Subject: Re: (exotica) CD rips aren't the same as original
Date: 02 Oct 2000 17:32:11 -0400
>but now I'm beginning to wonder. I've found that there appears to
>be a subtle generation loss. My copy sounds slightly different than
This has been a topic on some other lists. Basically making a CD-R creates extremely minor errors but your CD player's error correction adjusts for these. If everything is working properly you're supposed to be able to make copies a few hundred generations away from the source before this ever becomes noticable. But as you found out it's not a perfect world. The problem could come from the original rip, from your hardware, the software or the disc itself. It's also possible it's not any by itself but the combination, a certain brand disc with a specific burner for instance. I don't know whether the record speed will affect this as it would for an underrun but that might be worth testing. One source for problems like this apparently come from whether your software does raw or cooked burns, ie whether it copies sectors error correction and all (raw) or actually checks the error correction itself (cooked). You might want to look into how to check how your software works o!
!
n that.
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BTW, This summer I found a Tom Jones LP...Atomic Jones...Looks totally cool....take it home and aughhh!!!! The wrong record in the sleeve!! When am I going to learn to check these things out before I buy??
What to the Jones fans have to say about that one?
Domenic
brucelenkei@hotmail.com wrote:
>
>
> I am totally obsessed with a Tom Jones song I heard a few months
> ago, "Sex
> Bomb".
>
> Probably the best "new" thing I've heard in months.
>
> Even if it's a little on the rawk side, who cares, it's just
> plain great!
>
> - bruce
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Subject: (exotica) Interesting item on eBay web site item#448846443: Admiral Cinerama Hi-Fi 7 Wonders Demo Record
Date: 03 Oct 2000 11:48:48 PDT
Check out the price on this one, folks.
Will
Title of item: Admiral Cinerama Hi-Fi 7 Wonders Demo Record
Seller: trump7
Starts: Sep-24-00 18:14:09 PDT
Ends: Oct-04-00 18:14:09 PDT
Price: Currently $510.00
To bid on the item, go to: http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=448846443
Item Description:
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document.write(" BODY { background: url(http://members.aol.com/ell444/ap98/whitemar.jpg) }");
document.write("");
document.write("");
}
}
else
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// use netscape style background statement
document.write("");
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Admiral 7 Wonders Cinerama Hi-Fi Demo 10" Record
This record is in near mint condition with no sign of wear on the vinyl and very light edge wear on the cover.It is a record produced by Admiral to demonstrate the sound quality of High Fidelity. It includes songs and music from the Cinerama film Seven Wonders of the World.
Click to see my "ME" page for more record auctions and info.
Winning bidder pays $3.75 postage/packaging in the U.S.(email for int'l rates)
This listing generated by ePoster2000 Download it for free!
On Sep-24-00 at 19:00:28 PDT, seller added the following information:
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I accept payment through X.com's PayPal!I'm VERIFIED so Buyer Protection is guaranteed.
Visit eBay, the world's largest Personal Trading Community at http://www.ebay.com
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WICN of Worcester MA is having a All Sales Vinyl II sale on October 7, from 10am - 5pm. The record sale will be held at the Hebert Candy Mansion on Route 20 in Shrewsbury, MA. IÆll be helping out (and hopefully skimming the exotica off the top for moi before it hits the stacks)
Let me know if your going.
Check it out at www.wicn.org
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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From an interview with Chicago house producer, Glenn Underground:
>Even though, like many of his compadres, he was behind the decks when he was ten or eleven, he didn't
>experience the initial disco scene first hand. But, "I knew about the music," he says. "If we didn't have >disco we wouldn't have house."
>
>He tells a story about a mass record-burning some years ago, saying that disco instigated political
> ripplings in Chicago.
> "They blew up over a 100,000 disco records in Kaminsky Park. Who? These CRAZY white executives saying
> that disco was DEAD. They said disco was dead so they burnt the records. They don't know it's the hottest
> selling records, it sells almost more than R&B music. Executives of these rock and roll groups petitioned
> it. It happened! I wish I was there, 'cuz they would have had to BLOW me up as well. I love my classics."
>
> Picture the scene: GU, tall and righteous throwing himself onto a pile of disco vinyl searching for the classic records whilst a group of bemused straight-backed suits stand and gawk. It shows the strength and sense of history that the city has with disco that his whole persona is so flavoured with the sights and sounds of a twenty-year old music.
Does anyone on this list actually remember the big disco LP burn or have
personal stories/recollections?
- Brad
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Subject: (exotica) Sandro (Tom Jones from Argentina)
Date: 03 Oct 2000 20:03:29 -0700
About Sandro... Well, he certainly was a looker. He also was a sweater. One of his standard show features was to pick up handkerchifs that the fans would throw on stage, dry his sweaty face with it, and then hand it back to the lucky owner of the piece. In the cheese scale this certainly has to be one of those smelly ones that you have to eat with your fingers on your nose.
Cheers,
Manuel
>
> But while we're on the subject of Tom Jones (whom
> I also love) - does anyone else here dig Sandro,
> the Argentinean Tom Jones? Scored a couple of
> late 60s / early 70s LPs of his a few months back.
> He sings too many ballads but the uptempo numbers
> remind me very much of Tom. And he was a
> looker, too - in a moody Elvis sorta way.
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Subject: (exotica) Sandro (Tom Jones from Argentina)
Date: 03 Oct 2000 20:03:29 -0700
About Sandro... Well, he certainly was a looker. He also was a sweater. One of his standard show features was to pick up handkerchifs that the fans would throw on stage, dry his sweaty face with it, and then hand it back to the lucky owner of the piece. In the cheese scale this certainly has to be one of those smelly ones that you have to eat with your fingers on your nose.
Cheers,
Manuel
>
> But while we're on the subject of Tom Jones (whom
> I also love) - does anyone else here dig Sandro,
> the Argentinean Tom Jones? Scored a couple of
> late 60s / early 70s LPs of his a few months back.
> He sings too many ballads but the uptempo numbers
> remind me very much of Tom. And he was a
> looker, too - in a moody Elvis sorta way.
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Subject: (exotica) Sandro (Tom Jones from Argentina)
Date: 03 Oct 2000 20:03:39 -0700
About Sandro... Well, he certainly was a looker. He also was a sweater. One of his standard show features was to pick up handkerchifs that the fans would throw on stage, dry his sweaty face with it, and then hand it back to the lucky owner of the piece. In the cheese scale this certainly has to be one of those smelly ones that you have to eat with your fingers on your nose.
Cheers,
Manuel
>
> But while we're on the subject of Tom Jones (whom
> I also love) - does anyone else here dig Sandro,
> the Argentinean Tom Jones? Scored a couple of
> late 60s / early 70s LPs of his a few months back.
> He sings too many ballads but the uptempo numbers
> remind me very much of Tom. And he was a
> looker, too - in a moody Elvis sorta way.
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Subject: (exotica) Sandro (Tom Jones from Argentina)
Date: 03 Oct 2000 20:03:39 -0700
About Sandro... Well, he certainly was a looker. He also was a sweater. One of his standard show features was to pick up handkerchifs that the fans would throw on stage, dry his sweaty face with it, and then hand it back to the lucky owner of the piece. In the cheese scale this certainly has to be one of those smelly ones that you have to eat with your fingers on your nose.
Cheers,
Manuel
>
> But while we're on the subject of Tom Jones (whom
> I also love) - does anyone else here dig Sandro,
> the Argentinean Tom Jones? Scored a couple of
> late 60s / early 70s LPs of his a few months back.
> He sings too many ballads but the uptempo numbers
> remind me very much of Tom. And he was a
> looker, too - in a moody Elvis sorta way.
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>From an interview with Chicago house producer, Glenn Underground:
>Even though, like many of his compadres, he was behind the decks when he was ten or eleven, he didn't
>experience the initial disco scene first hand. But, "I knew about the music," he says. "If we didn't have >disco we wouldn't have house."
>
>He tells a story about a mass record-burning some years ago, saying that disco instigated political
> ripplings in Chicago.
> "They blew up over a 100,000 disco records in Kaminsky Park. Who? These CRAZY white executives saying
> that disco was DEAD. They said disco was dead so they burnt the records. They don't know it's the hottest
> selling records, it sells almost more than R&B music. Executives of these rock and roll groups petitioned
> it. It happened! I wish I was there, 'cuz they would have had to BLOW me up as well. I love my classics."
>
> Picture the scene: GU, tall and righteous throwing himself onto a pile of disco vinyl searching for the classic records whilst a group of bemused straight-backed suits stand and gawk. It shows the strength and sense of history that the city has with disco that his whole persona is so flavoured with the sights and sounds of a twenty-year old music.
Does anyone on this list actually remember the big disco LP burn or have
personal stories/recollections?
- Brad
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Subject: (exotica) Sandro (Tom Jones from Argentina)
Date: 03 Oct 2000 20:03:39 -0700
About Sandro... Well, he certainly was a looker. He also was a sweater. One of his standard show features was to pick up handkerchifs that the fans would throw on stage, dry his sweaty face with it, and then hand it back to the lucky owner of the piece. In the cheese scale this certainly has to be one of those smelly ones that you have to eat with your fingers on your nose.
Cheers,
Manuel
>
> But while we're on the subject of Tom Jones (whom
> I also love) - does anyone else here dig Sandro,
> the Argentinean Tom Jones? Scored a couple of
> late 60s / early 70s LPs of his a few months back.
> He sings too many ballads but the uptempo numbers
> remind me very much of Tom. And he was a
> looker, too - in a moody Elvis sorta way.
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Subject: (exotica) Sandro (Tom Jones from Argentina)
Date: 03 Oct 2000 20:03:39 -0700
About Sandro... Well, he certainly was a looker. He also was a sweater. One of his standard show features was to pick up handkerchifs that the fans would throw on stage, dry his sweaty face with it, and then hand it back to the lucky owner of the piece. In the cheese scale this certainly has to be one of those smelly ones that you have to eat with your fingers on your nose.
Cheers,
Manuel
>
> But while we're on the subject of Tom Jones (whom
> I also love) - does anyone else here dig Sandro,
> the Argentinean Tom Jones? Scored a couple of
> late 60s / early 70s LPs of his a few months back.
> He sings too many ballads but the uptempo numbers
> remind me very much of Tom. And he was a
> looker, too - in a moody Elvis sorta way.
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Subject: (exotica) Sandro (Tom Jones from Argentina)
Date: 03 Oct 2000 20:03:29 -0700
About Sandro... Well, he certainly was a looker. He also was a sweater. One of his standard show features was to pick up handkerchifs that the fans would throw on stage, dry his sweaty face with it, and then hand it back to the lucky owner of the piece. In the cheese scale this certainly has to be one of those smelly ones that you have to eat with your fingers on your nose.
Cheers,
Manuel
>
> But while we're on the subject of Tom Jones (whom
> I also love) - does anyone else here dig Sandro,
> the Argentinean Tom Jones? Scored a couple of
> late 60s / early 70s LPs of his a few months back.
> He sings too many ballads but the uptempo numbers
> remind me very much of Tom. And he was a
> looker, too - in a moody Elvis sorta way.
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Subject: (exotica) Sandro (Tom Jones from Argentina)
Date: 03 Oct 2000 20:03:29 -0700
About Sandro... Well, he certainly was a looker. He also was a sweater. One of his standard show features was to pick up handkerchifs that the fans would throw on stage, dry his sweaty face with it, and then hand it back to the lucky owner of the piece. In the cheese scale this certainly has to be one of those smelly ones that you have to eat with your fingers on your nose.
Cheers,
Manuel
>
> But while we're on the subject of Tom Jones (whom
> I also love) - does anyone else here dig Sandro,
> the Argentinean Tom Jones? Scored a couple of
> late 60s / early 70s LPs of his a few months back.
> He sings too many ballads but the uptempo numbers
> remind me very much of Tom. And he was a
> looker, too - in a moody Elvis sorta way.
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Subject: Re: (exotica) Re: disco & Chicago vinyl burn
Date: 04 Oct 2000 08:04:00 -0500 (CDT)
On Tue, 3 Oct 2000, B. Yost wrote:
> He tells a story about a mass record-burning some years ago, saying
> > that disco instigated political > > ripplings in Chicago.
> > "They blew up over a 100,000 disco records in Kaminsky Park. Who? These CRAZY white executives saying
> > that disco was DEAD. They said disco was dead so they burnt the records. They don't know it's the hottest
> > selling records, it sells almost more than R&B music. Executives of these rock and roll groups petitioned
> > it. It happened! I wish I was there, 'cuz they would have had to BLOW me up as well. I love my classics."
> >
> > Picture the scene: GU, tall and righteous throwing himself onto a pile of disco vinyl searching for the classic records whilst a group of bemused straight-backed suits stand and gawk. It shows the strength and sense of history that the city has with disco that his whole persona is so flavoured with the sights and sounds of a twenty-year old music.
>
>
> Does anyone on this list actually remember the big disco LP burn or have
> personal stories/recollections?
Oh yes, I remember it clearly, as would any kid who
grew up in Chicago in the seventies. I was about 8 or 9 at the
time. Our family were big Sox fans who went to several
games a year (BTW, it's "Comiskey Park"). A group
from our school went to that game, but my mother
wouldn't let my brother and I go because she didn't
think Steve Dahl was healthy for children. We had
disco records, but we were still pissed that we didn't
get to see the conflagration first hand. As a consolation,
we got to go to the next game, and the outfield was
still brown and scarred from the incident.
The event was called "Disco Demolition Night" and was
hosted by local rock DJ Steve Dahl, one of the
original shock jocks. You were supposed to show up
at the park with a disco record, (for the explicit
purpose of blowing them up) and anyone who did
got a discount. The records were gathered up and
put into a big box, and I think they were hauled
out to center field between two games of a double
header. I saw this on TV. Steve Dahl was wearing
a hard hat and carried a bullhorn, leading a chant
of "Disco Sucks". Fans charged the field
and were throwing disco records around. It was a
near riot. Then the Sox had to forfeit the second
game.
The "blowing up" was part of the plan from the beginning.
It sounds insane, but that was typical of the late seventies
when the Sox were owned by Bill Veeck. Bill Veeck's son
thought up the whole thing. Cubs fans still like to hold
this one against the Sox. You can read about it all over
the web. ESPN has it listed as one of the most infamous
moments in sports history. Just search under "Disco
Demolition Night".
--
Kerry
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>i asked this question many years ago when i first went out DISCOING!
>luckily i hit the end of it in 1979. i was 17 with fake id. i wanted to be
>a dj then and made chit chat with the dj at the club i was at. he said it
>was a Gloria Gaynor song from like 73 or something.
>suppose to be the OFFICIAL disco song...i wish i could remember the title.
>i think i even tracked it down and listened and did not think it was disco
>at all.
Pulling titles from the "Rock & Soul Songs Annual" article... do any of these ring a bell?
Honey Bee
Never Can Say Goodbye
Reach Out, I'll Be There
from the article:
"Finally this past March, with riches gathering about her feet in mounds bigger than Scrooge McDuck's money bin, Gloria was certified a Superstar by the boys whose desires count the most -- the bachelors at Le Jardin. In a poll conducted by the National Association of Discotheque Disc Jockeys, she was voted Queen Of The Discotheques ... A trophy, a jeweled crown and a citation from New York's Mayor, Honest Abe Beame -- what more could a girl ask for? Only the love of the dancingest, prancingest boys in the world. And Gloria Gaynor's got that too."
m.ace mace@ookworld.com
http://ookworld.com
http://ookworld.com/linkalog/
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On the subject of hated music, I have to say that there is a line to be drawn between Brian Eno and New Age. I highly doubt most New Age composers are making their lukewarm music from any sort of experimental approach that Eno has always used, either in techniques or instrumentation or even philosophy. Granted I love ambient music but of an experimental nature. I even make plenty of allowances for Enya. Someone who lays down some absurd number of vocal tracks (I've heard something like upward of 50) just to get the right layering, is working in a very different part of the brain than a Windam Hill artist.
Lately I've really been into soft rock "classics" that I vaguely remember from my childhood. However I draw the line at Air Supply and Phil Collins. And then at people like Celine Dion and all those popular teen bands.
I also draw the line at Kenny G. If it isn't jazz, and it isn't New Age, what exactly is it?
I also don't like polka, I find Dixieland very aggravating, and I'd have to say probably any country music after '75, unless it's part of the insurgent revival. I think I could sum up my philosophy about country music as "the older the better", though at that point we just end up with the Carter Family and Robert Johnson, which is always good.
And I do sort of shy away from Billy Vaughn, Percy Faith, and the Mystic Moods Orchestra, but I have to draw the line somewhere. Like someone already said about joke music, I only have so much time to listen to music, I want to listen to the good stuff. So I'd rather unearth some Peter Thomas or Pete Rugolo I've never heard before than clog up my stereo with innocuous easy, which I'd say I've done my time with.
And, I'd have to say, disco is fine with me, though if anyone wants my Donny Osmond "Disco Train" record, take it from me, please. That record is not fine with me.
Mr. Unlucky
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Subject: (exotica) Eno-Point and Bryars:"Sinking of the Titanic".
Date: 05 Oct 2000 10:03:44 -0700 (PDT)
Eno started the Point label. And my favorite "ambient" disk is on his label.
I just found this url about the CD. http://www.philclas.polygram.nl/class/446/446061.htm
This was written by Gavin Bryars. When things get stressful at work and I have to spend a chuck of time on the computer creating something fast I pop this into the CD player.
This composition is ôbuilt around the irregular repetition of the episcopal hymn Autumnö. . Since the Titanic movie has come out I have enjoyed lending this to friends who liked the movie. Some have gone bug-nuts over it and some have found it ômusic to drown by- if your on Prozacö.
Domenic
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Subject: (exotica) Conniff disco covers and Mancini themes
Date: 05 Oct 2000 19:10:31 -0700
Speaking of easy versions of disco, I forgot that I had the 8-Track of Ray Conniff Plays the Bee Gees & Other Great Hits. Not bad, though the "other great hits", which include "Just the Way You Are", "You Light Up My Life", and "Evergreen" are really not much better than the originals.
Re: Mancini's Cop Show Themes. No one should have to pay more than $10 for that on vinyl. Few years back it was about a dime a dozen in the thrifts. I don't think DJs have caused any inflation on Mancini's Angels though, which has some great tracks on it, including "Theme from Charlie's Angels", and the infuriatingly catchy/silly "What's Happening" theme. Also fine is The Theme Scene which sports a really sort of funky/sinister-sounding "NBC Nightly News Theme", "Theme from Fantasy Island" and I must admit I'm very fond of the quirky version of the "Three's Company Theme" which is full of sexy little vocal "do-do-dos".
Mr. Unlucky
---
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Barry Lipman is odd. He's done a lot of arranging for pop stars. From what I've heard, both the Star Maidens soundtrack and his track on Strassenfeger, he's kind of in between Peter Thomas and Gert Wilden (for ease of reference.) While I like Star Maidens, I'd say in reference to the aforementioned composers, there are other albums I'd reach for more often. You might really like it though. I don't know what his other stuff is like though. I have a feeling there's a huge stylistic spread with him. If you want, I wrote a review of Star Maidens, maybe that will help you more, though sometimes Dusty Groove will do albums justice with their descriptions. When I go in there, I've never walked away with something I didn't like.
Mr. Unlucky presents Shoot To Kill, a weekly set of jazz, crime jazz, free jazz, soundtrack music, and Now Sound, on Supersphere.com, Thursdays 12-2 (CST).
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I'd been doing a bit of research on this a long time back. What I was told from a few sources is that the master tapes had been destroyed in a fire in a garage. So while you may be able to find the theme song on a 45 or what have you, there's nothing else. It's really sad too, as this soundtrack seems to be a bit of a holy grail for Morricone fans. I've been hoping for a while that perhaps Morricone might bother to recreate the soundtrack and release it. Anyone have any Morricone connections out there? Maybe he has no idea how badly people want this soundtrack.
Mr. Unlucky
---
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> I've heard about these Gavin Bryars albums but never actually
> heard them. My
> curiosity is very piqued.
> Anyone know what year the Titanic and Jesus Blood etc. were
> released?
>
The "Jesus Blood Nere Failed Me Yet" has a 1975 version and then the new 74 minute version with Tom Waits in the last track is from 1993.
JLNFMY did not impress me but I'm trying it thanks to your comments.
The "Sinking of the Titanic" has a 1975 recorded version and the new version is from 1994.
I'm sure the older ones are different than the newer one. Mr Bryars likes to as he says in the linear notes to Titanic "Althought I conceived the piece many years ago I enjoy finding new ways of looking at the material in it and welcome opportunities like the present recording to look at it afresh."
The only other CD I have of his is the "A Man In A Room Gambling" which has 5 5 minute pieces where Spanish artist Juan Munoz talks about how to cheat at cards. And were created for the BBC. And the CD is rounded off with some nice "ambient" pieces.
I just looked up Bryars in Napster and noticed an "Aphex Twin" remix of "Sinking of the Titanic"....It's over 8 minutes long. Anyone know anything about the Apex Twins?
Domenic
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For whoever is interested in Toho monster movie music, this is pretty much a definitive site about the music that is available on CD.
http://www.idsi.net/larryt/Godzilla/godzilla8.htm
This link takes you to the Mothra soundtrack page. These are not the easiest CDs to find however, due to the "cult" of Godzilla and such, they are instantly collectable. I love the Peanuts. My favorite compilation is Mothra The Best 1961-1998, which has music from all the Mothra films except for the recent Mothra 3, and a number of different Peanuts songs. It also has a few of the drumming songs specifically from Mothra 1961.
Honestly everything you could need to know about the soundtracks is covered on this site, including English translation of Japanese titles and such.
Mr. Unlucky
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HAWTHORNE, Calif. (AP) -- Britt Woodman, a versatile jazz musician best known for his work as a trombonist with Duke Ellington's Orchestra in the 1950s, died Friday. He was 80 and had been suffering from respiratory problems.
Woodman was featured in Ellington numbers including ``Sonnet To Hank V'' (from ``Such Sweet Thunder'') and ``Red Garter'' (from ``Toot Suite'').
He worked with greats including Miles Davis, Charles Mingus and John Coltrane, and played in many big bands, including the Lincoln Center Jazz Orchestra.
Piano was Woodman's first instrument, but soon he was playing trombone, saxophone and clarinet as well. By the time he was 15, he was playing professionally with his older brothers, William Jr. and Coney, in the Woodman Brothers Biggest Little Band in the World.
The band became known in Los Angeles' flourishing jazz scene of the 1930s because Britt and William -- who played saxophone, clarinet and trumpet -- often traded instruments in the middle of a set. William would go on to a professional career as a saxophonist.
Britt Woodman played in such swing-oriented ensembles as the Les Hite Band in the late 1930s, and later played with the iconoclastic Boyd Raeburn Band.
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I think the guilt complex about colonialism mentioned in the post below is in itself another manifestation of the colonialist spirit. Of course, no one is going to dispute the attrocities committed all over the world because of colonialist thinking... But in that sense, if have to blame a musical genre for all the colonial sins you should try national anthems or military songs.
But, come on... Exotica is also a manifestation of human curiosity towards other cultures and inventiveness when the information available is not enough. And those are two characteristics of humankind that are not culture-specific.
Music in South America is a clear example of this. It is not European, it is not African, it is not native... It's a complex mix of all the cultures involved, that evolved at least in part because of mutual curiosity. Should we see this kind of music as the evil results of Spanish and Portuguese colonization? I think that would be incredibly absurd.
And now I have moved and I am back in Colombia. So I know (because I live it day by day) that stereotypes get digested in mixed cultures, and turn into something else. Something that is not threatening nor insulting.
So... There is no need for preaching the evils of exotic music.
And I also think that in this argument there is also an implicit, politically correct, moral high-ground that reminds me very much of the actual colonial ways of thinking (the thinking that all other worldviews were not only ilogical but morally wrong...) Scary.
Cheers,
Manuel
> First of all, I wanted to deal with the very essence of Exotica (as a
> musical genre and idea), its darker and more reactionary aspects; I
> wanted to dismantle the romanticizazion of the so called "Orient" (being
> it Africa or Polynesia) filtering through hundreds of 50's-60's Exotica
> records. To retrace this idea I plunged into exotic cinema, literature
> and even classical music. I also spent months in Rome's national library
> to study how through centuries colonial countries turned exoticism into
> a monstrous lethal machine. For instance in the 20's, during Fascism,
> cities like Naples were turned into "under-glass jungles" with Africans
> directly "imported" from Ethiopia and exhibited as if they were
> creatures from another world. Not to speak of how Italian soldiers
> "sexually studied" natives on the spot for the sake of exoticism.
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Subject: Re: (exotica) Je t'aime moi non plus / KPM reissues
Date: 18 Oct 2000 16:46:36 +0200
>>"je t'aime moi non plus"
>>actually, the exact translation would be :
>>"i love you, neither do i"
>>poetic contradiction between one assertion and a
>>negative term
a little curiosity: a 1970s version I mentioned in here before, performed by a certain Brigitte and a mysterious "famous italian actor" (Alberto Lupo? Arnoldo Foa'?) from that period, sounds like "Ti amo e io di piu'" i.e. "I love you... And I (love you) even more".
DjB
p.s. prepare for a couple of little surprises on mp3.com in the next hours ;)
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>I wanted to deal with the very essence of Exotica (as a
>musical genre and idea), its darker and more reactionary aspects; I
>wanted to dismantle the romanticizazion of the so called "Orient" (being
>it Africa or Polynesia) filtering through hundreds of 50's-60's Exotica
>records.
ROSS WROTE: This is a whole fascinating subject, and it goes right to
the heart
of "what is exotica?"
MANUEL WROTE:
>So I know (because I live it day by day) that stereotypes get digested in mixed cultures, and turn into something else. Something that is not threatening nor insulting.
>So... There is no need for preaching the evils of exotic music.
Hi Carl, Manuel, Matt, Robert, Ross and all the other "exotica denizens"
getting involved in this "Exotica/Colonial/Racism" debate. This is for
you Robert, as you know "Mondo Exotica" is available through
www.plastic.it which is an Italian exotica/soundtrack/lounge record
label selling my book abroad; when you contact 'em they'll send you all
the possible info about the text, how to order and buy it. Hi Ross, nice
to know you, the book won't be soon translated into English. So far
people from the States, Canada, England and Japan are buying basically
because of the vast discography; maybe this will trigger a chain
reaction attracting some foreign publishing group, who knows. Yes, I
agree with you when you confirm that "I think it is valid to remind
people that a 50's American fantasy of Africa or Polynesia had some
severely racist dimensions". But I'm not so sure that "for many of us
earlier re-discoverers of this music, we were completely conscious of
that element". For instance I decided to write "Mondo Exotica" because I
wasn't so sure, I perceived that there was something wrong but I had to
go to the "Heart of Darkness" of Exotica to find some confirmations. I
found them. I agree with you when you say "I would say that
outrageousness of the
faux-Swahili lyrics sung by perky white people was the reason for the
special interest in that title (Afro-Desia, by M. Denny)". The point is:
I feel much more at ease when someone - you Ross, in this case -
stresses that, beacuse this is the real question, knowledge, by no means
a passive acceptance of stereotypes (leopard skin, black/oriental woman
as vagina dentata, pure sexual instrument etc.) that also through the
rediscovery of Exotica and Space Age Pop are back into advertisements
and tv. That is to say: free your mind and your stereotype will follow.
Hey Manuel, I am afraid to hear that stereotypes can become
unthreatening and not insulting. A stereotype is a stereotype, even
under disguised forms. When they supposedly become "not threatening nor
insulting", it means that dominant cultures have already exterted their
perverse and annihilating influence.
francesco adinolfi
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Subject: Re: (exotica) Book of Tiki / Exotica Connection
Date: 19 Oct 2000 10:14:49 +0200
Kevin Crossman wrote:
> I think we could have answered that a bit less harshly...
Sorry, didn't mean to...
> It didn't help that the captions were in three languages... if the book
> tanks in France or Germany can we omit one (or both) of those from the
> next volume? It would leave more room for chapters on Exotica music... ;-)
True. That tri-lingual concept was another burden for the author. Captions in 3 languages, text in one... that surely is not very elegant. I can just assure you that a project like that always causes you to make a lot of compromises to get it done. I just know how hard Sven was fighting for his concepts all the time. I still think though, that
it isn't neccessary to know by any means who did the photo and under what circumstances to understand the history of the tiki style.
Mo
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Julie London is dead. I always meant to write to her. Listening to a few tracks now in her honour. Some great recordings; 'don't smoke in bed', 'round midnight', 'goodbye'.
goodbye Julie..........
love
melodramatic Jonny
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> Julie London is dead. I always meant to write to her. Listening
> to a few tracks now in her honour. Some great recordings; 'don't
> smoke in bed', 'round midnight', 'goodbye'.
>
> goodbye Julie..........
>
> love
> melodramatic Jonny
I always felt the same way. Jonny. A special lady. And you felt that way even more after you would read about her. Nice wife and mother who was in the entertainment industry but but never let it consume her.
Hi everyone,
I'll be doing a Julie London tribute on my show tomorrow. If you know of anyone north-west of Boston who is a Julie London fan pass the word.
I would be interested in a having a co-host for the show who would like to pay tribute to her on the air. I would love for them to come on.
I've been doing a mental inventory of what I've got. 6 complete albums and 3 various comps on LP and CD, so I've got plenty of material. But hey, having a fellow fan would be fun. And could always use more.
Thanks for the space,
Domenic Ciccone
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Julie London, 74, Sultry Singer and Actress of 50\'s
By DOUGLAS MARTIN
Julie London, whose understated voice and striking honey-blond appearance made her one of the top female vocalists of the 1950\'s and 60\'s, died yesterday at a hospital in Los Angeles. She was 74.
Miss London, who lived in the San Fernando Valley, suffered a stroke five years ago and was in poor health, a spokesman for Encino-Tarzana Regional Medical Center told The Associated Press.
She was also an actress in scores of movies and television shows, including the popular role of Nurse Dixie McCall in \"Emergency!\" in the 1970\'s.
Miss London went from playing bit parts in the early 1940\'s to starring roles and pin-up status among World War II servicemen. Then, in 1947, she married the actor Jack Webb, later famous on \"Dragnet,\" and stopped working to be a full-time wife and mother. After they divorced five years later, she became a serious singer under the tutelage of Bobby Troupe, a jazz musician and songwriter.
Her first 45 single, released in 1955, was \"Cry Me a River,\" and it was included on her first album, \"Julie Is Her Name.\" More than three million copies of the album and single were sold. She made more than 30 albums.
She was voted one of the top female vocalists of 1955, 1956 and 1957. On New Year\'s Eve 1959, she married Mr. Troupe, who died last year.
Adjectives such as sexy, intimate, breathy, husky and suggestive were applied to her singing. The singer herself told Life magazine in 1957: \"It\'s only a thimbleful of a voice, and I have to use it close to the microphone. But it is a kind of oversmoked voice and it automatically sounds intimate.\"
Her sound and her looks were closely intertwined. Most of her albums were graced by sultry, yet sophisticated pictures of her.
Miss London was born as Julie Peck in Santa Rosa, Calif., on Sept. 26, 1926. Her parents, Jack and Josephine Peck formed a song and dance team in vaudeville and radio. In 1929, they moved to San Bernardino, where her parents had a radio show on which Julie sometimes appeared. In 1941, they moved to Los Angeles and she graduated from Hollywood Professional High School.
She then took a job as an elevator operator in a department store where she was discovered by talent agent Sue Carol, the wife of the actor Alan Ladd. She appeared in her first film, \"Nabonga,\" in 1944, and began singing with the Matty Malnech Orchestra. She met Mr. Webb who was then in the Marine Corps. They married in 1947, and she gave up her budding movie career to become a full-time wife and mother.
They had two daughters, Stacy and Lisa. They divorced in 1953. After meeting Mr. Troupe she began singing again, recovering some of what she called sagging confidence.
Her movie career also revived. She starred as an alcoholic singer in the 1956 film \"The Great Man.\" She then starred or co-starred in \"Man of the West,\" \"Voice in the Mirror,\" \"The George Raft Story\" and \"The Third Voice.\" She composed the title song for \"Voice in the Mirror.\"
In 1972, she began her role in \"Emergency!\" After the show ended in 1977, she did one last film before retiring from show business.
She is survived by a daughter from her marriage to Mr. Webb, Lisa Breen of Manhattan Beach, Calif. She also left three children from her 39-year marriage to Mr. Troupe: a daughter, Kelly Ronick, and twin sons, Jody and Reese, all of Los Angeles.
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I donÆt see much of a difference between Jazz and the ôeasy listening musicö IÆm listening too except for the improvisation parts. After listening to jazz for about a decade I just got tired of the endless solos and lack of melodies. Coltrane had something to say for 25 minutes on ôMy Favorite Thingsö but most players donÆt.
As for why I listen to a lot of this easy or exotic music? Well I was stuck in traffic on the way to work this morning and listened to the Henry Mancini big band Latin LPÆs I digitized. ItÆs hardly mushy strings but it kept me cool and occupied in the stop and go traffic.
I think I listen to this stuff because I need to!
Domenic Ciccone
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azed@pathcom.com wrote:
>
> Jazz records sell better and more easily than easy listening so
> in the
> interest of generating a few bucks, I've taken a detour from my
> "easy
> listening CDR/ record collection decimation" project and I'm
> digitizing and
> selling a bunch of jazz records. (Now they all fit on one shelf.
> Or at
> least the real jazz do. The Now Sound jazz, organ stuff, acid
> jazz and
> bossa nova aren't kept with the real jazz.)
> Anyway it's been years since I listened to jazz for an
> uninterrupted period
> of this length - a whole DAY and still going - and you know what?
> It makes
> me feel good.
> This isn't the first time I've wondered this but if you can
> ignore your
> anti-jazz prejudices - those of you that have em - and ponder
> this question.
> What comes first, the feeling or the music? Do you play easy
> listening
> almost exclusively for five years because you're in a certain
> mood or are
> you in the mood because of the music you're listening to? What
> IS that
> mood? I won't say that easy listening depresses me but I'm not
> sure it
> ever uplifts me the way this Coltrane solo is doing right now (or
> is this
> Paul Quinichette taking this solo?)
> I switched from jazz to easy listening mostly because I enjoyed
> buying
> twenty records that I knew little about more than I buying one
> record that
> I was pretty sure would be pretty good.
> But is that the whole explanation?
> Was it also because of my mood? If so, what kind of mood was
> that and how
> does easy listening make you feel that way?
> Did I want to feel like easy listening or did I need to?
>
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Subject: Re: (exotica) revenge of the television crypt creepers
Date: 24 Oct 2000 17:16:46 -0400
>The real rare bird airs late Friday/early Saturday at 4:30am
>(eastern): the 1931 Spanish language version of "Dracula" --
It's been on tape for several years and is included on the "Dracula" DVD. There are quite a few films from the early sound era that exist in simultaneously shot multiple language versions. Buster Keaton did some of his MGM films in French, several Laurel & Hardy shorts are also in Spanish, all learned phonetically which makes them odd viewing.
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This happened to a friend of a friend of mine, who works in a record shop in S.F., on monday night:
Dear friends,
Last night after we closed the doors at the record store, three men came to the door. Two looked like gay guys dressed in dark clothes and moussed hair. but, the third guy was dressed up like an Arab sheik, covered from head to toe. He had sunglasses on and he had a cotton veil pulled across his face. He was in all white. The one guy was asking us to let them in. We began to brush him off, but then he insisted, "It's very hard for him (the sheik) to shop." Anyway, it was starting to seem weird, so Mike let them in and they wanted to know right away where the spoken word section was. I showed them to the back of the store and when the veil came away and I saw that incredible caricature of a face, I thought it was a gag. His facial hair looked like stage hair and he had a bandage on his incredibly thin nose. But, when I heard that voice ask, "Do you have any more Edgar Allen Poe," I knew that it was really and truly the King of Pop, Michael Jackson.
Anyway, that began an hour and a half of my night with Michael Jackson. a night in which I shared with him some of the songs which I love the best and shared with us his inimitable boyish presence. I still feel really weird, but I assure you, I shit you not! I'll just have to get to the memories randomly, as the magic really hasn't had time to coalesce in my mind. He kept singing that line from "The City of New Orleans" by Arlo Guthrie, "Good morning, America, how are you." He smelled kind of like a Catholic priest. (They all were wearing cologne, of course). We played one of his favorite songs for him at his friend's request: "Lightning Strikes" by Lou Christie. We didn't have any records by the band that does his favorite song, The Cowsills. He asked for Free Design but we didn't have it. He also wanted 101Strings. He bought a lot of Harry Belafonte, Sarah Vaughan, and a lot of 60's pop. He also bought a bunch of old nude stuff...clipped out pictures from nudist magazines an!
d old shots of posed nude women. I asked him if he wanted any of these old TV theme paperbacks and began to read off the titles. "I'll take the Brady Bunch!" he said. He also bought a big poster of Burt Bacharach.
At one point when we had taken him down to the basement to look through all of the junk, he turned and asked me, "Do you like Diana Ross and the Supremes' music?" I said that I did and I asked him what his favorite song was by them. He said "Stop In the Name of Love", I think. I told him that mine was "I Hear A Symphony", and he said that he loved that one, too. He said he thought it was a shame that their reunion tour that was supposed to happen didn't because they couldn't get along. At that point, he told me that he really wanted an old portable record player and I said that I had one at home that I would sell to him. He asked me, "Can you get it?" So, I ran home to get it and brought back a Wandering Stars CD to give him, as well. I sold him the record player for $15. He payed with a $100 bill. All he had were $100 bills. Then he asked me, "Does it work?" I told him it did and he asked me, "Can you plug it in?" I played him Bertha Tillman and Walter Jackson and "Can You !
Hear Me" off of David Bowie's "Young Americans." I called him Michael and he would avert his eyes and smile. When I gave him the WS CD, he asked, "Is it copyrighted?" I said, "Yes." And, he said, "Good."
As Michael and his friends were getting ready to leave, they were cleaning all of the record dirt off of their hands with wet paper towels. I said to Michael, "Yeah, I have to wash my hands about 20 times a day here." He replied, "You should get some HandiWipes. They're great. Not as good as Baby Wipes..."
He autographed a record for each of us that worked there. You know, his skin was super white. And, his eyes were really strange. The crazy thing was, indeed, that we were hanging out with Michael Jackson, but even more, that he was dressed up like a sheik the whole time! Also, we were really hanging out with him. It wasn't like we just shook hands backstage or something. I was bugging him about whether he liked the songs that I wanted him to like just like I do my friends! Super. He was super sweet; hard to stress that enough. They bought about $1000 worth of stuff. Anyway, I'll probably remember more, but I will say that, after they left, they were going to a Mexican restaurant in Hayward. A night to remember, and I share it with you now.
Andrew R., San Francisco
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Speaking of having to work while listening to jazz versus not having to work as hard while listening to easy listening, that's what's great about crime jazz! It's pretty effort-free listening as jazz goes, without being that horrible jazz fusion garbage of today. (Though I admit even that has its virtues at times, but I'm not going to go into that.)
I used to be really into the most innocuous easy listening because it was so effortless -- all those records tagged "background music" and "soothing" and the Jackie Gleason albums and so on. But I also listened to very difficult listening in the same time period. Then I began looking for something in the middle, and on the less easy side ended up with the whole crime jazz style. Of course there are all sorts of crossovers.
Since I've been thinking about Julie London all week, Around Midnight is a good album for soothing easy and some jazz standards combined, for example. It's a shame that the cover art was taken hostage for that Time For Love compilation which doesn't even have any of the good songs from Around Midnight on it.
Unlucky
---
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And if you like Slint and into quiet music you should get everything the guitar player from Slint (David Pajo) has made after that. Aerial M is extremely good, and they have one full length and several Eps.
And this years's Papa M is sooooooo good. I think it's probably the best record I've bought this year. It reminds me of that feeling you have when you go to sleep and you are not yet asleep but almost, and you have these weird pseudo-dreams, simple and complex and the same time... Mmm. Just writing about it has made me want to listen to it again.
And going back to an old topic (the one about exotica and racism)... I just saw this film Woman on top and I really felt kinda insulted by it. There are so many times when Hollywood doesn't care about facts and just invents things up... are they stupid or what? Don't they know that they are making films for a global audience?
It reminded me of Spielberg's Amistad where he had some 18th century Spanish sailors speaking Spanish with a heavy English accent. It is something that is not very important and that could be solved by anyone who has heard people speaking other languages... This lack of care just pisses me off... And in this Woman on top film you have a Spanish actress playing a Brazilian. And, let me tell you... There are HUGE differences between a Spaniard and a Brazilian. And she didn't even learned any portuguese... Sometimes I really hate Hollywood films...
Bye,
Manuel
P.S. And about Nat King Cole's Esos ojos verdes... I'm sure you can get them here (in Colombia). I asked in a couple of small record stores but they didn't have it. Maybe in a bigger one they will...
It was strange seeing that film because in the middle of this honkonese love story in comes this song in Spanish that rings all kinds of bells for people who have been in contact with popular culture in Latin America. And it is in the middle of this very alien film... It just goes to show that this global world sometimes has some very strange mixes...
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>If a man spells his name B-L-A-C-K and pronounces it
W-H-I-T-E, the man's name is White. My suggestion: Go right to the horse and ask the source..he'll
give us the answer that we endorse...JB
Alas, Walter died in the early 80s.
I have a couple of his suits, though.
Honestly. I bought them on ebay, and they fit as well. Sorry, this seemed like a rare opportunity to boast to people who actually know who he was.
'Wanderley' doesn't sound much like a Brazilian name, does it..... But then again, neither did 'Baden Powell'. It's so rare that I ever talk to people out loud about Walter that I've never thought about it before...
Jonny
ps. bought 'motions and emotions', a fantastic Oscar Peterson LP the other day - German release on MPS with orchestrations by Claus Ogermann. Highly recommended.
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October 30, 2000Don Brooks, Harmonica Player Suited to Blues and Bee Gees, Is Dead at 53
By JON PARELES
Don Brooks, a harmonica player who recorded widely as a studio musician in New York City, died of leukemia Wednesday at Cabrini Medical Center in Manhattan, said his widow, Anne. He was 53 and lived in Greenwich Village.
Mr. Brooks grew up in Texas and took up the harmonica after hearing an album by the bluesman Sonny Terry. He played in Dallas coffeehouses in the 1960's alongside songwriters like Mance Lipscomb, Lightning Hopkins and Jerry Jeff Walker.
In 1967, he moved to New York City and became part of a Greenwich Village folk scene that included David Bromberg and John Hammond Jr. He recorded and performed with Judy Collins and Harry Belafonte, and in 1973, he joined the country singer Waylon Jennings's band, in which his harmonica playing helped create the sound of outlaw country music.
"He influenced a lot of people," said Mickey Raphael, the longtime harmonica player in Willie Nelson's band.
"What made him distinctive is the simplicity of his playing and his great tone," Mr. Raphael said. "He played the right thing at the right time. He was also a very rhythmic player. He mastered a technique he called chucking, a popping of the harmonica that sounded like a rim shot on a snare. It can be very useful when you don't want to play a lot of notes all the time, so the harmonica becomes a rhythm instrument. If he didn't invent it, he surely perfected it and passed it on."
Mr. Brooks established himself as a leading studio player in New York.
Through the years, he recorded with Billy Joel, Cyndi Lauper, Carly Simon, the Talking Heads, Ringo Starr, Tim Hardin, the Bee Gees, Diana Ross, Bette Midler and Yoko Ono and the Plastic Ono Band. He was a musician on Broadway in "Big River" in 1985 and "The Gospel at Colonus" in 1988, and was heard in the Ken Burns public television documentary "The Civil War."
"My job was always to make other people sound good," Mr. Brooks once said. "Everything I do, everything I play, is the blues."
He is survived by his wife; a son, Leonard; and two grandchildren.
Copyright 2000 The New York Times Company
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Jeanne Lee, Jazz Singer Who Embraced Avant-Garde, Dies at 61
By BEN RATLIFF
Jeanne Lee, one of the great jazz singers in the avant-garde tradition and a teacher of singing, composition and movement, died on Wednesday in Tijuana, Mexico. She was 61.
The cause was cancer, said her daughter Naima Hazelton.
Because Ms. Lee performed in two radically different styles, her singing was difficult to categorize. One of her voices was dry, slow and breathy, influenced by Billie Holiday and Dinah Washington.
In 1961 she and a classmate from Bard College, the pianist Ran Blake, performed as a duo at the Apollo Theater's Amateur Night contest. They won, and the album they later recorded, "The Newest Sound Around" (later reissued on CD as "The Legendary Duets"), has remained a cult favorite.
In jazz standards and Thelonious Monk tunes on the album, Ms. Lee and Mr. Blake subtracted swing, but added intellectual coolness, abstruse piano harmonies and vocal influences from Holiday and Washington; the record is a series of minimalist dreams. (In 1989 she and Mr. Blake recorded a duet album in the same style, "You Stepped Out of a Cloud.")
In her other vocal style, Ms. Lee approached words as sounds; this voice was harsh and booming, and she used her teeth, lips and tongue to wring drama out of each syllable, presaging singers like Diamanda Galas. In the mid-1960's she was a multidisciplinary artist, writing music with members of the Fluxus school like Alison Knowles and Dick Higgins, and gradually becoming more aligned with the rest of the late-1960's avant-garde in jazz.
When she met and fell in love with the vibraphonist and composer Gunter Hampel in 1967, she began 20 years of collaborations with him in different jazz-related forms.
While at Bard, Ms. Lee had studied child psychology and in 1970 was awarded a Martin Luther King Fellowship for Urban Studies by New York University to develop a curriculum for elementary school students that combined music and dance with academic subjects.
She shuttled between New York and Europe until the late 1980's, living and working with Mr. Hampel, performing in duets, small groups and big bands, as well as conducting clinics and workshops; the couple made some 25 albums together, many of them for Mr. Hampel's own label, Birth.
Ms. Lee also recorded with Marion Brown, Andrew Cyrille, Carla Bley, Peter Kowald and Reggie Workman, among others. She was active as a composer, combining vocal jazz with music and dance, working often with the choreographer Mickey Davidson.
She lived in New York from 1994 to 1996 and for the last five years taught music and movement at conservatories in Antwerp, Belgium, and in The Hague.
In addition to Ms. Hazelton of Los Angeles, she is survived by another daughter, Cavana Lee-Hampel of Berlin; a son, Ruomi Lee-Hampel of New York; and a grandson.
LOS ANGELES (AP) - Steve Allen, the droll comic who pioneered late night television with the original ``Tonight Show,'' composed more than 4,000 songs and wrote 40 books, has died at 78.
He died Monday night at the Encino home of his son, Bill Allen, the son said Tuesday.
Allen also starred as the King of Swing in the 1956 movie ``The Benny Goodman Story.'' He appeared in Broadway shows, on soap operas, wrote newspaper columns, commented on wrestling broadcasts, made 40 record albums, wrote plays and a television series that featured guest appearances by Sigmund Freud, Clarence Darrow and Aristotle.
His skill as an ad libber became apparent in his early career as a disc jockey in Phoenix. He once interrupted the playing of records to announce: ``Sports fans, I have the final score for you on the big game between Harvard and William & Mary. It is: Harvard 14, William 12, Mary 6.''
Allen's most enduring achievement came with the introduction of ``The Tonight Show'' in 1953. The show began as ``Tonight'' on the New York NBC station WNBT, then moved to the network on Sept. 27, 1954.
Amid the formality of early TV, ``Tonight'' was a breath of fresh air. The show began with Allen noodling at the piano, playing some of his compositions and commenting wittily on events of the day. He moved to a desk, chatted with guests, taking part in sketches, doing zany man-in-the street interviews.
``It was tremendous fun to sit there night after night reading questions from the audience and trying to think up funny answers to them; reading angry letters to the editor; introducing the greats of comedy, jazz, Broadway and Hollywood; welcoming new comedians like
Shelley Berman, Jonathan Winters, Mort Sahl and Don Adams,'' he once said.
Allen's popularity led NBC in 1956 to schedule ``The Steve Allen Show'' on Sunday evenings opposite ``The Ed Sullivan Show'' on CBS.
A variation of ``Tonight,'' the primetime show was notable for its ``Man in the Street Interview'' featuring new comics Louis Nye (``Hi-ho, Steverino''), Don Knotts, Tom Poston, Pat Harrington and Bill Dana. The show lasted through 1961, although the last year was on ABC.
Allen cut back his ``Tonight' duties to three nights a week when the primetime show started. He left even that in 1956. He was replaced for a season by Ernie Kovacs, then NBC tried a new format in 1957, ``Tonight! America after Dark.'' It failed, and ``Tonight'' resumed with Jack Paar, followed by Johnny Carson in 1962.
Over the years, Allen maintained a busy career, making appearances in movies and TV series, often with his wife Jayne., Her sister, the late Audrey Meadows, portrayed the long-suffering Alice to Jackie Gleason's Ralph Kramden on ``The Honeymooners.''
He wrote great quantities of songs, and several were recorded by pop vocalists. His most popular song was ``This May Be the Start of Something Big.''
A self-styled advocate of ``radical middle-of-the-roadism,'' Allen often spoke out on political matters such as capital punishment, nuclear policy and freedom of expression. He once considered running for Congress as a Democrat, but decided against it.
Toward the end of his life, he spoke out against the increase of sexual content on television. In a speech last year, he said tabloid television talk shows such as the ``Jenny Jones'' show have ``taken television to the garbage dump.''
``There are moral failures in the marketplace,'' he said.
Allen was proudest of his ``Meeting of Minds'' series which appeared on PBS from 1976 to 1979. He moderated a panel of actors impersonating historic figures such as Galileo, Emily Dickinson, Cleopatra (played by Jayne Meadows), Charles Darwin and Attila the Hun, who explained their diverse philosophies.
When an interviewer asked Allen in 1985 how he managed to do so many creative things, he replied:
``I never asked myself that question. It would be like asking how my hair grows. The mystery of creativity is just that: it is a mystery, and particularly mysterious to me about myself.''
Steve Allen came by his humor naturally; both his parents, Billy Allen and Belle Montrose, were vaudeville comedians. Their son was born in New York City on Dec. 26, 1921, during a brief respite from their travels. Steve was 18 months old when his father died, and his mother continued touring the circuits as a single.
The boy grew up in other people's homes, mostly with his mother's family in Chicago, the Donahues. He remembered the place as ``a rooming house with the smell of cabbage cooking.''
Allen won a partial scholarship to study journalism at Drake University, but severe asthma caused him to transfer to Arizona State Teachers College in 1942. After a few months he dropped out to work as a disc jockey and entertainer at radio station KOY in Phoenix.
Drafted in 1943, he was soon released because of asthma. He returned to KOY, and married his college sweetheart, Dorothy Goodman. They had three sons, Steve Jr., David and Brian, and divorced in 1952.
Allen moved to Los Angeles and began offering his comedy and music on local radio.
A midnight show on KNX brought Allen a small but enthusiastic audience and attracted national attention in 1950 when it was carried on the CBS network as a summer replacement for ``Our Miss Brooks.'' The networks were converting to television, and he was invited to New York for ``The Steve Allen Show,'' which appeared five evenings a week on CBS.
In 1952, Allen was invited to a dinner party at which he was seated next to the beautiful actress Jayne Meadows. Uncharacteristically, he was speechless.
At the end of the evening, she turned to him and said, ``Mr. Allen, you're either the rudest man I ever met or the shyest.'' His reddened face indicated the latter. They began dating and married in 1954.
Their only child, Bill, said that on Monday, his father was visiting his home. ``He said he was a little tired after dinner. He went to relax, peacefully, and never reawakened,'' the younger Allen said.
He added that his father had a ``long, full and extraordinary life.''
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