>i believe it's "days of being wild" but it might also be "as tears >go by". the problem is this is a burn from a burn from a burn...and >alas there are no songtitles. and i'm pretty sure this soundtrack >has been out of print for quite some time.
Supposedly there have never been soundtrack albums for either film. Is it possible that this was made directly from the film? "Days of Being Wild" is mostly Xavier Cugat but I've forgotten about "As Tears Go By."
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It might be a bit too "modern" for this list, but let's not forget El Vez's Merry Mex-mas. You just can't beat "Feliz Navidad" done partially to the tune of PIL's "Public Image"....
-DavidH
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>which is hard to believe. Who are they anyway? Dutch, >I suppose.
>
>Mo
Lots of people know Arling & Cameron! Not as many people know them in the US but they've definitely had their 15 minutes in Europe. If you're interested in the history of easy, you should acquaint yourself with them. They started out as DJs, and started the Get Easy! parties in Amsterdam in the early 90s, which is what helped the resurgence of interest in easy music flourish across Europe. Loungecore anyone? Then they started the Drive-In label, produced a bunch of other artists music, (including a christmas single, I might ad, two songs by Juan Wells and Johnny Diamond) and then moved on to making their own music. They're also fairly popular in Japan (but then again, what isn't?) Cameron also continues to DJ with his wife Karin Ras who was also there from the beginning. Their US tour last year, they spun a lot of records, including their own. This year maybe they will perform some music? Don't know yet. The ALL-IN record, the LP before MFIF was also really good, though the only conceptual point of it was that "all-in" meant "all inclusive", because they felt that people had spent too much time pegging them as only interested in easy and lounge, while they wanted to show that people could have a good time to all kinds of music. You can always check out the EmperorNorton site for more. They have a link to the Drive-In site too.
Mr. Unlucky
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BROOMFIELD, Colo. (AP) -- The curtain is closing for Up With People, but many cast members who toured the world to spread the group's musical message of peace and understanding remained hopeful it would someday rise from financial collapse.
The nonprofit organization decided on Wednesday to shut down because of its $7.3 million debt. It lost $3.2 million in the fiscal year that ended in June and $860,000 in the previous year, when it was forced to dip into its endowment.
``This is one of the steps you have to take to make it to the next generation,'' said Scott Nelson of Denver, who toured with the group in Australia and New Zealand in 1985.
The organization, which left open the possibility of a reorganization, will lay off its 262 employees in 10 offices around the world and sell its main building north of Denver.
Nelson said Up With People was born out of a dream and not a business plan. He said part of the group's recent trouble might have been trying to appeal to too many types and ages of people.
Up With People was founded in 1965 by Blanton and Betty Belk of Tucson, Ariz., who challenged a group of college students to find an upbeat message amid student unrest, the Vietnam War and racial strife.
Up With People picked 700 young people each year to perform in a half-dozen different troupes that travel to a total of 20 countries. Each cast member paid $14,300.
Troupes performed in junior high gymnasiums, carpet-covered ice rinks and European concert halls. They appeared before the pope, during Super Bowl halftime shows and at high football games.
``That's where our magic happened, in those small communities,'' said Tim Schuetz of Denver, who toured with the group in 1992.
``It's closing its doors at this point, but the legacy of the 20,000 alumni and hundreds of thousands of host families will live on,'' Nelson said.
http://www.upwithpeople.org/
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Very nice. I noticed you have a LP cover gallery. Someone here on the list was asking me is I knew of any web sites like yours that have pictures of LP covers.
Anybody here have a web page of links?
Domenic Ciccone
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Teresa Sterne, 73, Pioneer in Making Classical Records, Dies
By ANTHONY TOMMASINI
Teresa Sterne, a pioneering producer of classical recordings, died on Sunday at her home in Manhattan. She was 73.
She had been suffering from amyotrophic lateral sclerosis, commonly known as Lou Gehrig's disease, said a friend, Norma Hurlburt, executive director of the Chamber Music Society of Lincoln Center.
As the director of Nonesuch Records from 1965 through 1979, Ms. Sterne turned a small budget label into one of the most adventurous companies in the recording business. When she was invited to take charge of Nonesuch, the label was a subsidiary of the pop-oriented and profitable Elektra Records. Nonesuch's business had consisted mostly of acquiring the rights to existing recordings of Baroque music by European ensembles and reissuing them at budget prices in the United States.
Ms. Sterne, called Tracey by her friends and colleagues, brought a vision to the job born of her long experience in music. She had been a piano prodigy, and though she gave up public performance as an adult, she maintained close ties with the composers and performers of her day.
At Nonesuch she brought attention to areas of music neglected by the major labels, particularly contemporary music and American vernacular music. She championed American composers like George Crumb, Elliott Carter, Morton Subotnick, Charles Wuorinen and Donald Martino, not just recording their works but commissioning them, an unusual move for the leader of a record company. She also issued important recordings of lesser-known works by Schoenberg, Busoni, Stravinsky and other major figures.
She nurtured relationships with several excellent performers not widely known at the time, like the pianist Paul Jacobs, the mezzo-soprano Jan DeGaetani and the pianist Gilbert Kalish. Many of the artists she discovered were first recognized for their work in contemporary music. Ms. Sterne encouraged them to record past works that interested them as well, like Jacobs's critically hailed recording of the Debussy Θtudes and Mr. Kalish's engaging survey of the Haydn piano sonatas.
The mezzo-soprano Joan Morris and her husband and professional partner, the composer and pianist William Bolcom, made some popular Nonesuch recordings of vernacular American songs from the late 19th and early 20th centuries. And Ms. Sterne sparked a nationwide craze for ragtime with a series of Scott Joplin piano works played by Joshua Rifkin.
She was also in the forefront of the early instrument movement in Baroque and Renaissance repertory. And under her leadership, Nonesuch's Explorer series introduced music from Bali, India, Peru and other countries to a wider audience. Ms. Sterne believed that every record she produced should have a purpose, and she involved herself with everything, from the packaging to the liner notes.
But in late 1979 she was dismissed from Nonesuch. Early in her tenure the record label had been acquired by Warner Communications, and by the mid-1970's, it was grouped under a parent company, Elektra/Asylum/ Nonesuch, headed by Joe Smith. Warner officials asserted that Nonesuch was losing money. In an interview with The Boston Globe at the time, Mr. Smith said: "Nonesuch is in business, and it is losing its credibility in its marketplace. We can't make records that sell only outside the Russian Tea Room."
Ms. Sterne argued that the losses were mostly caused by the parent company's poor marketing and distribution. A letter condemning her dismissal, written by 10 Pulitzer Prize-winning composers, including Mr. Carter and Aaron Copland, was sent to the vice president of Warner Communications and widely circulated in the press, to no avail.
Ms. Sterne never anticipated becoming a record producer. She was born in Brooklyn on March 29, 1927, to a cultured family with a toehold on the middle class. Her mother was a cellist who gave up her career to nurture her musical daughter. Ms. Sterne's father, a violinist, deserted the family when she was 14. Her paternal uncle, Robert Sterne, a professional violinist, became an important mentor.
From the age of 10, she was educated at home by private tutors, living with her mother and a beloved aunt in "a kind of aristocratic poverty," as she once told a friend. In 1939, when she was 12, she made her professional debut as a pianist playing Grieg's Piano Concerto with the NBC Symphony Orchestra at Madison Square Garden. The next year she played Tchaikovsky's Piano Concerto with the New York Philharmonic at Lewisohn Stadium, winning cheers from the audience and glowing reviews from critics. Her career as a prodigy flourished.
But after such a rarefied and isolated upbringing, Ms. Sterne felt that she lacked the pragmatism and confidence to pursue a professional career. Wanting experience in the real world, she became a secretary, soon winding up in the offices of the powerful manager Sol Hurok, where she nurtured the careers of other young artists. A series of administrative jobs, including assistant to the director at Vanguard Records, led to her hiring by Nonesuch.
Ms. Sterne, who never married, leaves no immediate survivors. After her dismissal from Nonesuch, the company went through many changes. Earlier this year, Robert Hurwitz, its director since 1984 and a great admirer of Ms. Sterne, issued a two-disc recording in tribute to her, containing highlights from favorite albums she had produced and live recordings of performances she gave in her early years as a piano prodigy.
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CDÆs have totally spoiled me. I love the lack of background noise. When I can hear the background noise. The needle going over the records reminds me of a plow furrowing a field.
Just my opinion.
Flames on!
Domenic
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> The present case is a completely inefficient design that takes up
> as much practical storage space on my wall as an LP. Sometime soon >I'm inevitably going to have to buy little PVC envelopes and junk >the jewel cases, which will at least triple my storage volume, >though it won't look very pretty and will be hard to see where >things are from the spines.
>
I use those baggies a lot. I have the "flap down" type. The only problem is that sometimes the glue that holds the flap gets on the CD.
And they wear out pretty quick if you use the same CD over and over.
With this system I can pack a whole suitcase of CD's to take to the studio. Enough music to last a nuclear winter.
Domenic
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> > And they wear out pretty quick if you use the same CD over and
> over.
Humm, I wonder now what I was talking about?
Someone here was asking me what kind of record player I have. A "Miracord custom made for Realistic", Ya Radio Shack. A loaner from one of our Exotica friends here who has been lurking for months now. And using the standard Rat Shack $20 needle.
Sorry, but for me records can be frustrating. Even before CD's came out I was dissatisfied with LPÆs because I could always hear the background noise of the medium. And records are just a way to get the music.
And with talk about needles, stylist, balancing itÆs all to much work and expensive. All I want to do is put the thing on and hit a button. CDs are great for that.
I'm a good old fashioned lazy American Consumer!
Domenic
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Subject: (exotica) Brazilian segment of Almost Acoustic on WJUL
Date: 14 Dec 2000 05:46:58 -0800 (PST)
Hi everyone,
I was at the WICN record sale late this summer. Kristen was picking up some great looking LPÆs. So I struck up a conversation and found out she writes about Brazillian music.
You can meet the coolest people at record sales.
Hope you can tune in. It will be a learning experience for me and maybe for you too.
_________________
Brazilian segment of ôAlmost Acousticö on WJUL 91.5FM Saturday Dec 16, 2000 12-3PM
Please join me, your substitute host Domenic Ciccone. Saturday Afternoon from 12Noon to 3PM as I welcome Kirsten Weinoldt to the ôAlmost Acousticö program on WJUL 91.5 FM broadcasting from UMASS Lowell.
Kirsten Weinoldt, born in Denmark, came to the US in 1969. Kirsten fell in love with Brazil as a teenager after seeing the movie Black Orpheus (Orfeu Negro). Writes about Brazilian music for the magazines Bossa and Brazzil (www.brazzil.com). Has written cover stories about 40 years of Bossa Nova, 1968 and Tropicalismo, Chico Buarque, Noel Rosa, and a variety of other articles about singers and Afro-Brazilian carnival groups. Works with Marlon Catao on concerts by Caetano Veloso, Gilberto Gil, Milton Nascimento, and others. Kirsten travels to Brazil twice a year interviewing musicians and attending concerts.
Domenic Ciccone
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Subject: (exotica) "An exploration of the impact recording technology
Date: 15 Dec 2000 22:01:35 -0500
An interesting book review about an interesting sounding book, which examines some issues that have been discussed here (though from a classical perspective):
Subject: Re: (exotica) Ritual of the Dead (was CD Logistics)
Date: 16 Dec 2000 07:03:26 -0800 (PST)
Jonny wrote:
>I figure by the time im dead, I will have lots of music to listen to in my coffin.
You know I think you are onto something here.
Where is this music going to be 4-6 thousand years from now? Most likely gone and forgotten. So maybe we *should* be buried with our mp3Æs and hermetically sealed devices and instructions to build/repair or power them.
Exotica could be a big hit with archaeologists of the future!
IÆm sure they will imply that there was a lot of religious significance attached to the music. After listening to Les Baxter and Domenic Fontiere they might even think that this ôExoticaö cult even engaged in ritual human sacrifice!
I think itÆs our duty to screw these people up.
Domenic
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Not so long ago, New Yorkers sat around the hearth of their television sets to bask in the glow of the WPIX Yule Log on Christmas Eve. It's a tradition as tied to Christmas in New York as the tree in Rockefeller Center and Santa Claus at Macy's.
In 1966 WPIX decided to offer a Christmas card to its viewers. Fireplaces, a symbol of warmth and home, are hard to come by in the metropolis. The station's general manager, at that time, Fred Thrower, thought of all the apartments that didn't have fireplaces, and decided a televised Yule Log might be an appropriate way for viewers on Christmas Eve and Christmas Day to hear Christmas carols and have a burning fireplace of their own.
A camera crew was dispatched to then Mayor John V. Lindsay's residence at Gracie Mansion, where a 17-second film loop of a blazing fireplace was recorded. Since that time, the Yule Log, which we like to think of as the world's first music video, has been re-shot three or four times. First on film, then on tape and now adapted for the World Wide Web.
Now, we are happy to present, back by popular demand, the WB11 Yule Log for the 21st century only on the World Wide Web.
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In a message dated Mon, 18 Dec 2000 10:31:14 AM Eastern Standard Time, Brian Phillips <hagar@mindspring.net> writes:
<<
A fave cut of mine is Pebbles and Bamm-Bamm's "Snowflake", a nice blend of
choral vocals and guitar.
My favorite Christmas tunes are 45's found while looking for other stuff...A real goodie: Toni Wine's "My Boyfriends Coming Home For Christmas" on Colpix. Others when I get home
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>>
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Subject: Re: Re: (exotica) Orpheus on TCM (w/ a Godard tangent) - Correction
Date: 18 Dec 2000 16:30:09 -0500
>So strange that I checked other sources and it doesn't look like it's
>really going to be on. Incorrect listing.
Well, it actually is on TCM's schedule for midnight EST Dec 24th though that slot is usually reserved for silent films. I'll check with TCM programming to find out which is correct.
LT
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Subject: (exotica) [obits] Valerio Longoria, et al
Date: 19 Dec 2000 10:45:10 -0500
December 19, 2000
Valerio Longoria, Conjunto Musician, Dies at 75
By BEN RATLIFF
Valerio Longoria, an accordion player and a prominent early figure in south Texas conjunto music, died on Friday in a nursing home in San Antonio. He was 75 and lived in San Antonio.
Conjunto is a hard-driving dance music in which the accordion leads a small band that also includes the guitarlike bajo sexto and the drums. In the development of the music, Mr. Longoria was the next major innovator after creators of the form like Narciso Martinez and Santiago Jimenez.
Mr. Longoria was born in Clarksdale, Miss., in 1924, one of nine children of cotton field workers, and spent his early childhood in Kennedy, Tex. He began playing accordion at age 7, and he was soon under the spell of Martinez, the accordionist who in the mid-1930's helped conjunto become a popular, working- class dance music and created a new, more indigenously Texas-Mexican style of playing the accordion, with fewer bass notes and more focus on the melody.
Mr. Longoria played at weddings and parties in Harlingen, Tex., as a teenager, then joined the Army in 1942. Toward the end of his military service, he was stationed in Germany, where he played the accordion in nightclubs.
In 1946 he was discharged and soon made his first recordings, for the Corona label in San Antonio. When he began his career, conjunto was strictly instrumental music, but Mr. Longoria sang with it, and through his influence singing became part of the genre.
He originally played the standard prewar repertory of Texas border music ù waltzes, huapangos and schottisches ù but then began to add new elements. He learned the Colombian cumbia while living among Puerto Ricans in Chicago in the late 1950's, and after he adopted it, it became an important part of Mexican-American conjunto. He popularized, if not pioneered, the practice among south Texas conjunto musicians of playing the accordion while standing up and it is said that he was the first to use the modern trap drum set in conjunto, in 1948.
Mr. Longoria created a different style of playing, improving on that of Martinez ù "a smoother style, with longer extended runs," said Juan Tejeda, a conjunto music historian. He also sang while playing the lead line on the accordion, another innovation.
His voice, more stylized and sophisticated than that of many other conjunto singers, was suited to the romantic bolero; when that style became popular in Mexico, he was among the first to play it in south Texas. He also popularized the canci≤n ranchera, a sentimental song sung in waltz tempo.
"He had a real spark to him," said Chris Strachwitz, who produced some records by Mr. Longoria for Arhoolie Records in the 1980's. "I believe he had one of the best voices of any of the singers from San Antonio."
Mr. Longoria's other innovations involved the accordion. He turned around and retuned the reeds of the instrument to transpose them to other keys. He also customized them in a manner that he called octavaci≤n: changing the reeds so that single notes could be voiced in two octaves at once. Ultimately, he used three accordions in his performances, all in different keys: diatonic accordions in F and G, and a special chromatic accordion that he built himself.
After living for a time in Los Angeles, Mr. Longoria moved back to San Antonio in 1980 and began a 20-year teaching career at the Guadalupe Cultural Center, where he taught beginning and master's-level accordion classes to more than 1,000 students. In 1986 he was awarded a National Heritage Fellowship Award.
Mr. Longoria is survived by his wife, Rebecca; four sons, Valerio III, Alex, Juan and Flavio; two brothers, Steve and Rudy; and several grandchildren and great-grandchildren.
The career of guitarist Paddy Chambers, who has died of cancer aged 56, was the stuff of the 1960s rock era. A member of Paddy, Klaus and Gibson, his other bands included Faron's Flamingoes and the Big Three.
The pianist Russ Conway, who was one the most popular stars on television in the Sixties and Seventies, died yesterday after losing his battle with cancer. He was 75.
teacher, Kathy Kidd died early Saturday. She had been diagnosed with cancer
early in October. Kathy was a remarkable woman and a wonderful piano player who had a huge love for jazz, Latin and Arabic music. Kathy released three fine albums with her group Kongo Mambo, "Serious Fun",
Tango singing star of the 1930s who was forced to leave Argentina after a bitter quarrel with Eva Peron
LIBERTAD LAMARQUE, who has died aged 92, was Argentina's first female singing star of tango; but after falling foul of the future "Evita" Peron, she was frozen out of work and moved to Mexico, where she became a popular actress in films and soap operas.
>we're all getting flooded by excellent re-issues of music used in French and
>Italian movies from end sixties/early seventies. But where can we get the
>films themselves ?
Another good place for obscure films is Something Weird <http://www.somethingweird.com/>. They've been offering an ever expanding collection of German and Italian crime films for years. They can be a little pricey though, but they have a lot of odd titles, and often offer box cover art if you find that appealing like I do. Plus plenty of sexploitation too.
Luminous Films and Video Wurks <http://www.lfvw.com> has a ton of Italian films, as well as a lot of Euro Westerns. I've got a catalogue, and I go to the site and look around sometimes, but I've never actually ordered videos from them so I can't vouch for quality.
Keep in mind that if someone doesn't have a title, it's likely someone else does. There are also a number of video dealers that don't have websites. I buy a lot from dealers who you have to do snail mail with. In fact, for example, it took me about six months to track down someone who could dupe me a copy of the original Cat People.
And note that Anchor Bay Entertainment has been doing a lot of legit reissues of Italian exploitation films in the past few years -- though more in the horror/giallo area.
Mr. Unlucky
---
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Subject: Re: (exotica) Tracking down Italian films
Date: 19 Dec 2000 15:43:59 -0500
"F. Cobalt" wrote:
>
> Luminous Films and Video Wurks <http://www.lfvw.com> has a ton of Italian films, as well as a lot of Euro Westerns. I've got a catalogue, and I go to the site and look around sometimes, but I've never actually ordered videos from them so I can't vouch for quality.
I've ordered from Luminous - the quality is so-so (I assume he's using
European tapes, and transferring them to North American - PAL to VHS or
whatever), but he has a lot of titles that you'll never otherwise
find...He can take an awful long time to ship things, though.
cheryl
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I would tend to recommend Danger Girl over Jungle Girl. The thing with QDK is that they had this Betty Page fixation. They're interesting for the photos, which is how I gave my copy of Danger Girl away to a Page fan I know. Danger Girl is more crime jazz oriented. Jungle Girl is sort of like they still had a bunch of crime jazz tracks left over from Danger Girl, in more of a Latin style, so they threw them on it, and then filled up the rest of the CD with a bunch of other Latin tracks. Lots of mambos and such. Musicians like Nino Nardini, Johnny Hawksworth, John Cacavas, John Barry, and so on. They're interesting but for this label the Electronic Toys records are probably more worth the money.
Mr. Unlucky
---
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Nobody cared that El Santo was overweight. With his iron tummy he beat all those bad guys...
Has anyone seen the Santo Fotonovelas? Those are even more exotic than the films. They were made in MΘxico and distributed all over Latin America.
Well... I'm not sure all over... but they arrived here in Colombia. The backdrops of the stories were drawn so the characters were cut from photographs... they are really surreal because most of the time two characters that are supposed to be talking are seen from different perspectives.
And let's not get into those story lines... since they had no limit on how many locations they could use or anything like that... man, they let those imaginations loose. Witches, kings, zombies, vampires, werewolves...
A friend suspects that the writing team had some peyote mixed in their morning coffee. And there were other fotonovelas put out by the same team... There was a cowboy called El Valiente... and it was just like Santo, only that he rode a horse and had a gun. In one of his adventures he discovers that a gang of women that rob banks is not a gang, but a guy that uses latex masks as a disguise. And this was 16 years before Face-Off proved scientifically that putting a different face and confusing everyone can be done!!!
For more about mexican wrestling fotonovelas you can see http://www.santostreet.com/Santostreet/comicpg.htm
Cheers,
Manuel
P.S. Happy New Year. Have a very Santo 2001.
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OK. Someone was asking about The Ventures and the quality of the sound?
I just picked up the 2-fer ôSurfingö and ôThe Colorful Venturesö and the quality seems to be OK. This may not be on the same label as the others. The only other Venture CD I have is ôThe ventures Play Telstar-The Loney Bull and others/Ventures In Spaceö And thatÆs OK too.
Question: I saw an expensive import of ôThe Colorful Venturesö. The record in mono and in stereo with a few bonus tracks. WhatÆs up with that? Glad I found mine in the used bin!
IÆve always wanted to get into surf music Picked up some Del-Fi surf CDÆs, Dick Dale and the Blue Hawaiians. I even did an all surf/exotica show last week on the first day of winter and played a lot of this stuff.
The Ventures are always talked about in these circles but I think I prefer some of these other groups on these comps. Surf Rider and Pipeline done by the Lively Ones seem to be a lot more exciting.
And The Blue Hawaiians are incredible. When they are hard or soft. Does not matter.
Domenic Ciccone
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(CNN) -- NASA's Cassini space probe is listening to an eerie melody as it approaches the giant planet Jupiter. ( Hear a .wav file at above URL)
The robot ship is picking up low-radio frequency patterns that, when converted to audible waves, suggest the faint strains of some alien folk tune.
But these signals aren't signs of extraterrestrial life. The waves happen as the solar wind, a thin gas of charged particles that streams from the sun, crashes into the powerful magnetic field enveloping Jupiter.
The energy of the resulting bow shock likely creates the electronic wave oscillations, according to NASA scientists.
Jupiter's boisterous bow shock resembles the sonic boom from supersonic jet airplanes as they break the sound barrier above Earth.
Cassini picked up the space "sounds" at a distance of 23 million km (14 million miles) from Jupiter on December 8.
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RING'S OF URANUS: Now one of our most popular Space Sound CDs. Like being inside 5,000 miles wide Tibetan Bowls and Bells. Extremely centering and relaxing.
lousmith@pipeline.com
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