David Heneker, Lyricist for Catchy Musical Comedies, Dies at 94
By MEL GUSSOW
David Heneker, who wrote the score for the musical "Half a Sixpence" and collaborated on the English adaptation of the book and lyrics for "Irma la Douce," died on Tuesday in a residential home in Wales. He was 94.
"Irma la Douce" and "Half a Sixpence" were major successes in London and New York, a rare double- header for a British songwriter in the 1950's and 60's. Each ran on Broadway for more than 500 performances.
Mr. Heneker and his collaborators Julian More and Monty Norman found ways to Anglicize the French musical "Irma la Douce" (by Marguerite Monnot and Alexandre Breffort) without losing the original Parisian atmosphere. Under the direction of Peter Brook, the London cast members (Elizabeth Seal, Clive Revill and Keith Michell) turned it into a Broadway hit in 1960. Three years later the show was filmed by Billy Wilder with a cast headed by Shirley MacLaine and Jack Lemmon.
In 1965 "Half a Sixpence" followed the same profitable path from London to Broadway. Based on H. G. Wells's novel "Kipps," the musical introduced Tommy Steele to American theatergoers. Mr. Steele played a draper's assistant who comes into a large inheritance. Strumming a banjo, he sang Mr. Heneker's "Money to Burn," among other sprightly songs. He also starred in the film version.
Although "Irma" and "Half a Sixpence" were Mr. Heneker's only Broadway musicals, he collaborated on many other shows in London, beginning in 1958 with Wolf Mankowitz's "Expresso Bongo," which starred Paul Scofield as a small-time music agent. "Expresso Bongo" became a film in 1960. His other shows included "Jorrocks," "Make Me an Offer," "Charlie Girl" and "The Biograph Girl." Jude Kelly recently directed a revival of "Half a Sixpence" in Leeds.
Mr. Heneker attended Wellington College and the Royal Military College, Sandhurst. From 1925 to 1948 he was an officer in the British army. Just before World War II, while recovering from a riding accident, he read Noδl Coward's "Bittersweet," and, he said, that inspired him to write songs.
After leaving the army, he sang and played the piano in London clubs. As his songs were published and recorded, he was soon swept into a successful musical career. He always preferred to consider himself a songwriter, rather than a composer, a word he considered pretentious.
He is survived by a son, Peter, of Cardigan, Wales; five grandchildren; and 14 great-grandchildren.
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Subject: (exotica) new legal MP3 stuff now online!
Date: 03 Feb 2001 10:58:11 +0100
hello hello
I'm always busy and tired to death
some of the long-time announced music files are appearing on mp3.com in these hours.
First of all, enjoy:
http://www.mp3.com/orientexpress
Edda dell'Orso singing Morricone's "Che senso ha" from "Orient Express" (streaming only)
http://www.mp3.com/piernicoladimuro
Two tracks from a 40-minutes Rai-Tv special about a Venetian exhibit dedicated to the ancient Etruscans, composed by Italy's latest sensation in soundtracks, Piernicola Di Muro.
these two pages still lack of any textual info and graphics, but they will be up soon; also, the Etruscans album will be uploaded completely and also put on sale as DAM CD.
I even got my hands on tracks by an Italian orchestra playing a tribute to Akira Ifukube, composer of GODZILLA THEME...!!
Expect more exciting info SOON!!!
later,
Nicola/Dj Batman
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Iannis Xenakis, Composer Who Built Music on Mathematics, Dies at 78
By PAUL GRIFFITHS
Iannis Xenakis, the Greek-French composer who often used highly sophisticated scientific and mathematical theories to arrive at music of primitive power, died yesterday at his home in Paris. He was 78.
He had been in poor health for several years and lapsed into a coma several days ago, said Charles Zacharie Bornstein, a conductor who has championed his music.
By training, Mr. Xenakis was an engineer and architect; his musical education came late. This enabled him largely to ignore conventional techniques of composition. He rejected the idea of intuitive or unreasoning randomness in composition, for example, and by constructing his works on laws and formulas of the physical sciences, he sought to control his music at every instant. He once said, "This is my definition of an artist, or of a man: to control."
At first he depended on the use of mathematical models of disorder. By using calculations derived from, say, the numbers of different-sized pebbles on a shore, Mr. Xenakis could determine the pitches of notes or their placements in time. In this way he could create music with chaotic inner detail but a decisive shape or impulse. Typical examples of such partly randomized effects in a Xenakis composition might include a bundle of nonaligned upward slides on orchestral strings.
Once computers became available to him in the early 1960's, Mr. Xenakis was able to work much faster. And however far removed he was from the tradition of Western classical music, he inevitably began to create a tradition of his own in composing so abundantly.
Iannis Xenakis (pronounced YAHN-nis zen-NAHK-ess) was born into a prosperous family of Greek origin on May 29, 1922, in the Romanian town of Braila. His mother died when he was 6, and he was sent to the Greek island of Spetsai to be educated at a British-style boarding school.
His musical studies began at the age of 12, and even then he intended to study both science and music. In 1938 he moved to Athens to prepare for admission to the Polytechnic School, where he enrolled in 1940 and graduated in 1947 as a civil engineer.
He lived in Athens during the Italian and German occupations of World War II. For much of this time he was a member of the Communist resistance, which was directed at first against the Germans and Italians and then, when they were defeated, against the British. In 1945 he was struck by a shell fragment from a British tank and lost an eye and part of his cheek, leaving the left side of his face deeply scarred.
"In Greece, the resistance lost, so I left in 1947," he once recalled. He moved to Paris ("In France, the resistance won"), where he found a job in architecture at Le Corbusier's studio. He was there from 1947 to 1959, and contributed to some of the studio's most important projects, including the pavilion for the Philips electronics company at the 1958 World's Fair in Brussels. He always maintained that the Philips Pavilion was entirely his own design, and certainly its simple but strikingly original geometry of curves and planes is worked out on principles very similar to those he had used in his first published composition, "Metastasis" for orchestra (1953-4).
"Metastasis" came at the end of a period in which he studied with some of the leading composers in Paris. But he was a mature student, and perhaps all he could learn at this stage was how to avoid banality.
His alternative was the extraordinary busy textures and clean shapes of "Metastasis." He showed this score to the conductor Hermann Scherchen, who became a fervent supporter. The first performance of "Metastasis," however, was led by Hans Rosbaud at the 1955 festival in Donaueschingen, Germany, one of the important meeting places of the European musical avant-garde.
"Metastasis," largely built on glissandi of rising volume that could recall an airplane rising during takeoff, caused a sensation. Many young composers were impressed by Mr. Xenakis's sense of music as pure sound, but other musicians, notably Pierre Boulez, detected a lack of craftsmanship. Mr. Boulez was eventually persuaded to commission a score from Mr. Xenakis for his Domaine Musical concerts in 1963. He was rewarded by one of Mr. Xenakis's strongest pieces, "Eonta" for brass quintet and piano. But the antipathy between the two remained.
Mr. Xenakis did not lack champions, however. Mr. Scherchen conducted the premiere of "Pithoprakta" for trombones, percussion and strings in 1957 and the premiere of "Achoripsis" for small orchestra the next year. A little later Gunther Schuller gave the composer his first American performance. George Balanchine stiched together two of his scores to create the ballet "Metastasis and Pithoprakta."
Like other of his works, "Metastasis" and "Pithoprakta" were regulated by Poisson's Law of Large Numbers, which implies that the more numerous the phenomena, the more they tend toward a determinate end ù as in flipping a coin. "I have tried to inject determinism into what we call chance," said Mr. Xenakis, who used the scientific word "stochastic" to give a name to this idea of probability in music.
As the 1950's drew to an end, Mr. Xenakis started working in the electronic music studio of French radio, producing "Concret PH" for the Philips Pavilion. In 1961 he visited Tokyo for the first time and met the pianist Yuji Takahashi, for whom he wrote "Herma," a work of cascading complexity for solo piano. In 1963 came his first trip to the United States, to teach at Tanglewood.
A Ford Foundation scholarship enabled him to spend 1964-65 in Berlin, and in 1966 he founded his own studio in Paris, the ╔quipe de MathΘmatique et Automatique Musicales.
After that he focused his activities on Paris, while returning to the Greek islands for summer holidays and traveling the world to lecture and attend performances.
His work with electronic music continued, notably in "Bohor" (1962) and in various projects combining electronic sound with laser projections. One of these was "Polytope de Cluny" (1972), devised for the Roman bathhouse in Paris. It was a good match. Rugged in construction, his music went well with ruins.
In other works, he combined his music with literary ruins ù texts from the Greek plays or other classical sources. One powerful example is "Ais" for amplified baritone, percussion and orchestra (1979), on lines from Homer and Sappho. Another piece in the same mode, "The Goddess Athena" (1992), for baritone and chamber ensemble, was performed late last month by the Met Chamber Ensemble at Weill Recital Hall. But Mr. Xenakis could also create a feeling of ancient drama, ceremony and intensity when using voices without words, as in "Nuits" for chorus (1967).
That same feeling often persisted in the instrumental works that form the bulk of Mr. Xenakis's output: solo pieces of extreme virtuosity, chamber music, compositions for the standard modern-music ensemble and works for symphony orchestra.
Percussionists enjoyed Mr. Xenakis's music for its vitality and drama, and the solo pieces "Psappha" (1975) and "Rebonds" (1988), as well as the sextet "Pleiades" (1978), became classics of the genre. His last work was a piece for percussion and ensemble, "Oùmega" (1997).
Mr. Xenakis became a French citizen and married a Frenchwoman, the writer Franτoise Xenakis, who had been decorated for saving the lives of resistance fighters. He is survived by his wife and by his daughter, MΓhki.
He wrote several books and essays on mathematics, architecture, town planning and music. These writings show how deeply he based his music on mathematics and logic.
He rejected criticism that he wrote "a species of desensitized music." Asked once if he composed without sentiment, he answered: "Yes, if you mean that kind of traditional sentimental effusion of sadness, gaiety or joy. I don't think that this is really admissible. In my music there is all the agony of my youth, of the resistance," as well as "the occasional mysterious, deathly sounds of those cold nights of December '44 in Athens."
"From this," he added, "was born my conception of the massing of sound events."
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Modern Jazz Architect J.J. Johnson Commits Suicide
Feb 5, 2001, 3:30 pm PT
J.J. Johnson
J.J. Johnson, the most influential trombonist in jazz history, died of a
self-inflicted gunshot wound at his home in Indianapolis on Sunday (Feb. 4).
Johnson, who was 77, had been suffering from prostate cancer and other
irreversible health problems.
February 6, 2001
J. J. Johnson, Jazz Trombonist, Dies at 77
By BEN RATLIFF
J. J. Johnson, the most influential trombonist in postwar jazz, died on Sunday at his home in Indianapolis. He was 77.
The Marion County Sheriff's Department reported the death as a suicide.
Mr. Johnson translated the fast, linear style of bebop to the trombone in the late 1940's. "He was the definitive trombonist of the bebop generation," said the saxophonist Jimmy Heath, who played with him in the early 1950's and remained a close friend. "He didn't use the trombone as it was usually played, with the slide being the important part; he could speak the language of bebop with such clarity and precision. And everybody wanted to play trombone like that afterward."
Mr. Johnson, born James Louis Johnson, started his music studies on the piano. He began listening to jazz in his early teenage years and switched to trombone in high school. In 1941, instead of going to college, he left Indianapolis to travel with the midwestern bands led by Snookum Russell and Clarence Love.
Most of his influences, he told the writer Ira Gitler in "The Masters of Bebop: A Listener's Guide" (Da Capo Press), were not trombonists but trumpeters and saxophonists like Lester Young, Roy Eldridge, Dizzy Gillespie and Charlie Parker. In transferring bebop to the trombone, he used a clean, dry tone and short notes. He was often wrongly assumed to be playing the valve trombone, which allows easier articulation than the slide trombone. He did acknowledge the influence of Fred Beckett, a trombonist who played with Harlan Leonard and Lionel Hampton in the 1930's and 40's. Leonard, Mr. Johnson once explained, "was the first trombonist I ever heard play in a manner other than the usual sliding, slurring, lip-trilling or gutbucket style."
Returning to Indianapolis for a time, he was hired by Benny Carter in 1942 and spent three years in Carter's big band. In 1945 he joined the Count Basie Orchestra for a short period before becoming a bandleader in his own right.
For the next nine years Mr. Johnson balanced his bandleading career with jobs as a sideman, playing with Parker, Gillespie, Illinois Jacquet, Woody Herman, Miles Davis and others. But the work wasn't enough to support a family, so Mr. Johnson, ever curious about electronic equipment, took a two-year job with the Sperry Gyroscope Company as a blueprint inspector.
In 1954 the Savoy label decided to record him and the trombonist Kai Winding in a double-trombone front line, a format that proved to be a hit. Jay & Kai, their band, allowed Mr. Johnson to quit his day job and was one of jazz's most popular acts until it disbanded in 1956.
Mr. Johnson was an admirer of Hindemith, Stravinsky and Ravel, and after his part in the famous "Birth of the Cool" nonet recordings of 1949 with Davis and Gil Evans, he soon got involved in the new large- ensemble jazz as a composer. His first large-scale work was the four- part "Poem for Brass," included on Columbia's "Music for Brass" album of 1956, a sort of recorded manifesto of the Third Stream movement, conducted by Gunther Schuller.
He wrote two pieces commissioned by the Monterey Jazz Festival in 1959: "El Camino Real" and "Sketch for Trombone and Orchestra." And Gillespie, after hearing "Poem for Brass," asked Mr. Johnson to write him a whole album's worth of music in a similar style. The result was "Perceptions," a 1961 35- minute suite including six trumpets, four French horns and two harps.
From 1967 to 1976, Mr. Johnson barely recorded, devoting his energy to composing. In 1967, through the help of the film composer Elmer Bernstein, he got a job as staff composer and conductor for M.B.A. Music in New York, a company that provided music for television commercials. He moved to Los Angeles in 1970, writing and orchestrating music for films like "Barefoot in the Park," "Scarface," "Trouble Man" and "Sea of Love."
Despite his prolific career as a composer, Mr. Johnson's skill as a trombonist did not dull, even into his 60's and 70's. He was a firm believer in practicing every day, and his strength is fully evident in "Quintergy" and "Standards," albums recorded live at the Village Vanguard in 1988.
In the 1990's, under contract with the Verve label, Mr. Johnson created some ambitious recordings, including "Tangence," a collaboration with the arranger and film composer Robert Farnon; "The Brass Orchestra," which presented music ranging from bebop to selections from "Perceptions"; and "Heroes," an innovative straight-ahead jazz sextet album.
Mr. Johnson returned to Indianapolis with his first wife, Vivian, in 1987 and finally retired from public performance in 1997, refusing to play when he wasn't in top form. He had survived prostate cancer and spent much of his spare time in his home studio, mastering the new hard-drive technology for composing and recording.
He is survived by his second wife, Carolyn; two sons, Kevin and William, both of Indianapolis; a stepdaughter, Mikita Sanders, of Indianapolis; a granddaughter; a stepgranddaughter; and a sister, Rosemary Belcher of Denver.
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I like a playlist when I have the chance to listen to the music, like when it airs somewhere or when I get a CD. If not, the "fun" of reading a playlist reduces to realizing which titles I know and which don't mean a thing to me.
> Just a note for anyone that wants to experience a true Tiki/Polynesian bar -
> go to the Hala Kahiki in Chicago. A business trip for my boyfriend, he
> managed to video tape the inside of the bar and some of the gift shop
> located next door. The gardens were closed in winter but huge Tiki's await
> you out there!!
>
> We also had dinner at the Trader Vic's in Atlanta on Saturday night.
> Wonderful cocktails with a flower in one for my hair!
since so many original places have closed down forever in the last few years, it's always pleasant and a relief to hear some nice reports like this.
speaking of it... any news from the new Kahiki in Columbus/Ohio? By the time it closed, many suspected, that despite the old owner's plans a new one would most likely never be built.
BTW: a new bar has opened in Munich, the Aloha Bar. It's full of Bamboo, Tikis, and exotic pictures. Rumors have it that the owner of the Atomic Cafe wants to open a big tiki bar/restaurant right across the street of the Hofbrauhaus. Together with the new tiki decoration at the Atomic Cafe itself, the Trader Vic's and the Waikiki, and 4 independent groups of people who regulary stage tiki events, I now consider Munich a CENTER of the world-wide tiki cult.
I recall there was some recent queries/comments re. the sound of FPM's new release. Here's the decsription (with some realaudio links) from Other Music's latest newsletter.
lousmith@pipeline.com
FANTASTIC PLASTIC MACHINE "Beautiful" (Avex Trax, Japan) CD $31.99
> Does anyone know if there is a list of Tiki Bars around?
this is a very good question. I've been waiting for such a list for a while and was hoping, that Otto's Tiki News homepage would have it one day, as I believe that most infos about Tiki places come together on Otto's computer. We should really throw our knowledge together and create this list. I'll be glad to co-publish it on my own tikiland homepage. Otto, what do you think?
> "Mondo Morricone" by Ennio Morricone is a great 60's-70's lounge
> album....check this out...
it has a follower More Mondo Morricone, which is also pretty neat.
But speaking of Morricone... is there anybody in this list, who has been dipping deeper into the sheer unlimited record output of this amazing musician? This man must have made hundreds and hundreds of records and most of what I ever heard is between good and ingenious. Of course he has an entire mailing list dedicated to his oevre...
Subject: Re: (exotica) Tiki Bars in Massachusetts?
Date: 08 Feb 2001 11:28:00 +0100
edowning@lightbridge.com schrieb:
>
> We do have a large polynesian resturant that is in Mass. It's called
> Kowloon...
I was not aware that the Kowloon still exists. I have an old Kowloon tiki mug and it's certainly one of the weirdest in my collection. Next time you go there you should take your camera with you, to take some sightseeing shots and make them available to the general public.
BIGGS, Calif. (AP) -- Hal Blair, who co-wrote songs performed by Elvis Presley, Della Reese and others, died Friday. He was 85.
Blair co-wrote ``Please Help Me, I'm Falling'' for Hank Locklin, ``Ringo'' for Lorne Greene, ``I Was the One'' for Presley and ``Not One Minute More'' for Reese.
He began his songwriting and acting careers in Western films, working with stars such as Gene Autry. Blair met his songwriting collaborator, Don Robertson, in the early 1950s. Their partnership lasted nearly five decades.
The reason that Danger Diabolik CD has poor sound, and is a bootleg, and is promoted as some sort of hokey "collectors" deal is because the masters of the soundtrack were destroyed in a garage fire. Unless Morricone re-scores the film for an official release, anything else is going to be something recorded from a print of the film with dialogue edited out in some way. You can find old copies of the theme on 45 floating around with a nice sleeve, but otherwise, you're most likely spending your money on something with questionable quality -- which is sometimes the best you can hope for with some things though, like jazz music documentaries.
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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Subject: (exotica) fwd: Lounge Singer Performs for Jury
Date: 08 Feb 2001 18:43:23 -0500
February 8, 2001
By THE ASSOCIATED PRESS
ALLENTOWN, Pa. (AP) -- A 33-year-old lounge singer entered a courtroom and did what he does best -- perform for an audience. Only this time his audience was a jury.
Thad Schwenk, who sings under the name David Storm, defended himself Wednesday against charges of driving under the influence. He wore a bright yellow jacket, concluded his opening statement with a bow, and employed a dramatic cross-examination style reminiscent of Perry Mason.
Schwenk said that his ``mush mouth'' when he was pulled over was caused by tired singing muscles, not alcohol.
The evidence that Schwenk ran a stop sign and had a blood-alcohol level of .11 seemed irrelevant to the spectators who filled the courtroom.
``I'm not crazy about the canary sports jacket, but I have a lunch riding on this guy,'' said James Burke, one of nine public defenders watching in amusement. ``I'm pulling for him.''
The only person not amused was prosecutor Abraham Kassis, who feared he wouldn't be able to show his face if he lost.
``Confiscate all notebooks,'' Kassis said in jest to court officers ushering reporters into the courtroom. ``Isn't there something more important going on in this courthouse?''
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Subject: (exotica) early mediterranean (some of my favorites)
Date: 09 Feb 2001 02:25:10 EST
the rare ones:
bianchi & the jungle sex-tet 'music to play in the dark'
from the cover: for delightfully uninhibited males & females only
CAUTION! the pulsating rhythms in this album are primitive and basic. those unaccustomed (or accustomed) to dealing with aroused emotions are urged to listen with care!
les baxter 'the passions' featuring bas sheva (7" box set)
(stan) kenton showcase 'the music of bill russo' (10")
albums no console should ever be without:
getz gilberto
sergio mendes and brasil 66
frances lai 'a man and a woman' (original soundtrack)
these are all records that i have known since i were a baby, that were my parents, and now cherished by me.
just finished watching: "shakespeare wallah" merchant/ivory 1965 with soundtrack by satyajit ray, presenting a very young felicity kendal
now playing: hedninagarna 'kaksi'
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> I got a copy of Arthur Lyman's 'Taboo 2' over Christmas and am completely
> mesmerised by it. It has such a great sound, full of space. It's almost
> like dub or Detroit techno.
> Obviously they would have built the sound around Lymans vibes, and the sound does take its lead from that. Spacey rather than over-arranged with a sound in every nook and cranny of the
> acoustic spectrum. The kind of thing you can play really loud, but still talk over in a normal voice.
You heard a recording made in Henry Kaiser's famous Aluminium Dome...
Subject: Re: (exotica) Introductions are in order.
Date: 12 Feb 2001 12:30:06 +0100
I just remember this list-members personal-questions-list that circulated here a couple of years ago, where everybody (xept me) answered questions like "Do you wear a fez?" :-)
Subject: Re: (exotica) Re: top 10 or 50 Exotica/Lounge records: top 68
Date: 12 Feb 2001 11:40:49 -0800
>* Lew Davies: "Strange Interlude"
> All sorts of exotic percussion, plus Ondioline & Theremin.
>Johan owns everything and if anyone can come up with >a list, it's him and
>it's silly to argue with these lists since it's all >personal taste.
>Having said that, I think Strange Interlude is a very >very disappointing
>record. First of all, there's very little theremin >on it. And some of the
>cuts are simply boring. I guess that the best cuts >on it may deserve to be
>on a list of the great exotica cuts but the album as >a whole is a snooze.
Once again I agree with Alan. This is the first sort-of-exotic records I ever thrifted. I still have it. I look at it from time to time, and go, That's a nice cover. And then I think, I haven't listened to this for a while. Then I look at the song titles and I remember why: it's dull. And relative to its dull quality, the cover is relatively dull too. I guess people are interested in it because of the ondioline and theremin, but the use of those instruments is relatively inconsequential to the overall orchestrations on the album. The album I think that does what people seem to THINK this album does (well, there are many), and the one I really love, is The Three Suns "Movin' 'n' Groovin'". That album is like no other. Now there's a record and a cover to match. People should be putting that near the top of their list, cut-out cover and all, instead. Okay, just my two cents for the day.
Mr. 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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> notably "Nature Boy." i love that tune as well and i'm
making a cd based on it interspersed with Eden Ahbez's
music and the 5 versions of the song that I have by
1. Jon Hassell 2. Nat King Cole 3. Mile Davis 4. John
Coltrane 5. Johnny Hartman. know of any others?
alohaderci,
Fluid Floyd
=================
I made a tape compilation of Nature Boy for the exoticaring - well, actually, it's one side of a 100 minute tape. I put all the versions I had and others filled in the rest of the tape. Unfortunately, I can't remember what the track list was, so perhaps whoever has it now might be able to send us the list. Of course, you can always go to http://allmusic.com and search for song:nature boy. There's lots and lots of versions to be found, that's for sure.
lousmith@pipeline.com
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<P>trying to track down the credits and info for one of the songs on this soundtrack. I believe it's the Mongo Santamaria track called "La la la" (?). i can't find any info on it anywhere on the web and it's driving me up the wall! i need composer name, exact title, publisher name.</P>
<P>it's the song on that soundtrack with the wordless haunting female vocals. very easy and groovy. for anyone who's not heard this song, it's worth getting the soundtrack! that is, if you can find it.</P>
<P>kevin leeeeee</P>
<P><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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Buddy Tate, Saxophonist for Basie's Band, Dies at 87
By BEN RATLIFF
Buddy Tate, a broad-toned saxophonist who was a vital part of the widely admired Count Basie band of the 1940's, died on Saturday in Chandler, Ariz. He was 87.
Mr. Tate was one of the great tenor saxophonists of the swing era, a superbly sophisticated ballad player influenced by both the diaphanous tone of Lester Young, his section mate in the Basie orchestra, and by the urgency and rhythmic muscularity of Coleman Hawkins. These traits could be heard in his first recorded solo with Basie's band, "Rock-a-Bye Basie" from 1939, which Mr. Tate felt was one of his best. His force and his flights into the horn's high registers identified the Texas tenor style, also exemplified by the saxophonists Arnett Cobb and Illinois Jacquet.
Born George Holmes Tate in Sherman, Tex., he began his career in the late 1920's, playing around the Southwest with bands led by Terrence Holder, Andy Kirk and Nat Towles. He played briefly with Count Basie in 1934, then began his 10-year association with the Basie orchestra in 1939, after the death of its saxophonist, Herschel Evans. It was his work with Basie that most assured him his place in jazz history.
In the 1950's Mr. Tate played with Lucky Millinder, Jimmy Rushing and Hot Lips Page, and in 1953 he began to lead his own band, which played a regular show at the Celebrity Club in New York for more than 20 years. He worked often in Europe, playing with Jim Galloway, Jay McShann and Al Grey.
In the late 60's he recorded in France with the organist Milt Buckner and the drummer Wallace Bishop. He and the saxophonist Paul Quinichette were co-leaders of a band at New York's West End Cafe; Mr. Tate led another band with the drummer Bobby Rosengarden at the Rainbow Room in the 70's.
Mr. Tate's career of playing and recording, mostly at selected festivals and with touring groups like the Statesmen of Jazz, lasted through the mid-90's, with a final appearance on "Conversin' With the Elders," the 1996 album by the young saxophonist James Carter.
Mr. Tate lived in Massapequa, N.Y., until a few weeks ago, when he moved to Phoenix to live with his daughter Georgette. She survives him, along with another daughter, Josie, also of Phoenix, and many grandchildren.
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the thing with these albums was that they were published together with a book of record covers, which according to general agreement in this list is really fabulous. I know the guys who compiled and designed both the book and the CDs. One of them runs a label called Marina, well-known for its soft pop albums. You gotta check that out too! http://www.marina.com
> Brad Bigelow's message -- with the news that he was moving to Brussels this
> summer -- prompts me to ask: is there anything worth seeing in Brussels,
> exotica-wise?
You lucky guy!
The main attraction of Brussels these days is the free-living colony of parrots at Place Guy d'Abrezzo. You just gotta make it there; take your video camera with you!
Then they have this nice old colonial ethnological museum, which aside from the fine artefacts it buries, displays "decorative" sculptures on the walls, that are *really" colonialistic: they show scenes of white masters and their slaves kneeing in front of them and stuff like that. Most people just don't note these things, but in "correct" terms they should long have disappeared. So unvoluntarily this is a secret museum within the museum - for the one who can see it: the museum of colonialistic art.
The old botanical gardens should also be quite nice for the architecture alone.
That's about it. I've never heard about an exotic bar or something. maybe you find one.
Before you leave - don't forget to learn the new European language at http://www.neuropeans.com/topic/europanto
oh, and somewhere near Brussels there lives a strange record collector, named Johan Dada Vis, or so...
In the mail today: the new Free Design, out on Marina. This is one for you, Alan, you softy. I don't know if I really like it. It's the first stuff by Free Design I've ever heard, and if it's true that everybody first hates it, then I may change my mind later. It may just hit me in the wrong moment now; I'm too much into disco fun stuff these days, but at one point later, when I'm sad or old or both, this album will surely help me brush my nerves.
Although there is one "funny" Dixieland-tune on it, the entire record has something ultra-serious, which I basically appreciate in these silly days, when everybody in the media always tries to be so funny, peppy and spritzy. No, Free Design isn't like that at all, they seem to come from a loophole out of the space/time continuum; if you would have to write nice linernotes for them, you would probably call them timeless.
The best parts are when they sound like Mamas and Papas and I think it has something to do with the compositions. It's a record in celebration of singing and that makes one want to sing along; only when the composition is too steep you can't. But in a luxurious well-styled big home, f.i. by a fireplace, just listening to this CD could be really nice, like christmas... you could even read a book while it's playing. Just ignore the remark on the back side of the cover, which says: "play loud!"
Subject: (exotica) [obit] Fadhili Williams Mdawida,George T. Simon,Johnny Warangkula Tjupurrula
Date: 15 Feb 2001 12:42:22 -0500
February 15, 2001
Fadhili Williams Mdawida, Kenyan Singer and Songwriter, Is Dead
NAIROBI, Kenya, Feb. 14 (AP) ù Fadhili Williams Mdawida, a singer who is credited with writing "Malaika," a ballad now known around the world, died on Sunday of an undisclosed illness. He was believed to have been in his late 60's.
"Malaika," or angel in Kiswahili, is a love song that Fadhili, as he is known in Kenya, said he composed in 1959. It tells the story of his first love, a girl he could not marry because he could not come up with the required bride price.
Throughout his life, he said, he hardly made any money off the song although better-known singers like Miriam Makeba, Harry Belafonte and Boney M did.
Fadhili returned to his homeland in 1997 after living in the United States for 15 years. Until he was hospitalized, he had been performing weekly at a Nairobi hotel. He is said to have composed more than 200 songs.
NEW YORK (AP) -- Music critic George T. Simon, the original Glenn Miller Band drummer who swapped his sticks for a pen and eventually earned a Grammy for his acclaimed liner notes, died Tuesday of pneumonia following a battle with Parkinson's disease. He was 88.
In 1937 Simon sat in with the fledgling Glenn Miller Band. But he opted for writing over drumming, and became editor-in-chief of Metronome magazine in 1939.
As a writer, Simon worked for the New York Post and the now-defunct New York Herald-Tribune. He also served as executive director of the National Academy of Recording Arts and Sciences, the organization behind the Grammy Awards.
In 1977, Simon won his Grammy Award for best album notes -- his contribution to the collection ``Bing Crosby: A Legendary Performer.'' Simon was hand-picked by Crosby to write the liner notes for the release.
Simon's late brother Richard was the co-founder of the publishing house Simon & Schuster, and one of his nieces is singer-songwriter Carly Simon.
========
Johnny Warangkula Tjupurrula
SYDNEY, Australia (AP) -- Influential Aborigine artist Johnny Warangkula Tjupurrula, whose work helped popularize Aboriginal art and sold in auction rooms for record prices, died Monday. He was believed to be about 75.
Tjupurrula died in poverty in a desert camp in central Australia, the Art Gallery of New South Wales said Thursday.
Tjupurrula was one of the most widely acclaimed of the Papunya Tula school of indigenous artists who pioneered the Aboriginal technique of dot painting.
Last year, one of Tjupurrula's paintings, ``Water Dreaming at Kalipinypa, 1972,'' sold at auction for $263,145 (496,500 Australian), a world record.
His work, symbolic depictions of the Australian landscape interwoven with Aboriginal myth, was borne out of despair following his enforced removal by the government from his traditional land, according to scholars.
Tjupurrula and about 1,400 other Aborigines were relocated from their remote desert homelands and housed in the community of Papunya, 190 miles west of the central city of Alice Springs.
By the mid-1980s, Tjupurrula's work was selling for thousands of dollars around Australia, although the artist regularly often was paid only a fraction of the value of the paintings by unscrupulous dealers.
Unable to work due to illness in his later life, Tjupurrula lived in a desert camp, nursed by his daughter, until his death.
Scary plan Micro Sloth spider zombies for Rites Management. See you when sleeping. See when awake. Be wary XP voodoo. Like sabertooth tiger. Smile at face. Pounce on back.
http://www.theregister.co.uk/content/4/16959.html
Keep knife ready escape .NET
-Mikac
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Subject: Re: (exotica) gentlemans agreement on ebay?
Date: 16 Feb 2001 18:33:02 +0100
basic hip schrieb:
> And the understanding is, it's up
> for grabs. May the best man win. Nobody takes a loss it personally, we
> give it our best shots, the "loser" shakes the "winner's" hand and is happy
> for them.
This is nice, but it is not the point. The point is, that the price is increasing for the winner by competitive bidding. I remember Otto posting about this problem some time ago and he was trying to establish some sort of "gentleman's agreement" back then; the only problem is that it is practically really hard to do. Knowing each other's ebay names may be the best we can do, so it becomes possible to contact each others before unnessecarily bidding an item higher and higher.
> I am de-lurking to ask a question that may have been answered already.
it has indeed: Marina
Meanwhile - thanks a lot to Martin Hemmel! - I'm the proud owner of a Free Design Best Of compilation cassette. And I must say: much better than what the new album lets one to expect. Lightly, lively, brightly, frisk, happy sound, nice lyrics kind of stuff. Like it!
Subject: (exotica) [obits] Charles Trenet, Balthus, Frank B. Gilbreth jr., Claudia Roberts
Date: 19 Feb 2001 11:06:29 -0500
February 19, 2001
Charles Trenet, Legendary French Singer, Dies at 87
By REUTERS
PARIS, Feb. 19 ù Singer-composer Charles Trenet, who captured French hearts for more than half a century, died in hospital overnight, a spokesman said on Monday.
Trenet, age 87, was rushed to hospital with a stroke last Tuesday, having suffered a first stroke in April 2000.
``He was the symbol of a smiling and imaginative France, a familiar figure, close to all,'' President Jacques Chirac said in a tribute, describing Trenet as ``a magician with words and an inventor of rhythms...a rare poet.''
Trenet wrote almost 1,000 songs including the haunting classic ``La Mer'' (The Sea), which captured the sadness of the defeat of France early in World War Two.
``Douce France'' (Gentle France), a sentimental tribute to the country he loved, acquired a status rivalling that of La Marseillaise, the national anthem.
With a blend of American jazz phrasing and zany lyrics, Trenet was one of the first French entertainers to take advantage of radio as a mass medium in the years before World War Two.
When he appeared live he was mobbed by fans in a way that foreshadowed the Beatlemania of the 1960s.His popularity endured and in November 1999 he briefly came out of retirement for three sell-out concerts in Paris.
Bing Crosby and Frank Sinatra and bandleaders Duke Ellington and Louis Armstrong recorded versions of his songs.
A NOVELIST AS WELL
Trenet also wrote novels and ballads including the poignant ``Que Reste-t-il de nos Amours?'' (What is left of our love) and ``Romance de Paris'' (Paris Romance).
Trenet's popularity was rooted in a mixture of Gallic charm and innovative, even eccentric, talent.
His flamboyant homosexuality, penchant for jazz and friendship with Jewish artists made him a marked man during the 1940-1944 Nazi occupation when the collaborationist press attacked him as a bad influence on the young.
The vitriolic pro-Nazi daily ``Je Suis Partout'' alleged that Trenet was an anagram for Netter, a common French Jewish name.
But the fact that he performed in Paris during the Nazi occupation resulted in his being banned from the boards for 10 months after the Liberation of France.
Between 1947 and 1955 his career took an international turn and he toured the United States, Canada, Brazil, Mexico, Japan and the Soviet Union.
The advent of rock 'n roll in the 1950s and 1960s sidelined him as a performer and he returned to writing novels. Playwright Sacha Guitry had recommended his first novel, ``Dodo Manieres,'' written in 1939, for the prestigious Goncourt literary Prize.
Trenet was born in Narbonne, southern France, on May 18, 1913.
His childhood home has been turned into a museum devoted to his career and mayor Raymond Chesa said on Monday he believed Trenet had asked that his ashes be spread over the countryside of his youth.
GENEVA (AP) -- Balthus, one of the 20th century's greatest realist painters best known for his erotic -- some have said pornographic -- portrayal of adolescent beauties, died Sunday. He was 92.
Balthus inspired and influenced the art world for more than six decades during which he completed some 300 canvasses. His personal life remained a mystery to all but a few intimate friends.
Balthus' published his first work at age 12 -- a collection of 40 sketches about his lost cat ``Mitsou.'' The poet Rainer Maria Rilke, his mother's lover, was so impressed that he wrote the book's introduction.
The blatant sexuality of half-clad maidens became Balthus' trademark, with other provocative works including ``Alice'' (1933), ``Toilette de Cathy'' (1933) and ``Andre Derain'' (1936).
Balthus also won acclaim for his dreamlike Parisian street scenes and conventional landscapes which were heavily influenced by Swiss Alpine scenery, as in his 1937 painting ``The Mountain.''
http://www.google.com/search?q=balthus
===
Frank B. Gilbreth Jr.
CHARLESTON, S.C. (AP) -- Frank B. Gilbreth Jr., author of ``Cheaper by the Dozen'' and longtime columnist for The (Charleston) Post and Courier, died Sunday. He was 89.
In 1949, Gilbreth and his sister, Ernestine Gilbreth Carey, collaborated in writing ``Cheaper by the Dozen,'' the story of growing up in a family of 12 children with efficiency expert parents. It was a best seller, as was its sequel, ``Belles on their Toes.'' Both were made into movies.
====
Claudia Roberts
RENO, Nev. (AP) -- Claudia Roberts, daughter of late entertainer Dean Martin, died Friday after a two-year struggle with breast cancer. She was 56.
Since 1978, Roberts lived in Reno where she owned and operated a printing business with her husband, Jim.
Although she did not follow her father into show business, she made guest appearances in the 1960s on television programs such as ``The Donna Reed Show'' and ``My Three Sons.''
She also appeared in a few movies, including ``Ski Fever'' and ``For Those Who Think Young.''
http://us.imdb.com/Name?Martin,+Claudia
http://allmovie.com/cg/avg.dll?p=avg&sql=B45935
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Subject: Re: (exotica) sad news on Piero Umiliani - and what happened to this
Date: 21 Feb 2001 11:56:50 +0100
Nicola Battista schrieb:
> hello, I'd like to know what happened to this list. I don't even get my own
> messages anymore.
> Did anyone see my obituary for poor Piero "mah'na mah'na" Umiliani??? :((
I didn't get it. Something seems to be really fucked up recently. No answers from Laszlo. It's a bit like in the real universe: SNAFU and the creator has long since died...
Subject: (exotica) Get accordion lessons from one of the Three Suns
Date: 21 Feb 2001 12:27:43 -0800
I was doing some research on the Three Suns the other year for an article, and I discovered that Tony Lovello is alive for sure, and has a website and offers custom accordion lessons! Can you believe that? It's really nice to know. You can email him too, so everyone let him know how much you love the Three Suns.
http://www.accordionmusic.com/
Mr. 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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Subject: (exotica) [obits] Reid Russell Diamond,Joe Ferguson III,Ronnie Hilton
Date: 22 Feb 2001 10:53:56 -0500
February 20, 2001
Shadowy Men Bassist Dead at 42
Reid Russell Diamond, best known as the bassist for Canadian instrumental trio Shadowy Men on a Shadowy Planet, died in his Toronto home on Saturday, Feb. 17, as a result of complications related to cancer. He was 42.
Diamond formed Shadowy Men with drummer Don Pyle and guitarist Brian Connelly in 1984. In contrast to the dark, gloomy fare favored by many local acts at the time, the trio opted for a clean, guitar-oriented sound. "We just wanted to have fun, and that was a bit infectious," Diamond told Raygun in 1993.
The band, most widely recognized for providing the musical interludes on the '90s comedy series The Kids in the Hall (the show's theme, "Having an Average Weekend," was culled from the first Shadowy Men single), released three full-lengths: Savvy Show Stoppers (1988); Dim the Lights, Chill the Ham (1991); and Sport Fishin' (1993).
Although frequently pegged as a surf band (a label they rebuked on the 1993 album track "We're Not a Fucking Surf Band"), the group's style was extremely broad, encompassing everything from classic and B-movie film scores to rockabilly and swing, all of it earmarked by irascible humor.
"I find it most annoying when people think we're an escapist, retro band, that we want to hearken back to simpler times of cars and girls," said Diamond in 1993. "I'm not even vaguely interested in living a life like that."
Shadowy Men also played on Just Fred, the 1996 solo album by Fred Schneider of The B-52's, and 1995's Shame-Based Man by Kids member Bruce McCulloch.
Following the amicable dissolution of Shadowy Men in 1996, Diamond and Pyle went on to form Phono-Comb with Beverly Breckenridge of Fifth Column and Dallas Good (the Sadies). Working in collaboration with Jad Fair (Half Japanese), the group released one album, Fresh Gasoline, in 1996.
Diamond is survived by his wife, Rebecca Diederichs; his parents, Margaret and W. Boyd Diamond; brother Grant, and sister Dallas. "Remember him in all his guises and for his talent and for his energy, his spark, his tenaciousness, and remember him as one who lived his life," read an announcement in the Toronto Star. Funeral services are scheduled for Friday. ù Kurt B. Reighley
===========================
Rites held for Joe Ferguson III
Musician performed with Texas Playboys
02/21/2001
By Lisa Murillo / The Dallas Morning News
Services for Joe Frank Ferguson III, who played with the Texas Playboys and the Light Crust Doughboys, were Saturday in Fort Worth.
Mr. Ferguson, 86, died Feb. 14 of complications following surgery.
Born in 1914 in Fort Worth, Mr. Ferguson learned to play the guitar, bass, saxophone and fiddle on his own. On New Year's Eve of 1935, Mr. Ferguson performed in a musical amateur competition in Tulsa, Okla., and won first prize.
Bob Wills, founding member of the Texas Playboys, heard Mr. Ferguson on a Tulsa radio station and immediately hired him. Mr. Ferguson played and recorded popular hits over the next two years, and his version of "Marie" became famous. It was more or less "his anthem," said his daughter Judy Spracklen of Fort Worth.
Mr. Ferguson left the Playboys in 1938 and moved to Nashville. After brief stints with several smaller groups, he came back to his hometown to perform.
He became one of the Light Crust Doughboys in 1940 but left two years later to join the Coast Guard. After two years there, during which his daughter said "he really missed music," he began to support himself with jobs such as ranching in Oklahoma and welding. He played music in the evenings and on weekends.
"He never really made a living at it," Mrs. Spracklen said, "but singing was his first love."
He retired from other jobs at age 62 after a heart attack but was able to continue performing, she said. He played with the Texas Playboys again from 1977 to 1989. His final show was a Christmas concert Dec.15 at the Johnny High Music Review in Arlington.
In addition to his daughter, Mr. Ferguson is survived by his son, Joe Frank Ferguson IV of Arlington; four grandchildren; and eight great-grandchildren.
====
Ronnie Hilton
Homegrown singing star whose easy listening ballads formed part of the soundtrack to the 1950s
Michael Freedland
Thursday February 22, 2001
The Guardian
Ronnie Hilton who has died, aged 75, was one of those 1950s vocalists whose career coincided with rock 'n' roll's 1956 onslaught on the ballad-dominated hit parade. But for a time Hilton was a star - strictly for home consumption - with nine top 20 hits between 1954 and 1957, that transitional era between 78 and 45rpm records. A quarter of a century later he became the voice of BBC Radio 2's Sounds Of The Fifties series.
Hilton's approach owed much to the "nice 'n'easy" style of Americans such as Bing Crosby, Eddie Fisher and Perry Como. Together with the likes of Dickie Valentine and Michael Holliday, his was the kind of voice and style to which youngsters smooched as they edged across those dance floors not yet vibrating to Bill Haley's Rock Around the Clock and Elvis Presley's Blue Suede Shoes.
The British singer had made his stage debut as Ronnie Hilton in July 1954, at one of the principal nurseries for his kind of singing, the Dudley Hippodrome. He was so successful that he almost immediately got his first BBC radio series. Along with it came a series of hits for EMI's HMV label.
Veni Vidi Vici and I Still Believe in December 1954 were followed in April 1955 by a cover of Nat "King" Cole's A Blossom Fell - which was a bigger hit for Valentine, a bigger star - and that September came Stars Shine in Your Eyes. In November, Hilton's cover of Mitch Miller's US hit, the Yellow Rose Of Texas brushed the charts - just as Rock Around The Clock went to number one.
What became Hilton's signature tune, No Other Love, was a May 1956 number one and was followed by two more minor hits in 1956, Who Are We and Two Different Worlds. In summer 1957, as skiffle and Elvis gripped the charts, Hilton's cover of Around The World was a bigger hit than the Bing Crosby original. A decade later there was A Windmill In Old Amsterdam, which eventually sold a million, and became a fixture across decades of Children's Favourites.
Born Adrian Hill in Hull, Hilton left school at 14 and worked in an aircraft factory in the early days of the second world war before being called up into the Highland Light Infantry. Demobbed in 1947, he became a fitter in a Leeds sewing machine plant.
But Hilton had a passion for singing. In the evenings he performed with the Johnny Addlestone band at the Starlight Roof in Leeds and it was there that he was heard by HMV's A&R manager, Walter Ridley. Ridley recommended that he change his name, have an operation for the reconstruction of a hare lip and take up his offer of a recording contract. Hilton accepted all three suggestions and success followed.
He appeared in three Royal Variety Performances. Long after that most successful period in his life, he continued to appear in summer seasons and Christmas shows.
A stroke in 1976 hindered his activities for a time and he was beset with financial problems. In 1989 the British Academy of Song Composers and Authors awarded him its gold medal for services to popular music.
His first wife, Joan, died in 1985. His second wife, Chrissy, whom he married in 1989 survives him, as do four children, three from his first marriage.
ò Ronnie Hilton (Adrian Hill), singer, born January 26 1926; died February 21 2001
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> If I were in the market today, it would be the tried,
> tested, and proven Technics 1200. Even at $625 (lowest I've seen them
> priced at lately) it'll last you a lifetime. Forget about those previously
> enjoyed turntables IMHO...Those physical plants aren't ready to face a heavy
> user like you, you, OR you!...
I can only second this opinion. I mean for all of you vinyl fetishists... it's a once in a lifetime investment. Everybody who has one, every DJ says the same thing. It makes you feel good. It's the Rolls Royce of turntables. The imagination alone of unpacking a crisp mint fresh brandnew Technics 1200 at home makes my heart beat faster... You haven't lived until you call one your own...
Mo
--
Technics Marketing Inc.
http://moritzR.de
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Subject: (exotica) [obits] John Fahey, Philip Sandblom, Robert Weiskopf
Date: 23 Feb 2001 10:46:35 -0500
Obituaries in the News
By THE ASSOCIATED PRESS
Filed at 7:31 a.m. ET
http://www.elvispelvis.com/johnfahey.htm
http://www.google.com/search?q=%22john+fahey%22
SALEM, Ore. (AP) -- John Fahey, an acoustic guitarist whose polished steel-string variations in the 1960s and 1970s, died Thursday. He was 61.
Fahey slipped into a coma after open-heart surgery Monday and was taken off life support Thursday.
Rolling Stone magazine called Fahey's self-published 1959 debut, ``The Transfiguration of Blind Joe Death,'' the ``most famous obscure album of recent times.'' It had a pressing of 95 copies but was picked up by underground radio stations.
On the album, Fahey invented the black musician Blind Joe Death, whose work filled one side of the LP, to give his own music authenticity.
Fahey made about 40 albums, including ``The Dance of Death and Other Plantation Favorites'' in 1964 and ``Fare Forward Voyagers'' in 1973. He shared a Grammy Award in 1997 for writing album liner notes for ``Anthology of American Folk Music.''
Philip Sandblom
LAUSANNE, Switzerland (AP) -- Philip Sandblom, a U.S.-born Swedish surgeon who studied the link between art and illness, died Wednesday after a fall. He was 97.
Sandblom's most famous book, ``Creativity and Disease,'' studied the effects of mental illness, drug addiction and pain on 140 authors, artists and composers, including Mozart, Monet and Lord Byron.
He also wrote a series of books on surgery and a history of surgical research.
He was an honorary fellow of the American College of Surgeons and a member of the surgical societies in Sweden, Britain, Denmark, France, Italy, Switzerland, Finland, Norway and Germany.
LOS ANGELES (AP) -- Emmy-winning comedy writer Robert ``Bob'' Weiskopf, who wrote for ``I Love Lucy,'' ``Maude,'' ``All in the Family'' and several other hit shows, died Tuesday at 86.
Weiskopf and his writing partner, Robert A. Schiller, shared the Writers Guild Paddy Chayefsky Laurel Award for Television in 1988 for writers who have ``advanced the literature of television.''
They earned Emmys for ``The Flip Wilson Show'' in 1971 and ``All in the Family'' in 1978. They also shared Writers Guild awards for work on ``I Love Lucy,'' ``The Lucy-Desi Comedy Hour,'' ``Maude'' and ``All in the Family.''
Weiskopf, a Chicago native, began his writing career in radio and moved to Hollywood in 1940. He sold jokes to Bob Hope before landing a regular job with ``The Eddie Cantor Show.''
After moving to New York and meeting Schiller, he settled into television comedy, writing for Danny Thomas' ``Make Room for Daddy'' and Eve Arden's ``Our Miss Brooks.'' They also wrote for comedians including Red Skelton, Phyllis Diller and Carol Burnett.
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I'm just so happy with my new soft plastic sleeves for my CD booklets. (Martin! They arrived!) Cost 1.40 $ for 100 and fit like a glove. so nice! still very space-saving but much more protective than my former "system" with the naked booklets in cigar boxes. You can also go much better through the CDs with your finger-tips.
I also bought a "CD wallet" for 74 CDs on the road, i.e. DJing etc. Looks very handy.
And a couple of blank cardboard boxes CD-size for extra protection when mailing a CD.
This mailorder has a lot of nice things to offer: Like this "grind & polish" CD repair kit I mentioned before, and a "record film" to clean LPs by pouring a fluid onto the LP surface and drawing it off after it dried = supposed to clean the record very good.
Haven't tried this yet.
Here is their URL, they offer a catalogue too: http://protected.de
Subject: Re: (exotica) What does music? (according to Peter Sloterdijk)
Date: 25 Feb 2001 18:39:15 +0100
Magnus Sandberg schrieb:
> Thee way I see it is that you need to search for peoples places and
> stuff with an added dimension to it. Sometimes that is necessary,
> sometimes it feels just right to stay in a 1 dimensional world. Music
> is an exceptional resort when you want to go away for awhile. Or just
> lie on your bed and pretend you dont exist, that works for me, I get my
> strength back. There are so much junk we are supposed to eat. King
> Midas came back, reversed himself and turned everything he touched into
> shit. And people loved him. Put on a record and hide!
philosophical worlds collide.... no, seriously: thanks for your comment, Magnus! Logical thinking often forgets, that the really interesting things in life are unexplicable! My great philosophical hero, Hegel, considered "music" as the one and only thing he couldn't explain.
Vinyl record albums--wow!--they're back. Could it be for the swinging sounds and nightlife nostalgia? Mmmmaybe...but get a load of those covers. Barroom beauties, kittens in Capri pants, seductive sirens--enchantresses everywhere! Vixens of Vinyl: The Alluring Ladies of Vintage Album Covers is a dazzling tour of over a hundred beguiling album covers, designed to appeal to the bachelor audiophiles of the hi-fi era. Such retro luminaries as Martin Denny, Esquivel, Andre Kostelanetz, Perez Prado, and many more draped their record sleeves with women whose charms transcended the strictly musical. Even the decidedly less hip entertainers like Lawrence Welk found they could reach a wolfish new consumer base with a little satin and cleavage. Vixens of Vinyl is a head-turning musical gallery of femmes from a decidedly pre-feminist era. Sure, vinyl is hot again--but the covers are hotter. This item will be published in June 2001.
lousmith@pipeline.com
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uy Wood, a songwriter whose works include "Till Then," "My One and Only Love" and "Shoo-Fly Pie and Apple Pan Dowdy," died on Friday at his home in East Hampton, N.Y. He was 89.
Mr. Wood was born in Manchester, England, where he played saxophone in dance bands before moving to the United States in the early 1930's. After spending five years with the foreign-production divisions of the Paramount and Columbia Pictures studios, he led his own band at the Arcadia Ballroom in New York from 1939 to 1942.
Among his credits are "Music of Love" (a k a "The Bell Waltz"), "After All" and "Rock-a-Bye Baby," as well as musical material for Radio City Music Hall and the children's television show "Captain Kangaroo."
He is survived by his wife, Jane; two sons, David of Deerfield Beach, Fla., and Peter of Mt. Kisco, N.Y.; a daughter, Sarah of Oakland, Calif.; and a grandchild.
Wood co-autored one of the most enduring jazz standards of all times, "My One and Only Love". A partial list of artists covering this tune; Chet Baker, John Coltrane, Art Blakey, Art Tatum, Frank Sinatra, Wes Montgomery, Sonny Rollins, Pharoh Sanders, Stan Getz, Ella Fitzgerald, Stan Kenton, Ahmad Jamal.... Well , you get the idea. Modern artsits from Rickie Le Jones to Joshua Redman have also had a turn at the song. Wood also co authored the Mills Brothers classic "Till Then" as well as Clarence Frogman Henry's hit "I Love You, Yes I Do".
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OK, I stole the following from today's Iconocast Prosumer e-letter. Can someone please tell me (a person who hasn't made it to DVD yet) if this format war is anything I need to pay attention to? In other words, if I ignore it long enough will it all go away, or am I actually going to have to think and make a decision about this stuff. And please tell me that my present CDs and CD-Rs are cool for at least a while and not going the way of beta or laserdiscs.
Thanks,
lousmith@pipeline.com
================
Super Audio Face-off:
Philips SACD-1000 vs. Sony DVP-S9000ES
Consumers face a choice when it comes to next-generation, high-end audio. In one corner are Philips and Sony, the original developers of CD Audio, backing Super Audio CD (SACD). The other corner features the Matsushita camp (Panansonic, Technics, JVC, Onkyo, Denon, etc.), promoting DVD Audio (DVD-A).
SACD has one advantage: more software. There are 152 SACDs available for sale today vs. a paltry 17 DVD-A discs, despite Warner Music's high-profile participation. Reason: The DVD-A camp spent the past two years bickering over copy protection, while SACDs won over the most finicky turntable lovers. Though the SACD side claims many of its disks will be two-layer hybrids that can be played on any ordinary CD player, few are available today.
Now Philips has released the SACD1000, the first multi-channel player, a key feature trumpeted by the DVD-A camp. By comparison, the recently released Sony DVP-S9000ES only does two-channel audio. The Philips unit features a stylish, sandblasted aluminum design in contrast to the mundane, black faceplate featured on the Sony DVP-S9000ES.
Both units play DVD videos, cutting down equipment clutter. The Philips SACD1000 does not support progressive scan output, however, a major drawback. The Sony, on the other hand, doesn't play CD-Rs but has received positive reviews on AudioReview.com.
Bottomline: If this war reminds you of the Beta-VHS battle, you're not alone. The winner will be the one offering the most software. Right now, it's a toss-up. If you must have one now, the Sony seems a more viable option. Hedge your bets with a less expensive DVD-A changer. (Also be aware that Sony plans to release a $399 multi-channel SACD-only player in July!) In a future issue we'll look at the ambassadors of the DVD Audio realm.
US$2000 Philips SACD1000 (Avail. Mar. 2001)
US$1295 Sony DVP-S9000ES (Sound Distributors)
http://www.iconocast.com/prosumer/archives.html
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>I never have any tiki news but I think I just read that there's a new TV
series next year called "Tikiville". I might have misread it and there was
no mention of tikis in the description of the series - a sitcom I think -
but still, who knows?
==============
NBC Greenlights 'Tikiville'
Thu, Feb 15, 2001 11:38 AM PDT
LOS ANGELES (Zap2it.com) - NBC is taking over "Tikiville," a half-hour comedy pilot developed by ABC's former programming chief, Jamie Tarses, according to Variety. Tarses will executive produce the pilot with "Darma & Greg" co-creator Dottie Zicklin, who wrote the pilot, and James Burrows.
"Tikiville" is a romantic comedy about a 30-year-old single mother whose life is turned upside down when the father of her child suddenly re-enters her life after a 14-year absence. The series, set in south Florida, will switch back and forth between the couple's current relationship and their days as teen lovers.
Other networks, including FOX, were interesting in the series, but NBC wrapped a deal for the pilot Wednesday.
In related news, The WB has greenlit a remake of the '70s Saturday morning classic "Electra Woman and Dyna Girl." While the old ABC version was about two magazine reporters, the new version will feature a young college student going to Las Vegas, where she finds Electra Woman and soon becomes her Dyna Girl.
----------
lousmith@pipeline.com
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