What did Louie and Ella say about putting all your eggs in one basket? I should listen.
I've been digitizing records onto my computer. I like doing a bunch of records at the same time. Sometimes 3 or 4 all in the same wav file. That way I can run the utilities at the same time.
I had family over today and while we were playing scrabble and hanging out I digitized onto my computer the following 7 LPs:
Bobby Darin Sings Ray Charles
Pete Kelly's Blues
Xavier Cugat, Cugat Plays Continental Hits
Perez Prado, Pops and Prado
Xavier Cugat, Viva Cugat!
Sergio Mendes and Brazil '66, Crystal Illusions
The Diamonds Meet Pete Rugolo
This came out to a 234 minute wav file......that somehow got corrupted and I can not open. Something about a data tag missing or corrupted.
I was able to convert it to a listenable mp3 file. (whew) but for some reason converting it back too a wav file gives me the same error. "A Valid DATA tag could not be found in the specific file"
I put the file on a CD-RW. If any of you wizards who would want to listen to one of these LP's and give a shot at restoring it to a wav and then to a convertable mp3 let me know.
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Subject: (exotica) fwd: Kava Tea May Impair Drivers
Date: 02 Jan 2001 11:01:29 -0500
January 2, 2001
Kava Tea May Impair Drivers
By THE ASSOCIATED PRESS
HONOLULU (AP) -- There are no waiters or waitresses at Hale Noa, a quiet cafe northeast of Waikiki where an elixir known as awa is the only brew served.
Owner Keoni Verity makes patrons belly up to the bar for bowls of the earthy-tasting South Pacific drink. That way, he can see if they're still walking straight after their third, fourth or fifth refill.
``If they sit at a table and order many drinks without ever getting up, they sometimes don't realize how the awa is affecting them,'' Verity said.
The herbal root, also called kava outside Hawaii, is billed as a natural treatment for anxiety and insomnia. But some prosecutors think it may be too relaxing -- they're concerned about people driving after drinking it.
``I have no concern at all if people are sitting in a bar or a cafe and consuming kava to their hearts' content as long as they don't place other people at risk by getting behind the wheel of a car,'' said Jim Fox, the district attorney in California's San Mateo County.
There, Fox's office prosecuted a man accused of drinking 23 cups of kava tea before driving, then weaving onto a highway shoulder. In December, a judge threw out the DUI case, citing lack of evidence about the tea's effects.
A similar case against a kava tea drinker from San Bruno ended in a mistrial in October after the jury deadlocked.
Kava tea has long been used in South Pacific cultural and religious ceremonies. Known as a natural alternative to muscle relaxants and anti-anxiety medicine, it's lately been growing in popularity along with other herbal supplements. And in Hawaii, awa use is seen as part of a movement to revive native Hawaiian traditions.
Kava has varying degrees of potency, and the tea is the biggest concern. Kava tea is generally much more sedating than pills, Fox said. And Verity said a cup of kava tea at his bar is about four times more potent than a typical store-bought kava tea bag.
``Awa in general relaxes and soothes and creates a mild sense of euphoria and expansion, and you can kind of see that in the way people slow down a little bit both in their movement and their speech,'' Verity said. ``People just generally get more mellow.''
Kava does have a sedating effect, especially in the raw form, and can affect drivers in ways similar to liquor, said Keith Kamita, administrator of Hawaii's Narcotics Enforcement Division.
Hawaii law doesn't explicitly ban driving while under the influence of kava, Honolulu Deputy Prosecutor David Sandler said.
In most states, it is illegal to drive under the influence of any intoxicating substance, Sandler said. California is one of them; Hawaii is not.
``If you abuse kava, it's the same thing as abusing alcohol,'' he said. ``The difference is in Hawaii we can't prosecute it.''
Sandler said he didn't know of any specific cases of drivers getting into trouble after drinking kava. But he said it's hard to measure the kava problem because police don't test for the tea when pulling over drivers.
Verity said the problem can be solved with public education and sound policies at kava-serving establishments. He said he does not serve anyone under age 20 and asks customers if they plan to drive.
``One of the first things we do is caution against driving,'' he said.
Fox said he has endured a fair amount of ribbing for going after kava drinkers for DUI, but he believes the law is on his side.
``Unfortunately, it may require that somebody's actually killed before people become aware of the dangers of it, and that would be a tragedy,'' he said.
^------
On the Net:
Physicians' Desk Reference for Herbal Medicines: http://www.pdr.net/
Here in NYC there is a great station, WKCR, that plays a whole lot of jazz. They tend to focus on the swing and be-bop old masters, but there is still a good amount of Ornette Coleman, Thelonious Monk, and some of the more free, experimental stuff.
Phil Schaap, the guy in charge of the jazz programming, and the main DJ, seems to know everything about every jazz musician who ever lived, and he sometimes goes on and on, talking too much, but it's worth it, usually. It's the Columbia Univ.
station, so there is a lot of other great music music too. Country, blues, etc.
http://www.columbia.edu/cu/wkcr/indexb.html
Accross the river in Newark there's another all jazz station, WBGO. But it's usually a little too soft and smooth and has too many singers for my taste.
http://www.wbgo.org/
- bruce
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> If you want to call vocalists like (Canada's own) Diane Krall or
> (Canada's
> own and my former aerobics class pal) Holly Cole "jazz", I won't
> argue too
> vehemently. But when you do a list of "jazz" records and it's
> almost ALL
> vocalists, I get annoyed.
>
> With jazz you always have to be happy with small favours.
What is Holly Cole's lastest, Romantically Helpless, like? Similar to her earlier stuff? The one before that, Dark Dear Heart, scared me away. And I heard it is fashionable in Canada to hate her. True?
Dig the vocals.
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Subject: (exotica) [obit] James Carr, Isaac Guillory
Date: 10 Jan 2001 09:54:17 -0500
January 10, 2001
James Carr, Soul Singer Whose Life Reflected the Blues, Dies at 58
By JON PARELES
James Carr, a singer whose 1966 recording of "(At the) Dark End of the Street" was a masterpiece of Memphis soul, died on Sunday in Memphis. He was 58 and lived in Memphis.
The cause was cancer, said his friend and producer Quinton Claunch.
With a robust baritone that embraced both amber-toned purity and desperate growls, Mr. Carr could turn an unhappy love song into three minutes of heartsick drama. But a combination of bad breaks and psychiatric problems limited his career.
"He had a hard life," Mr. Claunch said. "He felt the blues, man, that's for sure."
Mr. Carr was born in Clarksdale, Miss., in 1942 and grew up in Memphis. The son of a minister, he began performing with gospel groups when he was 9.
He married when he was a teenager and had children, working as a day laborer while he sang in local gospel groups, including the Southern Wonders Juniors and the Harmony Echoes. He never learned to read or write.
In the early 1960's Mr. Carr started singing soul music. He was turned down by the fledgling Stax Records, which sent him to Mr. Claunch's label, Goldwax.
Mr. Carr made his first single, "The Word Is Out," in 1964, and in 1966 he made his two best-selling singles: "You've Got My Mind Messed Up" and "(At the) Dark End of the Street," both Top 10 rhythm- and-blues hits.
His was the first recording of "Dark End of the Street," written by Chips Moman and Dan Penn and later performed by Aretha Franklin, Linda Ronstadt and many other singers.
Mr. Carr made a triumphant 1966 appearance at the Apollo Theater in Harlem and toured the South and East.
He continued to record for Goldwax through the 1960's, putting out songs like "Pouring Water on a Drowning Man," "I'm a Fool for You," "Forgetting You" and "A Man Needs a Woman."
But Mr. Carr was a manic-depressive and could not sustain a career on the soul-music circuit. He grew moody and withdrawn. Mr. Claunch recalled him sitting at a recording session, not saying a word for hours, then singing one song.
In 1970 Mr. Carr recorded four songs for Atlantic Records; two were released as a single in 1971.
For the rest of his life, while he lived with his sister Rose, he made occasional efforts to tour or record. He released a single in 1977 and toured Japan in 1979.
In 1992 Mr. Carr played his first New York engagement in 25 years at Tramps. He was also in and out of psychiatric hospitals, sometimes every few weeks.
"His first priority was a marijuana cigarette, a drink or a woman," Mr. Claunch said. "That would take precedence over his music. But he loved to sing."
Mr. Carr made albums with Mr. Claunch in 1991 ("Take Me to the Limit" on Goldwax) and 1994 ("Soul Survivor" on Soul Trax). A compilation of 13 songs from those albums and 7 other songs is to be released on the Soul Trax label in the next few weeks, Mr. Claunch said.
"The Essential James Carr," a collection of his recordings from 1964 to 1969, was released in 1995 by Razor and Tie Records.
Mr. Carr is survived by three sisters, a brother and five children.
http://www.retroactive.com/jan97/carr.html
http://allmusic.com/cg/x.dll?p=amg&sql=B3845
====
http://allmusic.com/cg/x.dll?p=amg&sql=B18062
http://www.google.com/search?q=isaac+guillory
ISAAC GUILLORY, 52, FORMERLY OF CRYAN' SHAMES
By Rummana Hussain
Tribune Staff Writer
January 5, 2001
Isaac Guillory was a different kind of rock star.
As a member of Chicago's Cryan' Shames, he released two albums on a major record label and mingled with such pop culture royalty as Jimi Hendrix, Janis Joplin and Jefferson Airplane.
Yet, while he fit in as the quintessential hip musician, Mr. Guillory's quirky style, classical background and cerebral wit set him apart from his colleagues, friends said.
"He had this dashing, mysterious, continental thinker flare about him. You knew he was going to end up in some foreign country," said fellow band member Jim Pilster.
Mr. Guillory, 52, died Sunday, Dec. 31, of cancer at his home in Wallsend, England.
Mr. Guillory played guitar, bass and keyboards and wrote numerous songs on "A Scratch in the Sky" and "Synthesis," two of the three Cryan' Shames albums that were released by Columbia in the late 1960s and early 1970s.
During the band's heyday, Mr. Guillory penned such distinctive songs as "In the Cafe," which veered away from such typical pop fare as his group's hit "It Could be We're in Love."
"This whole song ["In the Cafe"] was done in French and it had mandolins and squeeze box," Pilster said, recalling his bandmate's originality.
Mr. Guillory moved to England in the late 1970s because he believed European audiences were more suited to his type of music, which was a hybrid of folk and classical.
He released six solo albums in Europe and continued touring and teaching guitar until his death.
The son of a U.S. Navy chief petty officer and a prominent Cuban flamenco guitarist, Mr. Guillory was exposed to music from his birth on the Guantanamo Naval base in Cuba. He began studying classical piano at the age of 6 at the Conservatory of Music in Havana and learned guitar from his mother, Victoria.
As he grew up and moved to Florida, Mr. Guillory began experimenting with the saxophone and cello.
Mr. Guillory moved to Evanston with his mother and sister in 1965. He studied guitar at the Chicago School of Music and taught at the Skokie Music Centre before taking courses at Wright College.
When in college, he joined the band The Ravelles. In 1966, he was invited to join the Cryan' Shames, who already had one hit album, "Sugar and Spice." In addition to his mother, Mr. Guillory is also survived by his wife, Victoria; four children, Jacob, Ellie, Sienna and Jace; and his sister, Claire.
Funeral services were held in England. Pilster said surviving Cryan' Shames members are planning a memorial for Mr. Guillory in the near future.
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Subject: Re: (exotica) New/Old Stuff on vinyl......
Date: 10 Jan 2001 07:14:02 -0800
<html><DIV>
<P><BR><BR></P></DIV>>John Barry's "Game Of Death" 1978 score to the Bruce Lee film!
<DIV></DIV>
<DIV> </DIV>
<DIV>Picked this one up today, its pretty good, not as good as Enter the Dragon, but not bad, some interesting things, a little bit on the stringy side, but all John Barry. One track with all Kung Fu fighting sounds </DIV>
<DIV> </DIV>
<DIV>UH!! HOOOOYAAAAH!! Whack WHaCK Whack!!</DIV>
<DIV> </DIV>
<DIV>not essential unless you are a big fan of Bruce Lee Soundtracks. On the Tam label out of Japan, got mine for $13, thats about the going price for it, there is another New/Old Bruce Lee OST on the Tam label, but Im not sure of the title, as I remember it had a Chinese composer.</DIV>
<DIV> </DIV>
<DIV>which Bruce Lee soundtrack did Peter Thomas score? Id love to have that one. Anyone Know??</DIV>
<DIV> </DIV>
<DIV>-jonny</DIV><br clear=all><hr>Get your FREE download of MSN Explorer at <a href="http://explorer.msn.com">http://explorer.msn.com</a><br></p></html>
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>Hi everyone! You've been a real help to me when I'm putting together
>segments for the segment I do on CBC here in Canada. The topic is "laughing"
>records this Sat.Next month the topic is "food" related songs and spoken
>word entrees.
>Any ideas?
not-so-exotic stuff but as for laughing my friend Luigi Restuccia has an electronic track called Smiling Death with his own weird laugh sampled through the latest part especially (http://www.mp3.com/restuccia).
As for food one of the best thing I can think of is "Don't take five" by the Jams aka the KLF (they mention stealing apples, oranges, mangos etc. and destroy Brubeck's "Take Five" at the same time). It should be somewhere in the 'net (look for the Justified ancients of mu mu or the Jams on Listen.com).
I can't think of anything else (maybe if you can consider as a food song an instrumental about italian drinks then "Aperitivo" on the Aperitivo compilation - http.//www.mp3.com/aperitivo - and sorry for the gratuitous plug would also fit).
p.s. sorry for disappearing from the list.
I'm sooooo busy... I'm also late with the Aperitivo and Flabby mp3's, anyway if you have a my.mp3.com account (if you don't have one yet why don't sign for one now??) they have just inserted Alessandroni's album in a promotion. You can download it for free (the entire disc!) until the 30th of january as a "net cd promotion".
talk to you soon - hope you all are having a happy new year :)
Nicola (Dj Batman)
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<P><BR>Ok just to add to the 70 course meal of food songs</P>
<P>Minestrone by Eggs (no really, DC band from the early 90's)</P>
<P>Junk Food Junkie by someone with tha last name Greene</P>
<P>Sukiyaki by???</P>
<P>On Top of Spaghetti...all Covered with Cheese....I lost my poor meatball, when somebody sneezed......</P>
<P> </P>
<P>buuuuurp!</P>
<P>-jonny</P></DIV><br clear=all><hr>Get your FREE download of MSN Explorer at <a href="http://explorer.msn.com">http://explorer.msn.com</a><br></p></html>
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Subject: Re: (exotica) New/Old Stuff on vinyl......
Date: 11 Jan 2001 06:11:05 -0800
<html><DIV></DIV>> "The Big Boss", Lee's first film (titled "Fists of Fury" in the U.S.). Doubt
<DIV></DIV>> if there's a soundtrack, although you never know....
<DIV> </DIV>
<DIV>This is available on vinyl from Tam as well. Havent heard it. TOo bad its not scored by Peter Thomas. I will have to check it out and see</DIV>
<DIV>thanks for the info Br Cleve!!</DIV>
<DIV> </DIV>
<DIV>-jonny</DIV><br clear=all><hr>Get your FREE download of MSN Explorer at <a href="http://explorer.msn.com">http://explorer.msn.com</a><br></p></html>
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Why can't my RealPlayer connect and play the audio from this web site??
After I pick "play album" or whatever, RealAudio comes up, says "connecting" and then simply stops.
====
Can you right-click on the link and "save as" the .ram file to your local drive and play it from there? That way (if this idea works) you won't have to worry about network congestion while listening to the file.
Lou
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Subject: (exotica) Re: you might want to keep an eye out for these records...
Date: 11 Jan 2001 13:20:42 -0800
>I haven't seen
>what a copies of rare Nurse with Wound or Whitehouse LPs go for on ebay but
>my guess is there are not enough collectors out there to get these
>prices. Now as for Elvis no rational explanation is possible...
>
>But as for this particular example, I'm with Moritz; This buyer is surely
>Japanese. I've always been suspicious that the reason I could never find a
>lot of those records that were on my want list is that they are were bought
>up by obsessive Japanese collectors, notorious for paying whatever it takes
>to have whatever it is they need... And this was BEFORE ebay!!!
>
>Brian
Actually a lot of Nurse With Wound goes for big bucks on Ebay. I think some of that has to do with Stapleton messing around with tracks when he's reissued them in the past. To my knowledge the only way you can get the original versions of Brained by Falling Masonry songs or the Gyllenskold songs is on the original 12"s, for example. Plus a lot of the original records had artwork inserts, and they're kind of just nice to have in a larger format. Whitehouse I don't know. But I think ever since NWW did songs with Stereolab, and Stereolab got big, a lot more people became interested.
I agree with you about absurd prices people pay for vinyl on Ebay. I wish I could find a copy of the Hustler or Modesty Blaise (Fontana label) soundtracks for less than $75. I'd even settle for CDRs (hint hint...anybody?) I just can't justify spending that much on a record. I think the most I've ever spent on a record on Ebay was around $40, for the soundtrack to a Japanese film called House, but I knew I was going to burn copies for friends if I got it, and honestly, when I found it, I didn't even know it existed. Maybe if that collector snagged that soundtrack for like $535 or whatever, and he put out bootlegs of it for sale, he might possibly recoup some of the money. But somehow I suspect he's just going to file it away in some vault and spend the rest of his life just smugly looking at it every day.
Unlucky
---
Mr. Unlucky presents Shoot To Kill, a weekly set of jazz, soundtrack music, and Now Sound, on Supersphere.com, Thursdays 12-2 p.m. (CST).
http://www.supersphere.com
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ANAHEIM, Calif. (AP) -- Shock-haired guitarist Bryan Gregory, an original member of The Cramps, whose trashy rock 'n' roll first gained notoriety during the late 1970s punk music heyday, died Wednesday. He was 46.
Gregory, a native of Detroit, had recently suffered a heart attack and had been ill for several weeks, said his former wife, Robyn Hunt.
The Cramps made their 1976 debut at New York's legendary punk club CBGB. The Cramps released two albums which feature Gregory on second guitar: the Alex Chilton-produced ``Gravest Hits'' in 1979 and ``Songs the Lord Taught Us'' in 1980.
After Gregory's departure from the band in 1980, The Cramps founding duo -- singer Lux Interior (Erick Purkhiser) and guitarist Poison Ivy Rorschach (Kirsty Wallace) continued the band with various members.
Gregory then performed with the band Beast until 1984, and with The Dials from 1992 to 1995. He had recently formed a new band named Shiver.
Gregory, who was known for his wild stage antics and his distinctive lock of bleached hair hanging over his eye, also appeared with other Cramps members as ``punk thugs'' in the 1978 film ``The Foreigner.''
That's so sad about Bonfa. Ironically I just spun some of his music on Thursday, and reflected on how I should listen to more of it.
Food songs: every song but three on Whipped Cream and Other Delights is about food or food related, unless you want to consider Love Potion No. 9 a food item.
Unlucky
---
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http://www.supersphere.com
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I saw on AMC while in Florida. There is this series they run on on AMC
called American Pop and I saw a clip with the credits "Nino Tempo & April
Stevens, Land of 1000 dances, Scopitones, 1966" I suspect it was from the
film "Winter a Go-Go" which was on the week before but I couldn't find any
reference to them or the film that confirmed it. Any experts out there?
No, it is actually from one of the many short films called Scopitones. A Scopitone was a sort of jukebox that showed films, as opposed to playing records. The few that I have seen are rather nice in their campy staging. AMC has shown a Gary Lewis and the Playboys clip, "The Night has a Thousand Eyes" by Bobby Vee and I believe one Nacny Sinatra clip. At the Broadcasting Museum, I saw an unidentified band playing "The Chunga Twist".
I believe that Scopitones were based in France, so many of the clips are of French stars. I would LOVE to find a collection of these on video. I would enjoy seeing Jacques Dutronc in action.
Things go better with Scopitone,
Brian Phillips
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LOS ANGELES (AP) -- Jack McVea, a tenor saxophonist who wrote the 1947 novelty hit ``Open the Door, Richard,'' died Dec. 27 of cancer. He was 86.
McVea learned to play the saxophone in high school. After finishing school, he worked at Los Angeles' Club Alabama, a jazz hotspot in the 1940s.
McVea played baritone saxophone with the Lionel Hampton band in 1940, and led a band that played at the inaugural Jazz at the Philharmonic concert in Los Angeles in 1944.
``Open the Door, Richard'' brought McVea international attention in 1947 and ensured work for his band for several years.
From the 1960s to 1992 he worked regularly at Disneyland, playing clarinet for the ``Royal Street Bachelors'' in the park's New Orleans Square.
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Unless I'm mistaken, there are several Pascal Comelade fans here on the list. I copied the following review from Other Music's latest e-newsletter. Is anyone familiar with this release? Is this disc worth getting?
lousmith@pipeline.com
PASCALS "s/t" (Disques du Soleil, France) CD $16.99
Brother Theodore is alive but not well and is no longer performing.
A while back there was a post with contact info to send him a card while he was recovering from an illness or injury. I'll attempt to search the archives for that post. If I find it I'll forward to you.
Cheers,
Lou Smith
lousmith@pipeline.com
michael@allmusicservices.com wrote:
>
Long ago ('97)--someone here sad that Brother Theodore was alive & well & ninety-something
& still performing weekly (Sat. night) somewhere in NYC. Don't know if this is still true but I'd
love to contact him if so. However, they didn't say WHERE he performs. Anyone know? With a
few leads, I think I can find him--thanks. Please email me privately too, if you could, as I often
get swamped & waaaay behind in my emails. Many thanks!
Michael Mascioli, All Music Services
michael@allmusicservices.com
44 Prosper St., #3
San Francisco, CA 94114-1633
Ph: (415) 864-8222
Fax: (415) 864-7222
All Music is primarily a mail order service, not a storefront.
If you are in San Francisco and want to stop by, PLEASE PHONE AHEAD!
************************
"I think we'd better get started, Schatze. Some of the kids are beginning
to foam over."
-Loco Dempsey
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was founded in 1995 by Rocket Matsu, a big fan of Pascal Comelade, when
they played a midnight set in Tokyo. The band, that night, had 7 members
and played only Pascal Comelade. Now with 15, they do their own
compositions as well as Comelade and others.
And as soon as this CD shows up,it will be included in a Space Bop
special on Pascal Comelade, for anyone out there who isn't familiar with
his unique brand of music - probably to air next week or the week after.
cheryl
nytab@pipeline.com wrote:
>
> Unless I'm mistaken, there are several Pascal Comelade fans here on the list. I copied the following review from Other Music's latest e-newsletter. Is anyone familiar with this release? Is this disc worth getting?
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Subject: (exotica) [obits[ Emma Kelly, Norris Turney, Auberon Waugh, Michael Cuccione
Date: 18 Jan 2001 10:09:56 -0500
Emma Kelly
SAVANNAH, Ga. (AP) -- Pianist and singer Emma Kelly, the ``Lady of 6,000 Songs'' made famous by the book ``Midnight in the Garden of Good and Evil,'' died Wednesday from a liver ailment. She was 82.
Kelly's nightclub act, in which she tapped her vast repertoire of American popular standards five nights a week until she became ill a month ago, was a must-see for Savannah tourists itching to meet a real-life character from author John Berendt's Southern Gothic best seller.
Though the book helped her book performances from New York to Switzerland, Kelly continued to crisscross south Georgia to play church socials and high school graduations, Kiwanis luncheons and wedding receptions.
Berendt devoted an entire chapter to Kelly in the 1994 book, describing her as a teetotaling Baptist who would play smoky cocktail lounges Saturday nights and Sunday school classes the next morning.
Kelly performed at her own nightclub, Emma's, in Savannah, for five years in the late 1980s. She then bounced between lounges near the downtown riverfront. She also independently recorded three albums, the last of which will be released posthumously, her son said.
Norris Turney
DAYTON, Ohio (AP) -- Jazz musician, composer and conductor Norris Turney, who played alto sax and flute with the Duke Ellington Orchestra and led the Norris Turney Quartet, died Wednesday of kidney failure. He was 79.
Turney recorded with a number of bands over the years, and toured with Billy Eckstine, Ray Charles and others. He was an original member of the Lincoln Center Jazz Orchestra directed by Wynton Marsalis.
Turney's lone CD as a band leader, ``Big, Sweet 'N Blue,'' was warmly received by jazz critics.
Auberon Waugh
LONDON (AP) -- Auberon Waugh, a writer and satirist who posed as a friend to the smoker, the drinking driver and the rhyming poet, died Tuesday. He was 61.
Waugh, who had a history of heart ailments, died in his sleep, his wife, Lady Teresa Waugh, said Wednesday.
Waugh, the second of seven children of novelist Evelyn Waugh, was a longtime contributor to Private Eye magazine, founded the Literary Review and had been a columnist for The Daily Telegraph.
At the Literary Review, he championed conventional, rhyming poetry and established the annual Bad Sex Award, highlighting what were regarded as particularly egregious examples of literary sex scenes.
Waugh published the first of four novels, ``The Foxglove Saga,'' in 1960, and critics tended to compare it unfavorably with his father's work.
He became better known as a journalist, including his stint writing a diary for the satirical Private Eye.
Michael Cuccione
NEW YORK (AP) -- Michael Cuccione, the youngest member of the MTV mock boy band 2gether, died Saturday from complications from Hodgkin's disease. He was 16.
The teen played Jason ``Q.T.'' McKnight on the MTV show ''2gether,'' which poked fun at the boy-band craze. His character had a fictional illness, ``biliary thrombosis,'' but Cuccione actually suffered from Hodgkin's disease as a child and underwent five months of chemotherapy.
Cuccione's uncle said the cancer had not returned in five years, but past treatments had impaired his breathing. A problem with his diaphragm developed and he was forced to tape episodes of ''2gether'' while carrying a portable oxygen machine.
The singer-actor set up a cancer research foundation, co-wrote a book with his grandmother and appeared on ``Baywatch'' as a cancer victim.
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Imagine standing in front of the theremin, in an invisible sphere of its electro-magnetic field. As your right hand moves further from the loop antenna, the sound gets louder. As your left hand gets closer to the left antenna, the pitch gets higher - if the rest of your body happens to move, it will also effect the pitch. By waving your left hand slowly towards and away from the antenna, you can make the theremin sound like a police car siren. Any part of your body can effect it, as well as surrounding bodies, objects, and quite possibly, invisible entities!
Not exactly clear? - try this nice page at:
http://www.137.com/theremins/
You can get the idea by using this mouse-theremin called "MouSing":
http://www.sagebrush.com/mousing.htm
lousmith@pipeline.com
colleen7@ireland.com wrote:
>
Ok, what IS a theremin?
colleenintexas
Colleen
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Imagine standing in front of the theremin, in an invisible sphere of its electro-magnetic field. As your right hand moves further from the loop antenna, the sound gets louder. As your left hand gets closer to the left antenna, the pitch gets higher - if the rest of your body happens to move, it will also effect the pitch. By waving your left hand slowly towards and away from the antenna, you can make the theremin sound like a police car siren. Any part of your body can effect it, as well as surrounding bodies, objects, and quite possibly, invisible entities!
Not exactly clear? - try this nice page at:
http://www.137.com/theremins/
You can get the idea by using this mouse-theremin called "MouSing":
http://www.sagebrush.com/mousing.htm
lousmith@pipeline.com
colleen7@ireland.com wrote:
>
Ok, what IS a theremin?
colleenintexas
Colleen
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I play the theremin, it is the most beautiful of every instrument in the world and totally unique - you should check out the video "theremin - a space odyssey" which is a complete history of the instrument and it's inventor Leon Termin (who was nearly murdered by the KGB!!) - it's currently going through a huge revival - the greatest player is Clara rockmore (deceased) but you can hear the theremin played to beautiful effect in The Flaming Lips, Cornelius or Pram. Anyone want to know any more, you can mail me.
Subject: Re: Re: (exotica) Jazz: Mom's Doing It Too
Date: 19 Jan 2001 19:06:48 -0500
OK, Alan, now play the game of which Talking Head you would have liked to see spinning the history of Jazz on this show. I think we both wish your pal "Howie" (or whatever you called H.P. in those old posts) had been invited along. But then again, history like this must be presented in a polite non-anarchic fashion. I also would have liked to hear Don Byron on Ellington (or others).
Hey, and how come they didn't mention Western Swing (as if I don't know the answer)?
lousmith@pipeline.com
alan zweig <azed@pathcom.com> wrote:
I'm allowing myself another comment because I'm going to criticize another
aspect of the show.
It's boring.
<<Satchmo snip>> he got this new manager and that white manager (with a
noticeably Jewish name) was a tough guy who, according to Gary Giddins, had
salamis hanging from the ceiling in his office.
Who gives a rat's ass???!!!!
If a detail speaks to how the music was developed, okay. But the show is
filled with useless biographical data that might be interesting in a
documentary about that individual's life but just grinds this story to a halt.
You could introduce another musician to the story in the time you're taking
to talk about some tough Jew with salamis on the ceiling.
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Subject: (exotica) Ken Burns Jazz saga displeasure continues
Date: 19 Jan 2001 21:19:47 -0800
I read a good piece on this series in the New York Observer. Go to the site
http://www.newyorkobserver.com/
and just do a search for Ken Burns or what have you, you'll find it. I already knew that Marsalis had a very conservative, uptight attitude about jazz before the series, so I knew I didn't want to waste my time watching it, only to get irritated. His notions that innovation is bad and that early jazz never gets old, that solos are boring, and his obsessive focus on old jazz with no respect for anything during and after the 70s (and maybe even the 60s), have made him seem like a tired, aged, useless, white tenured college professor who will stop at nothing to maintain a boring, static status quo to the death. It would seem, from the endless talk and dismay about the incredible deficiencies of this series, that Burns did indeed give in to Marsalis' so-called "expertise". This in turn has resulted in Marsalis' continued attempt to rewrite the true history of jazz to suit his own needs. Seems utterly political doesn't it? Still, to downplay an artist like Sun Ra, who has such a wealth of recorded material it's barely accounted for, is astonishing. To denigrate free jazz is to sort of kick jazz lovers in the head. I have friends who are free jazz musicians who are fanatical about understanding and putting the history of jazz into as much context as they can. And the more I continue to learn about every corner of experiments in jazz, results in my abilities to enjoy all kinds of jazz even more.
Now that I'm done ranting, does anyone who's watched know if the show gave any attention to Latin jazz at all? Somehow I suspect that would have been given no more attention than fusion or acid jazz.
Unlucky
---
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>To me the supreme figure in jazz history is John >Coltrane. No one else
>even comes close.
>I'm sure he'll be in there but obviously he's not >going to get much time.
>In my pantheon, there's a few figures tied for second >place. One of them is
>Eric Dolphy. I've heard he doesn't get mentioned at >all.
>
>Everywhere I go, I see those Ken Burns Jazz CD's. >For a lot of people, his
>version is now the official version.
>It's shameful.
>
>AZ
Well Alan, after trying to tell me once that crime jazz isn't jazz, we do agree on a number of things in the end here. Coltrane -- what would I do without my Coltrane? I can't imagine. I do however think that Miles is crucial in a few developments in jazz history, namely in terms of improvising, but he's not my favorite. I can see his value and people should understand it regardless. My friends and I have a joke about "Bitches Brew". We like to call it "My First Miles", and imagine a redesign of the art that makes it look like a kid's record, because it seems that lots of people get into it in college, like if they hear no other jazz, they hear that record and own copies of it.
But my larger concern about the series is leaving out valueable people and trends in history because it might be more convenient to do so. I anticipate it being easier to leave out people like Albert Ayler, or somebody like Jack McDuff because they just might not fit so well into a linear narrative of history that is anything but linear. And that means that for all the obsessive focus on one person it leaves out a number of others. True, how could the series cover everyone? No art history book can cover every artist, and so on. I just think that the problem comes in with the tone and the focus, as in, if you want to do a series to merely introduce people to jazz who have no knowledge about jazz, you should just be very general and basic. If you want to thoroughly map out the whole wide history of jazz, you have to be very very attentive to details, and I don't think this is doing that either. So what is it doing? Merely mapping out Marsalis' personal vision at the expense of truth? Or merely creating great opportunities for merchandising? Somehow neither of those lend much room to someone like Alice Coltrane, or John Zorn, and the list goes on, while half the world over can be reminded for the nth time about Miles' "My Funny Valentine" or Ellington's "Take the 'A' Train", in Starbucks or wherever else.
I like to try and be optimistic and hope that this will be a good starting point and that people will take time to explore on their own, that they'll pick up Ornette's "Free Jazz", that they'll make it to Coltrane's "Interstellar Space", that they'll discover the Art Ensemble, or Latin jazz musicians, or better yet, modern free jazz artists, where the spirit of jazz is possibly most alive at this time. But I worry that people aren't curious enough to really explore. And it would be tragic if people just got stuck in the gospel of Marsalis or Burns.
Unlucky
---
Mr. Unlucky presents Shoot To Kill, a weekly set of jazz, soundtrack music, Now Sound, and the occasional foray into international territory on Supersphere.com, Thursdays 1-2 p.m. (CST). Many past sets are archived for future listening pleasure.
http://www.supersphere.com
Get your small business started at Lycos Small Business at http://www.lycos.com/business/mail.html
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> Somehow neither of those lend much room to someone like Alice Coltrane
Speaking of the fabulous Ms. Coltrane, does anybody here remember the name of a local quasi-religious television show that she did in LA back in the 70s?
I recall some bluescreen shots of her floating in front of a bizarre psychedelic backdrop, spouting spiritual philosophy, while a band blew freeform behind her.
Someone please tell me that I didn't hallucinate it.
--
Matt Marchese
"I've been havin' this nightmare.......a real swinger of a
nightmare, too." -Frank Sinatra (The Manchurian Candidate)
Norris Turney, Saxophonist Who Recorded With Ellington, Dies at 79
By BEN RATLIFF
Norris Turney, a jazz saxophonist, clarinetist and flutist who played in the last incarnation of Duke Ellington's orchestra, died on Wednesday in Kettering, Ohio. He was 79.
The cause was kidney failure, said his agent, Russ Dantzler.
As heard on some of Ellington's last recorded works ù among them the "Afro-Eurasian Eclipse," "The Queen's Suite" and "The New Orleans Suite" ù Mr. Turney was clearly influenced by the alto saxophonist Johnny Hodges, whose place he took in the orchestra. His sound was smooth, lyrical, seamless and fluent in the blues. He was also the orchestra's first flute soloist.
Mr. Turney was born in Wilmington, Ohio, and as a teenager was encouraged to play by his parents, who bought him a saxophone at 13 and an alto saxophone a year later. He played on a Cincinnati riverboat while in high school and worked around Cincinnati into his early 20's, when he joined a Midwestern band led by Bill Tye, and later, the more famous Jeter-Pillars Band of St. Louis.
His work in the Midwest, sometimes leading his own groups, continued until 1943, when he played in Tiny Bradshaw's jump-blues band. When the band traveled to the East Coast in 1944, he joined Billy Eckstine's pioneering large-ensemble bebop band.
After returning to Ohio in 1945, Mr. Turney worked with Ace Carter, Elmer Snowden, Charlie Gaines and Bullmoose Jackson, among other bandleaders.
It wasn't until 1960 that he settled in New York, with his wife, Marilee, who survives him. He is also survived by a son, Norris Turney Jr.; two daughters, Olivia and Patricia; and a sister, Mildred.
Mr. Turney had a stint with Ray Charles in 1967, and then in 1969, he landed a job with Ellington and stayed until 1973.
Mr. Turney went on to be a busy freelancer, playing with Broadway orchestra bands, with John Lewis's short-lived American Jazz Orchestra in the late 80's and with the Lincoln Center Jazz Orchestra, which he joined at its inception.
He toured with the Ellington alumni group, the Duke's Men, and made one record under his own name ù his first ù for Mapleshade in 1996, "Big Sweet 'n' Blue," a strong demonstration of full-bodied blues and ballad playing.
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Norris Turney, Saxophonist Who Recorded With Ellington, Dies at 79
By BEN RATLIFF
Norris Turney, a jazz saxophonist, clarinetist and flutist who played in the last incarnation of Duke Ellington's orchestra, died on Wednesday in Kettering, Ohio. He was 79.
The cause was kidney failure, said his agent, Russ Dantzler.
As heard on some of Ellington's last recorded works ù among them the "Afro-Eurasian Eclipse," "The Queen's Suite" and "The New Orleans Suite" ù Mr. Turney was clearly influenced by the alto saxophonist Johnny Hodges, whose place he took in the orchestra. His sound was smooth, lyrical, seamless and fluent in the blues. He was also the orchestra's first flute soloist.
Mr. Turney was born in Wilmington, Ohio, and as a teenager was encouraged to play by his parents, who bought him a saxophone at 13 and an alto saxophone a year later. He played on a Cincinnati riverboat while in high school and worked around Cincinnati into his early 20's, when he joined a Midwestern band led by Bill Tye, and later, the more famous Jeter-Pillars Band of St. Louis.
His work in the Midwest, sometimes leading his own groups, continued until 1943, when he played in Tiny Bradshaw's jump-blues band. When the band traveled to the East Coast in 1944, he joined Billy Eckstine's pioneering large-ensemble bebop band.
After returning to Ohio in 1945, Mr. Turney worked with Ace Carter, Elmer Snowden, Charlie Gaines and Bullmoose Jackson, among other bandleaders.
It wasn't until 1960 that he settled in New York, with his wife, Marilee, who survives him. He is also survived by a son, Norris Turney Jr.; two daughters, Olivia and Patricia; and a sister, Mildred.
Mr. Turney had a stint with Ray Charles in 1967, and then in 1969, he landed a job with Ellington and stayed until 1973.
Mr. Turney went on to be a busy freelancer, playing with Broadway orchestra bands, with John Lewis's short-lived American Jazz Orchestra in the late 80's and with the Lincoln Center Jazz Orchestra, which he joined at its inception.
He toured with the Ellington alumni group, the Duke's Men, and made one record under his own name ù his first ù for Mapleshade in 1996, "Big Sweet 'n' Blue," a strong demonstration of full-bodied blues and ballad playing.
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That's a great set. I like how the perky stuff is on one disk and the mellow stuff is on the other. How convenient! A quick synopsis of Bert's career is at http://www.spaceagepop.com/kaempfer.htm
He was releasing albums up until 1980, the year he died. I found a copy of one of his early 70's albums, 6+6. Nothing all that interesting except his version of the theme from Shaft, which oddly, was pretty much the same as the original version.
- bruce
> Funny we should mention Bert Kaemfpert. I've been recently enjoying The Happy
> Wonderland of Bert Kaemfert, the two record columbia record club "exclusive"
> (exclusive to THRIFT SHOPPERS!) . . .
>
> and I noticed yesterday while re-watching The Beatles Anthology that Paul
> McCartney mentions that it was Bert, while the Beatles were playing in
> Germany, who first scheduled a recording of their music.
>
> Talk about a footnote to the history of easy listening!
>
> paul dean
>
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Subject: (exotica) fwd: Court Refuses Michael Bolton Case
Date: 22 Jan 2001 15:35:38 -0500
January 22, 2001
Court Refuses Michael Bolton Case
By THE ASSOCIATED PRESS
Filed at 11:18 a.m. ET
WASHINGTON (AP) -- The Supreme Court refused Monday to get involved in pop singer Michael Bolton's long battle to avoid a $5.4 million judgment for allegedly stealing a 1960s Isley Brothers tune.
The court, without comment, let stand a federal appeals court ruling that Bolton must pay. His lawyers had asked the justices to consider whether a California court erred in sending the case to a jury in 1994.
Bolton denied lifting his 1991 hit ``Love is a Wonderful Thing'' from a 1966 Isley Brothers release of the same name, and testified at trial that he had never heard of the earlier song.
But the 1994 trial jury found that Bolton and a collaborator, Andrew Goldmark, had opportunity to hear the earlier song when it came out, and that the two songs shared five distinctive elements. Among the similarities the jury found were the title ``hook,'' or musical phrase, and a ``fade-out'' ending that repeats one phrase at ever-softer volume.
The jury awarded Ronald and Marvin Isley 66 percent of all past and future royalties from the single and 28 percent of past and future royalties from Bolton's ``Time, Love and Tenderness'' album, which contained the song. Bolton's lawyer said it was the largest music infringement award involving a single song.
Bolton's lawyer asked the high court to look at the threshold for taking a copyright case like this one to a jury. Bolton claimed that the 9th U.S. Circuit Court of Appeals in California relied on an out-of-date case to approve a standard that was too lenient.
The Isleys never established a reasonable likelihood that two white Connecticut teen-agers would have heard an obscure 45 rpm single by a black rhythm and blues group, Bolton claimed. The 1966 release never cracked the Top 100.
But lawyers for the Isleys claimed that Bolton, then 13, and Goldmark, then 15, were avid fans of black music, and noted that Bolton played in a band that covered black R&B tunes of the day.
Bolton went on to make a career of covering other black artists and writing and recording his own tunes.
The Recording Industry Association of America also urged the high court to review the case, citing the implications for the $15 billion domestic music market.
The case is Bolton v. Three Boys Music, 00-689.
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There's one other 101 strings album I've found that is maybe slightly better than some of their usual product. Called "Sugar and Spice", It has maybe two or three tunes that are a bit more happy and energetic than a lot of their more standard
stuff. The cover also has a pretty tame Good Girl/Bad Girl theme to it.
- bruce
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<<I'm not even going to get into the armchair psychoanalysis of Miles
Davis' "personal demons" by... the annoying woman whose name escapes me at
the moment>>
I'm probably aiming my foot right at my mouth for saying this since I missed said episode....but I would have LOVED to have Miles' reaction to said "psychoanalysis" had he been alive!!! (though I get the feeling that, if was still alive, that segment would have somehow made it onto the cutting room floor....)
<<Annoying as it was to see all this time wasted, what
R-E-A-L-L-Y got me was Wynton's smug intimations that the solitude of the
junkie lifestyle was responsible for the lack of practice & discipline that
underscored Parker's long flights of improvisation, i.e. "no need to
practice boys, we'll just wing it.>>
If that's so, then I gotta wonder what kind of drugs Sun Ra was on and where I can get some...
DavidH
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Considering how much of a moral stance the documentary took about drug addiction, it might have been nice to point to the whole Chet Baker documentary that dealt with his addiction.
I also liked Marsalis' claim that "every" jazz musician wants to play like Charlie Parker. Granted I'm not a jazz musician, but I somehow suspect that generalization doesn't hold water.
Maybe one day Burns can do his Jazz Part 2 series about modern jazz. Hire a different, less up tight consultant, and dea with jazz from the 70s and up, all the stuff that Marsalis hates so much and doesn't consider valid.
Unlucky
---
Mr. Unlucky presents Shoot To Kill, a weekly set of jazz, soundtrack music, Now Sound, and the occasional foray into international territory on Supersphere.com, Thursdays 1-2 p.m. (CST). Many past sets are archived for future listening pleasure.
http://www.supersphere.com
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MINNEAPOLIS (AP) - Jack McDuff, a jazz organist who worked with some of the most famous names in jazz music during a career that began in the 1950s, died Tuesday of an apparent heart attack. He was 74.
Collaborators during his career included guitarists George Benson and Mark Whitfield and horn player Red Holloway.
Born Sept. 17, 1926, in Champaign, Ill., McDuff fronted Heatin' System, a popular band of the mid-1960s that featured Benson, Holloway and drummer Joe Dukes.
He traveled last year with a recreation of Heatin' System that featured horn players Andrew Beals and Jerry Weldon, guitarist John Hart and drummer Rudy Petschauer.
McDuff recorded with several well-known labels, including Prestige in 1960. His latest work, yet unreleased, was recorded under his current label, Concord Jazz, said John McCauley, McDuff's Minneapolis-based agent.
>he was among the principle script writers on Yellow Submarine,
???? I don't find him credited anywhere or even any interview or other mentions in connection with this film. Are you thinking of Erich Segal of "Love Story" fame? (Who oddly enough was also a respected classical scholar and a pal of Al Gore and Tommy Lee Jones when those two were roommates.)
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Sandy Baron, Veteran Comic Who Antagonized Morty Seinfeld, Dies at 64
By LAWRENCE VAN GELDER
Sandy Baron, the stand-up comic, actor and songwriter perhaps best known in recent years for his recurring role on "Seinfeld" as Jack Klompus, the nemesis of Seinfeld's father, Morty, died on Jan. 21 at a nursing home in Los Angeles. Mr. Baron, who lived in the Van Nuys section of the city until entering the home recently, was 64.
He had been suffering for many years from emphysema, said a friend, Treva Silverman of Los Angeles.
Mr. Baron's career took him from nightspots like the Copacabana and Upstairs at the Downstairs in New York to the Broadway stage in "Tchin-Tchin" with Anthony Quinn, "One Flew Over the Cuckoo's Next" with Kirk Douglas, "Arturo Ui" with Christopher Plummer, "Generation" with Henry Fonda and the title role of "Lenny," the Lenny Bruce story.
On the the screen Mr. Baron appeared in films like "Birdy," "The Out of Towners," "The Grifters" and Woody Allen's "Broadway Danny Rose," in which he played one of the narrators gathered around a table in the Carnegie Delicatessen.
On television Mr. Baron starred in "Walter and Emily" with Brian Keith and Cloris Leachman, and "Hey, Landlord." He was a regular on "That Was the Week That Was" and the Mike Douglas and Merv Griffin shows. He also played roles on shows like "The Defender," "Naked City," "Law and Order," "Crime Story" and "Starsky and Hutch."
As a songwriter, he co-wrote "A Natural Man," which was a hit for Lou Rawls.
He wrote and performed on popular comedy albums like "Out of the Mouths of Babes," "Hip Fairy Tales," "Sick Along With Us!" and "Presidential Press Conference." And he opened concerts and appearances for performers like the Fifth Dimension, Della Reese, Vic Damone, Neil Diamond, Bobby Vinton and Sergio Mendes.
Mr. Baron, whose given name was Sanford, was the son of Max Beresofsky, a house painter, and his wife, Helen, a waitress. Mr. Baron graduated from Thomas Jefferson High School in Brooklyn.
In a 1966 interview as he was preparing for the premiere of NBC's "Hey, Landlord," in which he played a bright, fast-talking college graduate who wants to become a comedian, he recalled his youth in Brownsville.
He said that at 17 he was the leader of a street gang and, upon the death of his father, the head of his household. But despite the temptation to run with the gang, he studied hard and won a scholarship to Brooklyn College.
After graduation in 1958, he became a teacher, but he said he and the school system were soon at odds, and he was eased out of the profession when his schedule was cut.
"I then and there decided to become a comedian," he said. "I immediately changed my name, my clothes and my nose."
He served an apprenticeship in little clubs and the Catskills, where he made $250 a week, and later sharpened his skills with award-winning improvisational troupes like the Premise and Second City.
"Those were my commedia dell'arte days," he said, recalling them in 1964 when he was appearing on NBC's pioneering political satire, "That Was the Week That Was." Discussing comedy, he said, "A comedian should use his face, his body, his gestures, not just his mouth."
Mr. Baron is survived by his sister, Roz Asherman, of Brooklyn.
Once, recalling his first job as a stand-up comedian in a dive, Mr. Baron said he had finished his act, breathless and terror-stricken, when the owner, who appeared to be a mobster, walked up to him.
"Kid," the man said, "I hope you don't take this personal, but you stink."
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<P>My band, Seksu Roba is playing a couple shows.<BR>Please come to one or both!<BR>We can provide the following:<BR><BR>Theremin performer (textural AND musical)<BR>Dancing/Performing Sex Nurse<BR>Dancing Robot<BR>Futuristic Analog Porn Music<BR><BR>~~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>OHM Presents... Seksu Roba<BR>KNITTING FACTORY's ALTERKNIT LOUNGE<BR>7021 Hollywood Blvd. (it's in the same mall as the movie<BR>theaters)<BR>THIS Thursday, Feb. 1st<BR>11:00pm<BR>FREE<BR><BR>~~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>also.....<BR>Seksu Roba accompanies an all Mexican-American Electronica<BR>Nor-Tec lineup<BR>including: Satelite, Terrestre, Plankton Man, Nino Astronauta,<BR>Soma 323, DJ Pascal B<BR>KNITTING FACTORY MAIN STAGE<BR>7021 Hollywood Blvd.<BR>TUESDAY, FEBRUARY 20th<BR>all ages<BR>$10 at door<BR>$7 ADVANCE<BR>323.463.0204<BR><BR>I only have a small handful of complimentary passes. if you<BR>want one and are definitely going, please contact me IMMEDIATELY please. <BR>thanks.<BR>~~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR><BR>***and don't forget to buy the album available at Amazon, CDNow, etc.***<BR><BR><A href="http://216.32.180.250/cgi-bin/linkrd?_lang=EN&lah=1eebebedca1228d8d4aabe2f1c63c591&lat=980805702&hm___action=http%3a%2f%2fwww%2eseksuroba%2ecom" target=_blank>http://www.seksuroba.com</A><BR><A href="http://216.32.180.250/cgi-bin/linkrd?_lang=EN&lah=087eac6f396d180eb874f5ad0bc85bf1&lat=980805702&hm___action=http%3a%2f%2fwww%2erobotmonsterindustries%2ecom" target=_blank>http://www.robotmonsterindustries.com</A><BR><BR>"We are electrical creatures using a bio-chemical body to exist<BR>in a electro-chemical environment."<BR><BR> -From a paper "The Integratron" by George Van Tassel,<BR>founder of the Integratron.<BR><BR></P></DIV><br clear=all><hr>Get your FREE download of MSN Explorer at <a href="http://explorer.msn.com">http://explorer.msn.com</a><br></p></html>
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>true however, that Terry Jack's classic "Seasons in the Sun" was Rod's
>translations of Jacques Brel.
Terry Jacks is better served in earlier groups such as the Gypsy Trips
("Ain't It Hard?") and the Chessmen.
It has been so long since I posted anything, but I can't let this one go by without bringing up the B-side of Terry Jacks's 'Seasons in the Sun' single - a hilariously juvenile country style number called 'Put the bone in'. Check it out.
Jonny
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