - Quincy Jones
"Tossicomania" (Rhythms In Suspense) - Gino Marinuzzi, Jr.
"Amore Come Dolore" (Le Foto Proibite di una Signora per Bene) - Morricone
"A New Experience" (Musicaelettronica Vol. Uno) - Umiliani
"Burle Pie" (La Guepe V. 2) - Ovation
"To Jean" (Easy Tempo Experience) Berto Pisano remix Gak Sato
"The Legend of Bebop" (Art of the Improvisation) - Ornette Coleman
"The Blues" (The Blues and the Beat) - Mancini
"Fox's Sugar" (Slender Thread) - Quincy Jones
"Ira Rhythm and Blues" (La Morte Accarezza a Mezzanotte) - Gianni Ferrio
"Hurry To Me" (Club Morricone) - The Sandpipers
"Girl From U.N.C.L.E." (Girl From U.N.C.L.E.) - Teddy Randazzo
"Eagel Flips Out" (Sweet Love, Bitter) - Mal Waldron
"Main Theme" (Ipcress File) - John Barry
Cheers, Mr. Unlucky
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> As good as Pollack, Rothko or Picasso can be, they don't hold
> a candle to Rembrandt, Vermeer or Titian. Ideas and concepts are
> important,
> but without experience, building on what went before, and skill in
> execution,
> they are just half a loaf.
Well... I wouldn't say Picasso, Rothko or Pollock suffered were lacking in either experience, knowldedge of what went before them or skill of execution. The fact that they do not paint objects makes them less skillful?
Anyway, I am not defending all kinds of modernist thinking in art. I can not relate to most contemporary art (the majority of the things you can see in Tate Modern and most conceptual art), so that's where I, personally, draw the line. But I do think that an abstract painting can take you places where a figurative painting can not, and that we became richer when painting didn't have to try exclusively to make an exact likeness of the world.
>
> >The novel discovered that it didn't need plot. Music that it didn't need
> >melody. Painting that it didn't need realism. And I think that at the end
> >we live in a richer world because of that.
>
> I think there was a big chunk of baby in that bathwater.
>
I think the bathwater went away and the baby was kept. After the stretching of the boundaries achieved by these modernistic movements, artists became free to introduce all kinds of elements into their work. They still can be figurative if they want to. There is no 'art police' going around artist's studios confiscating figurative paintings.
> >And also the fact that we are not profesionals >
> No. The Shaggs are inexperienced young girls flailing away pathetically
> on musical instruments. I can't believe that anyone would attribute any
> sort of meaning to their noise. It has novelty value in the same sort of
> way that a car crash on the freeway does. We can argue about what is and
> isn't art, but one thing we probably all would agree on... art isn't
> ignorance.
I do not agree. They might have been inexperienced in their first record (they had formed in 1968 and recorded 'Philosopy of the World' in 1969) but by the second they were not a new band (it was recorded in 72-3?). And they still sounded as strange as in the first record. That means that they were able to repeat those strange songs over and over again. It was not a matter of chance that they sounded like they did, or of dropping a guitar and just recording whatever sound it made, the songs were fixed in that way. So, they seem to me like a pretty disciplined bunch.
Once I was talking to an ethnomusicologist that had traveled all over Colombia recording traditional songs (the music communities made just for themselves) and I was asking him if there was a lot of improvisation in the songs because, like the Shaggs, a lot of his recordings seemed to be close to desintegration, with each instrument about to go into a different place. He just looked me like if I was insulting the music and said that no, they were able to repeat exactly that same song in the exact same way. My point is that something that might sound like people "flailing away pathetically on musical instruments" can be the complete opposite of that: People who have found the music they want to make, even if it will never be performed by a symphonic orchestra.
What I think modernist thinking taught us (Picasso and his admiration for African masks is a brilliant example) is that there are different kinds of knowledge. And that none is better than the other, they are just different. The Shaggs' knowledge and approach to music, strange as it is, is in its own way rigorous and sophisticated.
And I really mean this. I don't use The Shaggs as a novelty trick, even if I enjoy the sight of my brother (who is a drummer) running to the door after the first 15 seconds of My Pal Foot Foot.
For more shaggmiration look in http://www.shaggs.com/meet_the_shaggs.html
Cheers,
Manuel
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> > As good as Pollack, Rothko or Picasso can be, they don't hold
> > a candle to Rembrandt, Vermeer or Titian. Ideas and concepts are
> > important, but without experience, building on what went before, and skill in
> > execution, they are just half a loaf.
Oh what piffle. You can't seriously compare the works of two groups of artists who lived more than 300 years apart from each other. Besides, the abstract expressionists were actively trying to overturn traditional technique in painting. Rembrandt, Vermeer, and Titian certainly took their particular style to a pinnacle, but they painted for entirely different reasons and typically produced their work for wealthy patrons or the Church.
> Well... I wouldn't say Picasso, Rothko or Pollock suffered were lacking in either experience, knowldedge of what went before them or skill of execution. The fact that they do not paint objects makes them less skillful?
Certainly not. Rothko's technique, to cite just one example, was extremely complex and painstakingly applied. He deliberately avoided painting *anything* from Nature. He was, however, a deeply spiritual man. As a result of that spirituality, his paintings are transcendental; I can stand in front of "Brown Blue, Brown on Blue" and be transported into another place just like staring at some sort of multidimensional portal.
> > We can argue about what is and isn't art, but one thing we
> > probably all would agree on... art isn't ignorance.
Hel-LO...haven't you ever heard of Naive Art? It certainly isn't admired and collected for its incredible technique or fantastic realism...quite the opposite. And the people who create it are usually not giving much thought to the big ideas or deep philosophical messages behind it.
I'm not going to claim that the Shaggs are "Art", but I certainly find their music charming, naive, and very funny. Some of it is even a bit transcendental.
--
Matt Marchese
mjmarch@charter.net
http://reality.sgi.com/mattm_americas/
"Lucky Fruit, the dried corpse is horrible!" -Peacock King
Finally getting over to LillieÆs this Monday night. Wanted to get over there before school started. Since some of you expressed an interest in getting together over at LillieÆs just wanted to let you know.......if your going too see you there!
What time does Cleve start spinning?
Domenic
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Subject: Re: (exotica) I Hate the Beatles Even More!
Date: 20 Aug 2000 22:18:01 -0400
"Don Bowman is one of many country giants who, for unknown reasons, seems to
be totally forgotten. None of his work has been re-released yet. We
discovered this song on his 1966 Lp "Funny way to maken an album", produced
by Chat Atkins. It's really one of the most psychedelic country songs ever
recorded and we can't wait till somebody serves up a compilation with stuff
like this".
Anyone know this guy?
The only thing I know about him is that he had something of a hit back in the 60's called, "Hello Mr. D.J." that documented his fruitless attempts to get the DJ to play his record. This song was remade in the 70's on his wonderfully titled album, "Still Fighting Mental Health". Dr. Demento fans on the list should remember the name. According to www.allmusic.com, he was born in 1937 in Lubbock, Texas.
It seems that he has a homepage at http://members.tripod.com/qksilver/
He also seems to have co-authored a song called "Anita, You're Dreaming" with Waylon Jennings.
Brian Phillips
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In the film Pillow Talk with Doris Day and Rock Hudson, Doris sings a tune called "Rolley Polley". Does anyone know if that tune is on the Pillow Talk soundtrack (if it exists, I'm not sure) and if not, if its available anywhere else?
Thanks
SP
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> In the film Pillow Talk with Doris Day and Rock Hudson, Doris sings a tune called "Rolley Polley". Does anyone know if that tune is on the Pillow Talk soundtrack (if it exists, I'm not sure) and if not, if its available anywhere else?
appears on doris' lp "listen to day." don't know if this is also on cd.
mike
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Just got a Bobby Trafalgar compilation Cd (put out by Paper Recordings) and it is absolutely brilliant. Some of the songs sound like Pizzicato 5 without the plastic.
But the whole story of his that appears in the booklet is sooo strange. Is it a hoax? Did he really exist?
I know it wouldn't change a thing about the music of the Cd (which is really great, I can not recommend it enough) but I don't know. I just got a feeling something is weird there. The songs sound too contemporary to be from the 60s or 70s. And also a lot of the songs were 'remixed' by Hakan Lidbo, so I was thinking maybe it's all his invention.
The linear notes can be seen at http://paper.state51.co.uk/people/bobbytrafalgar.html
Does anyone here know abut this thing?
Cheers,
Manuel
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Les Baxter, Part 1. Composer and orchestrator Les Baxter had a long career during which he helped start the Exotica trend in the '50s, composing the classic "Quiet Village" and working with Yma Sumac; later created scores for the exploitation films of American International, and even had a few instrumental hits. Baxter died in 1996, but was interviewed on Spinning On Air in 1990. This program features part 1 of that interview, and lots of Baxter's music. Part 2 airs next week.
Les Baxter, Part 2. Composer and orchestrator Les Baxter had a long career during which he helped start the Exotica trend in the '50s, composing the classic "Quiet Village" and working with Yma Sumac; later created scores for the exploitation films of American International, and even had a few instrumental hits. Baxter died in 1996, but was interviewed on Spinning On Air in 1990. This program features the second part of that interview, and lots of Baxter's music.
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I think IÆm into this cross pollination (or is it clash?) of cultures since my mom is Hispanic and my dad Italian so this was good for me.
Tea for Two, along with some Italian songs ..öCome Primaö, ôVolareö and a one Latin number ôCherry Pink and Apple Blossom Whiteö. Even a Japanese sounding ôSayonaraö to end the record!! Nice and bizarre all at the same time.
Going back to listen to æol DinoÆs Cha Cha DÆAmour!
Domenico
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IÆm pretty excited about tomorrowÆs show. During the first 2 hours 6-8AM EST Christopher Kupec ,a regular listener to the show, will be coming on with his own mix of selections. My first listener co-host for a day!
Christopher is a librarian at the Chelmsford public library and one of his responsibilities is purchasing the music for the library. And what a wonderful selection it is.
Christopher also knows a lot about Brazilian music and selecting some of that wonderful music.
And we will be talking about how people can broaden their musical knowledge by visiting the library and exploring the net and mentioning various resources.
Christopher has been listening to other programs on the net, he discovered Luxuria by going to my web page. So linking up works! Which means I got to add more links to my web page. I want all my Exoticat friends represented. So please let me help you out and sent me a ready made HTML fragment and IÆll pop it in. If you don't mind. (Peter L. I lost your new URL so you too!)
Domenic Ciccone
"Martinis with Mancini" WJUL 91.5FM FridayÆs 6-9AM EST
http://www.geocities.com/martinimancini/
http://wjul.cs.uml.edu/misc/wjul/wjul.html (On Real Audio)
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>Aaaand, the letters section includes a photo of our
> own Smilin'
> Domenic Ciccone. The exotica list... your ticket to global fame.
>
Ahh I sent him the link to the pixie...He sent out all those bumber stickers and I wanted to show him that I support him. It seems hard work putting together that magazine. Its doing well (I think) and good for him!
I've sent him a few LP's he put in the mag...Dana sent me a few things...I taped an interview over the phone with him once and played it on the air. I would do this for every issue but I can't get a decent recording over the phone.
It's all a lot of fun being involved in this nice community and this list. Doing what I can. I'll have to remember to mention the magazine on the show tomorrow. Maybe Chris will get a subscription for his library?
The mag might be in the mail tomorrow. I hope he mentioned the show!
OH GOSH!!! Now you all know I look like a GEEK! DARN!~!!~!~~!~!~!~!~
Domenic Ciccone
"Martinis with Mancini" WJUL 91.5FM FridayÆs 6-9AM EST
http://www.geocities.com/martinimancini/
http://wjul.cs.uml.edu/misc/wjul/wjul.html (On Real Audio)
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> Alloy Orchestra are from Boston. Roger Miller (from Mission of Burma and
Birdsongs..., etc.) plays with them- check them out at his page:
http://rogermiller.home.mindspring.com/alloy.html
pg
----
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Roger replaced the late Caleb Samson, who was also notable for scoring several Errol Morris movies. All the AO cds are great but even better is seeing them live performing the score to a silent movie.
See also the Club Foot Orchestra.
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My friend Bill has been playing a record called "High on America".
To my ears it sounded like commercial Mel Henke at first. I swore I heard the phrase "See the USA in a Chevy" But it didn't hold my interest for long. It has found an audience at WJUL. Bill was playing 2 or 3 tracks a week because at least one person wanted to tape it.
Here is Bill's description for my Exotica pals. (Basic Hip for sure...I think)
Swingtimemusic@cs.com wrote:
>
> In regard to "High on America" ...it's an LP Record (mono).
> The label is
> Parade Records # PA109, Newark, N.J., 07105. Performed by the
> High-on "Pops"
> Orchestra & Chorus. I think what we have here is a small record
> company, but
> one of my listeners who loved it found the company and discovered
> that they
> only had one album left. she didn't buy it because she doesn't
> have a
> turntable. If I can be of further help let me know ok?
>
> B.T.
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I have the ôMaster of Slapstickö by the Alloy Orchestra which curiously is not mentioned on their web page.
ItÆs scoring for 3 films:
ôOne Weekö by Buster Keaton
ôBigBusinessö by Laurel and Hardy and
ôEasy Streetö by Charie Chaplin.
Listening to the music reminds me of how the Looney Tune music sounded without watching the cartoons. The music sounding at times very disjointed as it followed the action going on-screen. Listening to some of ôOne Weekö I could only imagine what Buster Keaton might have been doing in a kitchen or something.
Looking at the picture on the web page really gives you the idea of what you are hearing. Very imaginative use of percussionà(ôTrain Wreck on ôOne Weekö sounded.....well..... like a train wreck). The synthesizer is put to good use to create a variety of sounds. High, low and including, at times, the honky slightly out of tune piano we associated with silent films. The accordion is a mystery. I donÆt hear a ôtypicalö accordion but it must be making some of those crazy noises.
They are humorous fellows.....sometimes I think IÆm hearing a classical music riff. ôDestructo March!!!ö is a recreation of the Empire March from Star Wars.
I would get a real kick hearing these musical skits accompanying the films they were created for.
P.S.
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I just found this listing on A'zon.com. Can anyone give a thumbs up/down?
Lou
lousmith@pipeline.com
The El Paso Chile Company Rum & Tiki Cookbook
by W. Park
List Price: $12.95
Look inside this book!
Hardcover - 112 pages 1 Ed edition (April 4, 2000)
William Morrow & Co Paper; ISBN: 0688177603 ; Dimensions (in inches): 0.55 x 8.87 x 5.35
Editorial Reviews
Book Description
Rum is hot. Rum is cool. Rum can be sipped, savored, and cooked in ways limited only by your imagination. Rum has an island flavor on its own over ice with a wedge of lime, or it can be something more, as it is in these sophisticated recipes by W. Park Kerr, author of The El Paso Chile Company Margarita Cookbook.
Rumba over to the bar and break out your cocktail shaker and hula-girl glasses. Whether you are looking for, a classic rum drink like a pina colada or a mai tai or a new concoction such as a Banana Monkey or a Blue Lagoon, The El Paso Chile Company Rum & Tiki Cookbook offers the ultimate rum recipes in these tropically colorful, pages. Want to add some punch to the, rest of your, party? Recipes include Luau Baby Back Ribs, Grilled Coconut-Rum Shrimp with Curried Peanut Dipping Sauce, and other spiked suggestions for marinades, sauces, and main dishes. And be sure to save room for dessert. There's Island Spice Flan and a Pineapple and Bananas Foster. Not sure which type of rum-light, gold, dark, or beyond--to use? It's all explained in one user-friendly section.
So if you, don't want your next party to end up ho-hum, try a little rum.
About the Author
W. Park Kerr is a ninth-generation Texan and the founder of The El Paso Chile Company, a premium Southwest food business. Kerr produces and appears in a nationally syndicated television food show called Let's Get Cooking. He believes that West Texas is the finest place on earth to cook and eat.
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Light the torches and grab the tiny paper umbrellas - the handbook of delicious tiki beverages is here. In Tiki Drinks, former bartender Adam Rocke selects his favorite tropical libations. The effect of "tiki" or "boat" drinks, says the author, is to evoke the sensation of being marooned on a tropical island with a bevy of insignificant others eager to do your bidding. 50 of the best tropical drink recipes include pina coladas, daiquiris, tropical punches, margaritas, freezes, coolers, and other classics that will conjure island breezes and rolling waves. Lesser-known but equally transporting drinks include such creative variations as the Pirate's Cove, Buccaneer, Zombie, Frozen Mudslide, and Bahama Mama. In addition to serving up liquid exotica, Rocke offers tips on mixers, glasses, and serving techniques - all necessary accoutrements of the pro or amateur bartender who wants to keep the natives restless.
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HOUSTON û Houston fiddle player Cliff Bruner, a pioneer in Western swing and one of the most influential musicians in the history of Texas country music, died Friday of cancer at his home. He was 85.
Mr. Bruner played fiddle for more than 70 years. He was the fiddler for Milton Brown's Musical Brownies, the first true Western swing band, which predated even Bob Wills' Texas Playboys.
Steel guitar and fiddle player Bill Dessens described Mr. Bruner as "legendary."
"When he was about 12 years old, he decided he didn't want to pick cotton anymore. So he bought himself a fiddle," Mr. Dessens said.
"He was biggest influence. He was such an influence on every fiddle player in the country."
Mr. Gimble has played fiddle for Willie Nelson and many others. He attested to Mr. Bruner's importance. "Cliff is the guy who pioneered Texas swing fiddle," he said. "He gave me goose bumps." Mr. Bruner liked to say he didn't learn his style from anyone.
"I just like to improvise," he said, "take a tune and put a little something extra in it instead of playing it note for note."
Born in Texas City, Mr. Bruner grew up in the woods near Tomball. As a teenager he traveled around the country trying to start a band. He was asked to join the Musical Brownies in 1935, at age 20.
Two years later, in Houston, Mr. Bruner formed the Texas Wanderers.
The group also featured steel guitarist Bob Dunn, mandolin player Leo Raley, guitarist and singer Dickie McBride, pianist and singer Moon Mullican and bass player Hezzy Bryant.
The Wanderers became a top-performing attraction here. They later shifted to Beaumont, playing live three times daily on radio.
The Wanderers scored a national hit with Floyd Tillman's "It Makes No Difference Now."
Several years ago their material from 1937 to 1950 was collected for a five-CD set, Cliff Bruner and his Texas Wanderers, which is available still.
Mr. Bruner could not pursue stardom because of the illness of his first wife, Ruth. He went into the insurance business, and the two were in Amarillo when she died at 34.
He returned to Houston and remarried, to a woman also named Ruth. He worked in business while playing music on the side.
Funeral services will be held at 10 a.m. Monday at Canon Funeral Home in Waller. Burial will be at Decker Prairie Cemetery. Visitation will be from 6 to 9 p.m. Sunday at the funeral home.
Mr. Bruner is survived by his wife, Ruth; six daughters, Norma Sue Wiley, Carol Lynn Woods, Madelyn Gresham, Peggy Gordan Rutledge, Arlene Brewer and Paula Boney Morris; 17 grandchildren; 16 great grandchildren; and five great-great-grandchildren.
-----
Oscar-Winning Rock Composer Jack Nitzsche Dies
LOS ANGELES (Reuters) - Rock composer Jack Nitzsche, who worked with the Rolling Stones and Neil Young and won an Academy Award for co-writing the theme song to ``An Officer and a Gentleman'' has died, his publicist said Sunday.
Nitzsche died on Friday at Queen of Angels hospital in Hollywood following cardiac arrest brought on by a recurring bronchial infection. He was 63, according to a statement issued by Susan Clary, a publicist and friend of Nitzsche's.
Nitzsche's handiwork graces many of the biggest songs and albums of the rock era. He arranged many of the songs produced by Phil Spector, including the Crystals' ``She's a Rebel'' and Ike and Tina Turner's ``River Deep, Mountain High.''
With an ambitious young talent scout named Sonny Bono, who had given Nitzsche his first job in the music industry, he co-wrote the Searchers' 1964 hit song ``Needles and Pins.''
Nitzsche worked with the Rolling Stones during the 1960s, playing keyboards on such tracks as ``Let's Spend the Night Together,'' ``Play With Fire'' and ``Paint It, Black.''
He also worked as a session man and producer for Neil Young over several decades, beginning with the 1967 Buffalo Springfield song ``Expecting to Fly.'' He was a member of the Stray Gators, the backing band on Young's biggest selling album, ``Harvest.''
His film music work included the 1970 Mick Jagger movie ''Performance,'' ``The Exorcist'' ``Starman,'' ``One Flew Over a Cuckoo's Nest,'' ``An Officer and a Gentleman,'' and the recent Sean Penn movies ``The Indian Runner'' and ``The Crossing Guard''
He received an Academy Award nomination in 1976 for his original score to ``Cuckoo's Nest.'' In 1983, he shared the best song Oscar with Buffy Sainte-Marie and Will Jennings for ``Up Where We Belong,'' the theme to ``An Officer and a Gentleman.'' His original score for ``Officer'' was also Oscar-nominated.
Nitzsche's career was frequently marked by bouts with drugs and scrapes with the law, and a statement said he once was featured on the reality TV show ``Cops.''
But his health was reportedly better than ever in recent years. In June, he visited Australia to take part in a film conference.
He is survived by son Jack Jr., born to his first wife Gracia Ann May. Nitzsche was also married to Sainte-Marie at one point. The funeral is scheduled for Wednesday in Los Angeles. Further details were not immediately available.
-------
RICHFIELD, Minn. (AP) -- The creator of Lucky Charms cereal and his wife were killed in a traffic accident on their way to visit their comatose daughter, who died two days later.
John Holahan, 83, a former General Mills vice president, apparently ran a stop sign and steered into a truck's path on Wednesday, police said. His wife Rosalind, 84, died at the scene. He died four hours later.
Their daughter, Shannon Kilkenny, 51, lost her fight with liver cancer on Friday.
``That was pretty much my immediate family,'' John Holahan Jr. said Sunday. ``This is a terrible tragedy for all of us.''
The elder Holahans had been married for 60 years.
They might have taken some comfort in knowing they had died together, said the younger Holahan's wife, Midge Holahan. ``I think that they also would be very happy to know that they died before their daughter did,'' she said.
For years, John Holahan shared the story of Lucky Charms -- toasted oat cereal with marshmallow bits -- with students in his hometown of Annandale as a lesson in creativity and marketing.
He recalled stumbling upon orange marshmallow peanuts while brainstorming in 1963, cutting them up and then sprinkling them over Cheerios.
``I knew we had a winner,'' he said.
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Carl Barks, creator of Uncle Scrooge and much of the Duckburg mythos familiar to readers of Disney-licensed comic books, died Aug. 25 at the age of 99.
Despite his advanced age and even after a diagnosis of leukemia last year, Barks remained vigorous and alert until a short time before his death. As reported in The Comics Journal #225, he chose to discontinue the medication used to treat his leukemia in May and fell into a rapid decline in recent weeks.
Though his work in Dell and Gold Key comics between 1943 and 1966 was uncredited, his style both as an artist and a storyteller was readily identifiable and a growing number of readers referred to him as The Good Duck Artist, until determined fans uncovered his identity in the 1970s. Barks, who, like Donald, tried his hand at a wide range of occupations from animation to cow-punching, did not begin working in comics until the age of 41. His work over the next three decades made such an impression on the Baby Boomers who devoured his rye observations of human nature in animal form that, regardless of superhero or videogame trends, his stories have never ceased to be lauded and reprinted.
A full obituary will appear in The Comics Journal #227, which will be a special issue devoted to Barks. Persons wishing to contribute letters or other material for the tribute should contact the Journal (tcjnews@tcj.com or 206-524-1967) before Sept. 4.
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> Light the torches and grab the tiny paper umbrellas - the handbook of delicious tiki beverages is here. In Tiki Drinks, former bartender Adam Rocke selects his favorite tropical libations. The effect of "tiki" or "boat" drinks, says the author, is to evoke the sensation of being marooned on a tropical island with a bevy of insignificant others eager to do your bidding. 50 of the best tropical drink recipes include pina coladas, daiquiris, tropical punches, margaritas, freezes, coolers, and other classics that will conjure island breezes and rolling waves. Lesser-known but equally transporting drinks include such creative variations as the Pirate's Cove, Buccaneer, Zombie, Frozen Mudslide, and Bahama Mama. In addition to serving up liquid exotica, Rocke offers tips on mixers, glasses, and serving techniques - all necessary accoutrements of the pro or amateur bartender who wants to keep the natives restless.
This one, on the other hand, looks a lot more promising. Shag's
>On a similar note, one of the editors of Rolling Stone mentioned >that some rock group comprised of hippies sent them an album that >stank so badly of patchouli, they BURIED the album in the grounds
This was Lester Bangs and "Creem" magazine. The story is in "Psychotic Reactions."
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Subject: Fwd: (exotica) Hal Willner - whoops I'm an Indian
Date: 30 Aug 2000 15:32:43 -0700 (PDT)
risser@cinci.rr.com wrote:
>
> (something about Stars), one for Thelonius Monk (Weird
> Nightmares) (or was it Mingus)
The Thelonious Monk tribute is called "That's Way I feel Now". I have it on CD but get it on LP if you can find it. They took some tracks off the 2 LP set to put it on CD. Great Joe Jackson version of 'round Midnight".
And the Disney CD is great. I just wish most of the tracks were not squashed into medleys....
and speaking of medleys...I know most of you hate the Ultra Lounge habit of taking 2 songs and putting them onto a singe track...Just borrowed the "Bachelor in Paris" CD...usually given low marks by those I asked about the series...One thing I was not told about this one is that every 3 or so tracks they have young lady with a French accent talking up all the romantic sites of Le Pari.
Beside that I really liked this one.
Domenic
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Subject: Re: (exotica) Underwater Geetars and Alfie
Date: 31 Aug 2000 09:49:33 -0700 (PDT)
DJJimmyBee@aol.com wrote:
> That's Jerry Orbach, these days playing Briscoe on "Law And
> Order" He never
> claimed to be a singer. Burt hated doing broadway for a number of
> reasons and
> never returned to that format. His orchestra personnel were
> subject to change
> without notice. He HATED that. He just felt that he got a
> different product
> every night and he couldn';t live with that....
>
He sang again in the Disney movie "Beauty and the Beast" the voice of Lumiere the candlestick. "Be our guest! Be our guest! Put our service to the test.."
Domenic
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Subject: Re: RE: (exotica) More Napster Cr*p ( if you aren't sick of it already)
Date: 31 Aug 2000 16:25:09 -0400
>has an article re: anti-napster folx, who post bad sound files
>(called 'cuckoos eggs') that contain cartoon voices and the sound of >a cuckoo stuck into the middle of the downloadable song.
It's not even that complicated; just rename a file and a Britney Spears download is suddenly Eminem and ICP trading homophobic insults. In just the couple of days that I tried using Napster (too much work for too little of interest) I got two of these prankster misnamings, one apparently homemade rap obscenities of no interest beyond the clinical.
LT
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> Which "easy-exotica-lounge-soundtrack-etc" record (or other) stores do I have to visit next weekend when I'm in London? And where in London are they?
I second the vote for Intoxica. Also check out Cheapo Records on Rupert St. in Soho. Rough Trade off of Talbot Rd near Covent Gardens is also a fun place
to visit and they have live bands occasionally as well. Make sure that you check out the Kensington and Camden Markets located on their respective High
Streets.
[sniff] Now I miss London...Waah!
--
Matt
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