Subject: Re: (exotica) three gentlemen fail to agree
Date: 01 Mar 2001 10:03:40 EST
I have no problem with capitalism per se...let the buyer beware and all that happy horseshit, but the lurking to do your "demographic research" is sneaky and underhanded. . So, its "fuck you asshole" (that's to ljusselm). And I did it in the open you sneaky fuck!.....AND you don't know jack about this list other than the fact that you can pick a few dollars off it...JB/had to draw a line on that one
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: RE: (exotica) three gentlemen fail to agree
Date: 01 Mar 2001 11:39:08 EST
"sneaky fuck"? Anyone who reads the list without posting is a "sneaky fuck"?
Nope...But someone who cashes in and doesn't even participate is a real Middleman...a time-honored capitalist position which really means making money by getting in between the product and the consumer, by "being there"..."sneaky fuck" was a kneejerk reaction to your way of doing things...too strong perhaps, sorry to chose that description in hindsight
Some very stranger perceptions here...
So don't read it...of course if you're just after money then perceptions don't really matter do they? And if its just money you're after do you have the right to comment on perceptions while you cash in? Isn't that like mocking a store customer?
I'm not going to lower myself and get into a name-calling flame war here.
I'll continue lurking and learning and leave you folks to your little
exclusive group
You can't really do both, at least not very well...I guess that's my point. Either join in or lurk. Something about lurking and looking for stuff to sell us after reading all the posts stinks to me. OK, maybe "sneaky fuck" was heavy-handed, but it still smells like a rat to me. If that's a strange perception, so be it. I'm too far along in life to worry about it...JB/don't use E-Bay anyway
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: Re: (exotica) Ooh Ooh! White Goddess! On Kapp?!?
Date: 01 Mar 2001 11:41:52 EST
In a message dated Thu, 1 Mar 2001 10:24:57 AM Eastern Standard Time, mimim@texas.net (Mimi Mayer) writes:
<<
At 10:05 AM 3/1/01, DJJimmyBee@aol.com wrote:
>>there other worthies on Kapp?
>
>Ruby & The Romantics...Our Day Will Come LP
Our Day...such a sweet tune. Is the LP mellow throughout with lots of
soothing Latin beats? I've always thought of Ruby & the Romantics as
one-hit wonders. Please correct me if I'm mistaken. Thanks for the info,
Jimmy. Mimi
She did the original "Heyb There Lonely Girl" as "Hey There Lonely Boy" back in '64 and the Charly re-release of 1985 contains all her best work...Exotic Soul with a latin tinge and a pop sensibility
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>>
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: Re: (exotica) three gentlemen fail to agree
Date: 01 Mar 2001 13:53:50 EST
Looking back at the original post, I agree it seemed more of an intro than an opportunity to smirk, BUT, as someone who's gone to many a garage sale, inquired whether they had any records for sale, and been informed that someone just bought up their entire "stock" before I got there (and noticed a pattern forming as I continued my garage run), I can understand some of the vitrol coming from Brian & co. (I've uttered many curse words directed towards "dealers" myself at times due to said situations).
Seeing both sides (diplomatic little f*** aren't I),
DavidH
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: Re: (exotica) three gentlemen fail to agree
Date: 01 Mar 2001 21:13:28 +0100
Gentlemen!
for how long did we not have an "argument" such like this here! Almost forgot how good it feels when the adrenalin concentration rises above the normal level.
Ebay again...
Have we not been aware of the fact that the "system ebay" means, that the richest guy in the whole wide world gets the record? I must admit I haven't seen it clearly myself in the very beginning. I only saw the advantages for collectors to find a record they wouldn't usually ever see in a shop. But it's a fact. When the price of a record was formerly defined by the average default shop goer, now this customer has to compete with everybody on the planet. It seems like the advantage is clearly on the seller's side (but try to sell a Witney Huston record from 1995, and you will find, that it's still a question of supply and demand). But that the prices for virtually everything would somewhat rise with the ebay system, is that so surprising? Some people just CAN pay hundreds of $$ for records. Even if we see them as fools: they don't care.
Looks like we old school hunters and collectors have to go back to the thrift stores, although even there the competition has increased: the chance to make big bucks with old records on ebay surely gave a lot more people the idea to systematically search the common sources. But is it that bad to go back to the roots of record hunting? We can even sell records on ebay ourselves for big $$ to the fools who are willing to pay it. I don't remember anybody complaining about Jack Diamond because he did just that. We can't change it anyway. It's too late. Alea jacta est.
> "The Masked Marauders" was an "anonymous" supersession that was
released by Reprise (no date on the album, most likely around 1969). People
were led to believe that Dylan, Jagger and the Beatles were involved.
===
The folks behind the actual Masked Marauders LP (which I have) were, or so I've heard, a bunch of musos who used to hang around the Freight & Salvage's folk/old time music scene. These same people were recorded by Mike Seeger on "Berkeley Farms: Oldtime and Country Style Music of Berkeley," Folkways FA 2436 (1972) (which I also have).
Can I confirm from listening to the two that it's the same personnel? No, but it seems just possible enough that I've considered this mystery solved (at least for myself).
lousmith@pipeline.com
other pranks:
Trubee's Blind Man's Penis
Darleen and Jonathan Edwards
answer records
recordings of Bridey Murphey (http://skepdic.com/bridey.html)
>Are you purchasing that LP for the cover or for the music inside?
Some records I have bought because the covers were great, but these were thrifted. Some I have bought because I liked the artist but had great covers (Raymond Scott "This Time With Strings" for example). Some I have bought because I was interested in the artist and then the cover turns out to be far better than the music (Ortolani's "Women of the World" for example.) Often a good cover does its job, it appeals to my senses enough and I pick it up and half the time buy it. But many times I wont buy it just because the cover is cool if I know that it's going to be boring because I know the group or composer. I actually used to do that a lot but my vinyl graveyard just kept growing too big and it just wasn't worth spending the money. Recently I picked up Ornette Coleman's "This Is Our Music" because I had never seen it before and loved the cover so much. I knew I was going to put it in a record frame. However I love Coleman anyway, so it was one of those win/win deals. There are some older jazz records with covers I find such amazing examples of graphic design that I really want to hunt them down for the art, but I highly doubt it will result in music I won't want to listen to or play for others.
This leads me to wonder what some people's favorite covers and/or record packing is in their collections.
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 250 color business cards for FREE! at Lycos Mail
Subject: Re: (exotica) Ebay, Record Dealers and Collectors
Date: 04 Mar 2001 13:22:32 +0100
alan zweig schrieb:
>
> I guess I could have held onto all of them but I can't tell you how
> liberating it was to get a thousand records out of here
BTW: did you sell these records singulary record by record? 1000s of them? I find it rather exhausting to do that on ebay - fill in this form for each record again and again. there should be a list form or something, with the possibility to bring a couple of similar objects to auction, yet posting these auctions singulary in the end.
Subject: Re: (exotica) CD-Rs - Labels vs. Booklets
Date: 04 Mar 2001 13:28:40 +0100
Kevin Crossman schrieb:
> Almost every one of the CD-Rs I've received over the years from other
> poeple has come without a label on the CD. Many have, however, come with
> excellent booklets.
>
> I was under the impression that a label on the CD is a good thing for
> the CD-R, since the top surface is delicate. Do I have this wrong?
>
> Also, curious what others think about labels vs. booklets. I'd rather
> have a nice looking CD but maybe I am in the minority (and, of course,
> the most important thing is the content so either way a CD-R of cool
> tunes is always a great thing).
I like labels too. the problem is that often it's impossible to make a decent copy, especially when parts of the label ur unprinted or printed in "unprintable colors" like silver, white etc. another problem is that the lables have to be adjusted very exactly, otherwise you get problems with spinning the CDs.
I haven't heard that a label is a protection for the CD and I cannot imagine why this should be the case.
> Sure! all episodes are out on dvd, and dont forget to pick up
> the "history of outer space exotica" vol 1-4. Extremely great
> collection of rare videoclips from Les Baxter, Russ Garcia, Frank
> Comstock etc. Also on dvd.
>
> Bought my copies in dreamsville, only 50 cent's each!
>
what??!?!! could you explain this a little better. and while you're in "dreamsville" again, could you pick up copies of the above mentioned for me too?!!!
Aah, the good ol' vinyl vs. CD discussion again! Didn't pop up for a while... One day someone should go through the archives and write a book on this subject. And how over the years the opinions have been slightly changing. Did I recognize a new tone in the last posts? In former discussions the question of sound was the main issue, now the users seem to getting used to the sound of the CD (or do they agree nowadays, that there isn't that much of a difference as they thought before?) and seem to enjoy the advantages in handling of the CD. Now the question of originality is seen in a more mysterious light: "Purest expression", what might that be?
Subject: (exotica) Tomorrow's "Back-Ward" Playlist, March 5
Date: 04 Mar 2001 18:24:46 -0000
<html><DIV>
<P>
<DIV></DIV>The Back-Ward can be heard Monday afternoons from 2:00 pm to 3:00 pm EST on CFRU 93.3fm in Guelph, Ontario, Canada. Comments & questions welcome. </P></DIV>
<DIV></DIV>The show is also available in RealAudio. Click on "Listen to us live via the net" at:
<DIV></DIV>forgotten country and western; obscure garage & psychedelia; funk/70's
<DIV></DIV>instro'; moog; early high-brow electronic; industrial and/or post-punk from the
<DIV></DIV>late 70's/early 80's. More recent material may creep in from time to
<DIV></DIV>time. </DIV>
<DIV> </DIV>
<DIV>thanks for reading and/or listening</DIV>
<DIV>jb</DIV><br clear=all><hr>Get Your Private, Free E-mail from MSN Hotmail at <a href="http://www.hotmail.com">http://www.hotmail.com</a>.<br></p></html>
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Well if Jane Fonda wanted to remake "Barbarella" she lost her chance. Drew Barrymore is in the middle of producing and starring in the remake at this moment. I can hear all the sighs. Just another one of those movies that doesn't need to be remade, being remade. Steven Soderbergh is remaking "Oceans 11" right now as well, if anyone didn't know.
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 250 color business cards for FREE! at Lycos Mail
"Exemplify the essence of the East. The embrace of the Moritz is the quintessential element in your home for a peaceful mind."
(It's a framed site, and this link busts the frames. If you want the "intended" presentation, link via the domain name and click through to "2001 Catalog".)
--m.ace
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
> It's owned by Bertelsmann now, isn't it? That means it won't disappear -
> soon it will just cost us a lot of money to download the latest Britney
> Spears track.
I don't think this is entirely true. The news about it are rather confusing: First Napster said it's impossible to automatically filter out registered tracks. Actually *ALL* tracks are somewhat registered, so this is bullshit from the start.
However: then the music industry presented a list of 5600 tracks that they wanted to be filtered out immediately - all the current big selling hit records, BUT: if you change just one letter in the title of the song, you can trick them out, so they won't be satisfied with that solution in the long run anyway.
AND: it means basically: we care for our big sellers, all other artists - i.e. all the small, independent artists will not be protected, people like Tipsy and Don Tiki et al. So I don't see why this will be really a dream come true. (We discussed this before: I still don't see why artists we like, starting from Martin Denny and not ending with the mentioned members of this list (me too!) should not get paid for the music they bring to all of us, but I won't discuss this again).
Finally Napster said, they will charge their customers in the future and give part (!) of the money to the artists as royalties, which again means, that the big sellers will get most of the money, unless they develop a technical system, where each song is registered singularily and the money is transferred to the referring artist, song by song, download by download, a system that Napster currently doesn't have.
All in all I don't think your dream - if you still want to call it one - will come true as you dream it, AZ.
Subject: (exotica) Re: CD vs. Vinyl, Vol. 7 (aprox.)
Date: 05 Mar 2001 11:45:59 -0800
This results in music that is proccessed and packaged like
luncheon meat... stupid, kitch covers that focus on trendiness
and demean the talent of the musicians who made the music...
liner notes with cocktail recipes, but NO MENTION of the
musicians and their careers... music with grossly unrealistic
EQ settings, making acoustic instruments sound like buzzy
synthesizers... older recordings muted and dulled by draconian
digital filters just to remove all traces of a slight amount
of unobtrusive surface noise... random collections of completely
unrelated tracks selected for no other reason but novelty value,
not musical value... deceptive packaging, repeating the same
tracks previously released in another "best of" with just a
sprinkling of new material...
I agree with this matter. The first time I think I became irritated with CDs and reissues was with a Julie London CD. I'd been looking for another copy of Around Midnight. I found this compilation called Time for Love, which essentially stole the cover from Around Midnight, but make a selection of "best of" tracks. And then there were only two tracks from Around Midnight. Given how great Around Midnight is, there are so many songs to choose from, and two relatively uninteresting ones were put on the compilation. I thought, what kind of ridiculous audacity to reuse the Around Midnight cover for a compilation that largely ignores songs from the album it took its cover from? And THEN, when I finally found the Around Midnight album on CD, it was a two-for-one deal (a plus of course) but an IMPORT, making the matter even more ridiculous. It's almost like here in America, we can't appreciate our own musical heritage unless we do it with a sort of wink-wink nudge-nudge air, or package it and organize it to pander to an imagined audience who might get too bothered if the music is too edgy, or too "challenging" or too, I don't know what. I mean we already know Julie did a lot of soft, creamy songs, which is part of what makes her appealing, but she did a lot of sexy songs too, but maybe that was too much for the crowd Rhino imagined this "best of" for. Sure Rhino has done a lot of great things -- the Handmade series especially -- but they just love to cheese things out, like people won't get it unless it's kitschy enough, and that's really sad.
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 250 color business cards for FREE! at Lycos Mail
Subject: Re: (exotica) CD-Rs - Labels vs. Booklets
Date: 06 Mar 2001 14:15:53 +0100
Rcbrooksod@aol.com schrieb:
>
> << Jeeze folks I'm not a total idot... :-) The side read by the laser is
> the top, right?
first I thought you are joking...
> yes, and i do think that a label would help keep the "foil" from getting
> scratched. that is where the info is.
the CD is of course read on the side where the label NOT is. insofar a label cannot possibly protect this side of the CD. Maybe against extreme cases of sun rays from its backside or something...
> i think kev was right in his assumption of such.
Subject: Re: (exotica) CD-Rs - Labels vs. Booklets
Date: 06 Mar 2001 15:55:49 +0100
Hmmm... are you saying you scratched a CD so deeply from the back side (=label side) that it became unreadable? This didn't come to my mind of course... that's a severe damage. You are talking about making a hole into a CD. I still don't think, that the additional bit of paper from a stick-on label would help much to prevent the CD from that much violence.
Subject: Re: (exotica) CD-Rs - Labels vs. Booklets
Date: 06 Mar 2001 06:58:52 -0800
Moritz R wrote:
>
> Rcbrooksod@aol.com schrieb:
>
> >
> > << Jeeze folks I'm not a total idot... :-) The side read by the laser is
> > the top, right?
>
> first I thought you are joking...
>
> > yes, and i do think that a label would help keep the "foil" from getting
> > scratched. that is where the info is.
>
> the CD is of course read on the side where the label NOT is. insofar a label cannot possibly protect this side of the CD. Maybe against extreme cases of sun rays from its backside or something...
>
> > i think kev was right in his assumption of such.
Subject: Re: (exotica) CD-Rs - Labels vs. Booklets
Date: 06 Mar 2001 15:02:51 +0000
Moritz R wrote:
>
> Hmmm... are you saying you scratched a CD so deeply from the back side (=label side) that it became unreadable? This didn't come to my mind of course... that's a severe damage. You are talking about making a hole into a CD. I still don't think, that the additional bit of paper from a stick-on label would help much to prevent the CD from that much violence.
I know nothing about CDRs, but on standard CDs the layer with the
information is much nearer the top (labelled) side, and hence can be
scratched from the top. If you look at a CD from the side you can see
the difference in the thickness of the plastic coating.
Of course the unhelpful solution is to try not to scratch either side...
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: Re: (exotica) CD-Rs - Labels vs. Booklets
Date: 06 Mar 2001 13:44:39 EST
Actually, if you get a deep enough scratch on the label side of the CD (it'll take more than just fingerprints to do it), you'll end up with a nice little "sticking" sound coming out of your speakers.
Of course, there are some CDs that actually end up sounding better this way...
-DavidH
< I know nothing about CDRs, but on standard CDs the layer with the
information is much nearer the top (labelled) side, and hence can be
scratched from the top. If you look at a CD from the side you can see
the difference in the thickness of the plastic coating. >>
and . . .
<<Hmmm... are you saying you scratched a CD so deeply from the back side
(=label side) that it became unreadable? This didn't come to my mind of
course... that's a severe damage. You are talking about making a hole into a
CD. I still don't think, that the additional bit of paper from a stick-on
label would help much to prevent the CD from that much violence.
Mo>>
i guess if we are getting technical this is what happens. the laser actually
DOES read the top of the CD. it reads little indentations in the foil. so
the laser shines up from the bottom (on most players) passes thru almost the
entire thickness of the Cd and reads the indentations in the foil which is
applied to the top of the CD.
it does not take much to damage the foil at all. if you place a sticker on
the top/foil side and then pull the sticker off, the foil will actually come
off with it. if you drop anything sharp or pointed on the top/foil of the CD
it will damage the foil.
i don't think the foil is "embedded" in the CD at all. it is applied to the
top surface and maybe lightly "coated" with some polymer to give it some
durability.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: Re: (exotica) CD-Rs - Labels vs. Booklets
Date: 06 Mar 2001 20:33:15 +0100
Rcbrooksod@aol.com schrieb:
> i don't think the foil is "embedded" in the CD at all. it is applied to the
> top surface and maybe lightly "coated" with some polymer to give it some
> durability.
I hate to admit it, but you seem to be right. I never noticed that. I always thought that the foil is in the middle of the CD body. The surfaces even seem to differ in material. when you try to scratch into them with a fingernail, the top surface seems to be softer, like clear finish, as you say.
> Anyone familiar with a German pop singer from the 60s
> called "Freddy"? I figured there might be some
> amusement value: anglicized name being responsive to
> the British pop explosion... and with just one name
> maybe a melding of Heino and Oliver?
>
> Or is he simply bad?
yes. no amusement value whatsoever. pop-singer? hmm... sang sailor shanties mostly. sounds like a softie version of Heino. non-outed gay from Hamburg. tragic: got 50$ for his million seller hit "Junge komm bald wieder", because he was just hired as a "studio singer". was in N.Y.C. for one year in 196x and thinks he is a world star since. peinlich!
Can't say that I was a big flexi fan myself (the frigging things always became unplayably bent too easily, and Eva-Tone was notorious for refusing to press your record if it had "objectable" lyrics, as a few punk bands will testify) though it's always sad to hear of yet another format biting the dust. Are there any European/Asian companies still producing them?
What I really want to know (and chances are you folks already discussed this in detail awhile ago) is who was responsible for pressing those CARDBOARD discs that used to appear on the back of cereal boxes, etc.? Were they just a flexi on top of a round piece of cardboard? (I found an Archies one a long time ago, but I ended up offering it as a premium during my station's fundraiser and another DJ nabbed it)
-DavidH
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
> Anyone familiar with a German pop singer from the 60s
> called "Freddy"? I figured there might be some
> amusement value: anglicized name being responsive to
> the British pop explosion... and with just one name
> maybe a melding of Heino and Oliver?
>
> Or is he simply bad?
yes. no amusement value whatsoever. pop-singer? hmm... sang sailor shanties mostly. sounds like a softie version of Heino. non-outed gay from Hamburg. tragic: got 50$ for his million seller hit "Junge komm bald wieder", because he was just hired as a "studio singer". was in N.Y.C. for one year in 196x and thinks he is a world star since. peinlich!
Don't know if this will be of interest to anyone here... a friend has just scanned and posted in his yahoo broiefcase some scans of Mexican Fotonovelas... the first two pages are quite 'exotica-influenced', and then there is El Santo fighting against one of those wooden dolls usually used by artists to learn how to draw.
Nice thing to see... The address is http://y42.briefcase.yahoo.com/andrescaicedo
Bye,
Manuel
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>I wonder if there's anyone who could help me with my quest for groovy soundtracks.
I would highly recommend the Jazzbeat comps, as well as the Shake Sauvage comp. Sound library tracks, with a wealth of different kinds of material you might like. And I believe that the Truck Turner soundtrack was just reissued. A lot of people like the Shaft soundtrack, but I think that's just because it's a more popular film. I think Truck Turner is a much better soundtrack, or let's just say I like listening to it, and playing it, unlike the Shaft soundtrack.
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 250 color business cards for FREE! at Lycos Mail
> > interesting music is no longer produced for the most part either.
>
> I agree with you
I really can't believe such comments. I think we are living in one of the most interesting productive period in music history. I guess it owes partly to this kind of attitude that people like Jill Mingo left this list. That is, I don't just guess - I *know* it.
Here's a quote from the popnouveau list:
> I think the new Pizzicato 5 LP is one of their best yet. I don't think it
> is particularly housey - I think it sounds very traditional and very
> poppy. Absolutely fresh and retro-influenced. Nothing mixed about it for
> me. It fucking rules!!! I can't stop listening to it, and I've never
> really been their biggest fans although I do like them (or I wouldn't
> have shelled out $30 for the CD!)
>
Mo
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
The description of the condition is what killed me. The guy wants
minimally 45 bucks for the record but says the marks on the record don't
affect the play "appreciably". Then he says "Great file copy".
Har de har har.
Sure. It plays okay. If you have two copies, this could be the copy you
don't play. Just file it away. It'll cost you 56 dollars with shipping.
AZ
-
And the irony about this is that someone who hasn't done their research will pay a lot of money for a poor copy of this instead of a few bucks for the reissue that's been floating around for a few years. But then again, I guess that's just kind of funny, someone profiting off of someone's ignorance... Am I bad? Okay. But what exactly is the purpose of a "file copy" of a record? Something you spend a lot of money on to just look at and wonder about? I don't get it. I get spending a dollar on a record in a thrift that you wonder about that isn't in great shape to see if it's something you want to look for in good shape, but I don't get spending $45 or more on something you can't even really play.
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 250 color business cards for FREE! at Lycos Mail
> > >records are for the most part no longer produced.
> > That really doesn't bother me much, because interesting music
> > is no longer produced for the most part either.
> I agree with Moritz as for me this is simply untrue. More later.
Brian... nobody is interested in this, even those who originally posted to this. ZERO reaction on almost anything interesting. I really feel like Jack Diamond now, like giving giving giving and never getting anything back. All I can say on this subject is, that there are loads of interesting new productions out there and the fact that someone just doesn't care and doesn't listen to the stuff, doesn't allow him to state, that there isn't anything at all or that music was better then. Close your ears, zip your Zombie and live in a dream world in the past.
> I hit the best places in town
> for vinyl and sifted through 5 - 6 thousand LPs. Instead of finding a
> number of OK things (only 1 copy of Bimbo Jet, Moritz) I found nothing
> whatsoever of interest.
I hope you bought the Bimbo Jet! just before I left Montreal last year I found this one record shop (the one upstairs that also sold sex magazines) stuffed with tons of records and only because I already knew I wouldn't be able to carry home one single more record I didn't go into details there. They had incredible stuff though. Have you ever checked that shop out? Did it close down?
thought this might be of interest... Emusic http://www.emusic.com/ is giving one free album downloadable, apprently you only need to give them an email and a password...
bye,
Nicola DjB
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
I am here! Actually, I keep trying to post, but I think I was using the wrong email address, so hopefully this will work.
I have been frantically buying stuff recently, more so than ever. Here's a summary:
- Today the Lalo Schifrin 'marquis de sade' LP arrived...
- Last week - 'Follow Me' soundtrack - really amazing stuff, a beautiful mix of now sound, softpop and ambient strings...
- Last week - the Hildegard Knef box set - really enjoyable, although her output is so varied in style that I am planning to distil this down into a personal 'best of', which will include her fantastic slightly psychedelic bacharach-style stuff from the late 60s.
- Last week - the vhs video of the movie 'smashing time', incredibly silly/slapstick, but very stylish movie starring Rita Tushingham
- In general - I'm getting more and more into Brazilian stuff - it turns out that Marcos Valle is even more of a genius than the 'samba 68' reissue suggests, and that Jorge Ben was/is an incredible songwriter - with stuff like 'saiupa' and 'zazueira' as well as the better known 'chove chuva' and 'mas que nada'. Elis Regina's late 60s/early 70s records/the Blue brazil vols 2 and 3 compilations...
- making lots of CD compilations, which I would love to trade with people if they are interested. Most recently I made a comp of vocal groups from around the world.
- My favorite era of music seems to have shifted... When I joined this list in '96 I think the main period I was exploring was 1956-64, while now it has shifted to more like 1966-74...
If anyone is still reading, I'm also currently working on a website about musical taste, which will feature recommendations for individual songs, each tied to one person who recommended it, but also interlinking. I will post when it is live (hopefully in the next couple of weeks).
Sorry for such a long post; it has been a long time..
cheers,
jonny
Get free personalized email at http://email.lycos.com
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
> If anyone is still reading, I'm also currently working on a website about musical taste, which will feature recommendations for individual songs, each tied to one person who recommended it, but also interlinking. I will post when it is live (hopefully in the next couple of weeks).
I think this is a good idea. music history eventually burns down to "the single song". my fave is still Some Velvet Morning, and I guess I could write a book about it. You can find the entire cosmos in one song. BTW: I just checked thorugh the "Groovin With Nancy" DVD and in the spoken comment Nancy says, that the mysterious fog you see in the background when Lee comes riding along with his horse, was in fact the smoke of a garbage burning factory. Now, next day, when I watched it again, I thought, man, how great! They should have shown a glimpse of that factory. It adds a new dimension to the video and the song.
Subject: Re: (exotica) A Brighter View of Our Dark Age of Music
Date: 13 Mar 2001 12:01:13 +0100
bigshot schrieb:
> 100 years ago, only a few scholars remembered who Bach was. The
> original manuscript for the Brandenburg Concertos was sold for
> a quarter originally. Now people all over the world have CDs of
> the Brandenburg Concertos sitting on their shelves. Even teenage
> kids know who Bach is. It's not all as bad as it seems sometimes.
that's true. Bach was all forgotten. But if you state that only the fact that he was rediscovered sheds a brighter light on our otherwise so dark age of music I still disagree.
That brings me to the question, who really rediscovered Bach and when? I only know that Jaques Lousier made him pretty popular again in the jazz scene of the 50s and beyond. For myself it owes to Walter (now Wendy) Carlos, who gave Bach a new kick. Both musicians changed Bach significantly to update him though.
Funny you mention Bach. Only last night I was in a classical concert, the first one in years, and talked to some officials of Universal about their ideas on the subject of repopularizing classical music. I stated - and still state - that since Walter Carlos nothing interesting had happened. (Deodato, Rondo Veneziano et al are rather uninteresting) Carlos advantage was, that he didn't need the classical orchestra, which is hard to afford these days, especially when you compare it to a computer programmer. (Although I must say, that it was a special experience to see all these musicians play in harmony and feel the sound surge through their ranks... yet it seemed kind of outdated - to me - sitting still for an hour et al)
As for predictions: To me the future of classicism lies in clever emotion-interactive three dimensional ambient multi-media sound installations.
> >Brian... nobody is interested in this, even those who originally posted to this.
> You mean me!
not at all. I meant "them"
> > I hope you bought the Bimbo Jet!
> But I already have three of them which is more than I have of any one
> record! Anyone out there interested?
Bimbo Jets are the precious shells to trade records from other people.
>>
>> That store is still there. It's called M.A.R.S. and its about as hospitable!
>> I've been in construction sites that are cleaner... OK, I'll go back up
>> there one more time for your sake Moritz, but if I'm never heard from again
>> someone please look for me in this dungeon of a second floor space on Ste.
>> Catherine St. West.
>
:-) Don't be afraid. It's a gold mine. The look of that shop was only designed to frighten away people like you. Don't let them fool you! If you'd survived Harry's Hafenbazar, and scratched old cat shit from even older Papua totems like I did, you'd yawn into the face of fear for the rest of your life! Go (St.) West!
Mo
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>>- Last week - 'Follow Me' soundtrack - really amazing stuff, a beautiful
mix of now sound, softpop and ambient strings...
>What is this? Who did the soundtrack? When was the movie made? Who
>directed it?
It's a 1969 movie about surfers; the soundtrack is by Stu Phillips, and also features Dino, Desi and Billy singing on some (excellent) tracks. One theme from the movie - 'thru spray colored glasses' - appears on the recently discusses 'mad mad world of soundtracks' cd. There is a different 'Follow me' from 1972 starring Mia Farrow, with a soundtrack by John Barry; I'm not sure who directed this one.
I always feel ignorant when people ask me about films. I can usually picture the cover of the soundtrack album, but only sometimes can I actually describe the film.
>>it turns out that Marcos Valle is even more of a genius than the 'samba 68' reissue
suggests,
>I bought this. It wasn't great. What have you heard that's better than
>this? What does he sound like?
I'm quite fond of 'samba '68' - particularly the warm string arrangements by Eumir Deodato. But I would understand if some people found the whole thing a bit feeble. Samba 68 was an American recording on the Verve label, and all the Marcos Valle originals sung on it are sung in English, with the often derided lyrics by Norman Gimbel and Ray Gilbert.
> I just get this feeling that there's a bunch of obscure stuff on Brazilian labels and if I heard it, I'd
>think "Oh if that's the real stuff, I think I like the UN-real stuff better".
Until the late 1970s, almost all Marcos Valle's work was recorded and released exclusively in Brazil. When he wasn't trying to please the American market, he had to a very different sound, but it definitely wasn't 'authentic'. In fact, I think it might appeal to you. It's very hard to describe, but I'll try. His work varies dramatically, ranging from some great slower numbers - percussive, with rich strings and amazing chord changes (e.g. 'Tiao Braco Forte' from 1967) through to bizarre but beautiful hybrids of soul and bossa nova, with scat vocals and a lot of harmonizing.
This doesn't really tell half the story, but if it interests you at all, I highly recommend the CD 'the essential marcos valle volume 2', which you can usually get at dustygroove. Vol 1 is also excellent, but a little less rich and more funky. Which may be what you're looking for, of course....
Thanks for your recommendations, Alan. I'm not really big on 'authenticity' either, but I think in the case of Brazilian Music (from the bossa nova era onwards, anyway), any distinction like that is pretty blurred from the beginning - it was a hybrid of styles from the start. Also, quite a few Brazilian 'greats' recorded some of their best albums in the US, with American session players (e.g. Antonio Carlos Jobim's 'Wave'). Some of my favorite 'brazilian' tracks include Claudine Longet singing 'meditation' and Percy Faith doing 'How insensitive'.
>>If anyone is still reading, I'm also currently working on a website about
>>musical taste, which will feature recommendations for individual songs,
>>each tied to one person who recommended it, but also interlinking.
>That sounds interesting.
I hope it will be; let me know if you would like a sneak preview.
btw I saw your film when it played in new york, Alan.
Fascinating stuff, and it has definitely stayed in my mind.
cheers,
jonny
Get free personalized email at http://email.lycos.com
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: (exotica) [obits] Michael Smith, Morton Downey Jr.
Date: 13 Mar 2001 11:49:22 -0500
Michael Smith
PORTLAND, Ore. (AP) -- Michael Smith, the drummer for the 1960s rock band Paul Revere and the Raiders, died March 6 in Kona, Hawaii, of natural causes. He was 58.
Smith, who played the part of the madcap jokester on stage, joined the band in 1962. The Raiders were known for their tri-cornered hats, colonial costumes and wild stage act.
The Raiders were signed by CBS' Columbia Records in 1963, and in 1965 they were hired to host ``Where the Action Is,'' a daily afternoon television show on ABC produced by Dick Clark Productions.
The Raiders' hit singles included ``Just Like Me,'' ``Kicks,'' ``Good Thing'' and ``Indian Reservation.''
---
Morton Downey Jr.
LOS ANGELES (AP) -- Morton Downey Jr., the chain-smoking, often-combative talk-show host who reigned over ``Trash TV'' in the 1980s, died Monday of lung cancer and other respiratory problems. He was 67.
A chain smoker for years until losing a lung to cancer, Downey was known for deliberately blowing smoke into the faces of guests who annoyed him when he was host of one of the most popular talk shows on television in the 1980s.
After his cancer surgery in 1996, he became an anti-smoking crusader.
Downey, who was the son of popular singer Morton Downey and his dancer-wife, Barbara Bennett, pursued a number of professions including businessman, author, radio host, singer and songwriter, composing such hit surf-rock songs as ``Pipeline'' and ``Wipeout'' in the 1960s.
(Is this true??? Somehow, I'm doubting it! - Lou)
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Gee, I'm really sorry I asked anyone about their favorite album covers the other week. I just wanted to know about some albums to look around for to see their design, beyond the albums I have, and the books of album cover art I have, and on and on and on. I didn't know that my inquisitiveness would be so awful for certain readers. Maybe I should keep this in mind and only ask about things I am certain NO ONE knows about. Or only talk about things I was really into ten years ago, like Yma Sumac, so that there's no sense of the status quo being rocked here. Or keep totally off topic and bring up things like foot fungus. I come to this list to learn. And just like many others here, there's nothing really new anyone could tell me about Sergio Mendes, or Martin Denny, but I have no problem answering questions people posit, because with knowledge comes responsibility. I just don't get why someone would be so bothered about someone bringing up topics that have been brought up before. So what? Just delete the message.
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 250 color business cards for FREE! at Lycos Mail
>>That brings me to the question, who really rediscovered Bach and >>when?
>You would have to credit Leopold Stokowski with his orchestral
>transcriptions of Bach organ works in the mid 1920s.
Actually it was Mendelssohn's 1829 performance of the St. Matthew Passion in Berlin that sparked the Bach "rediscovery." There were other activities around that time but the performance was what really pushed it out of scholarship and into the mainstream. Check the Britannica or any music history text.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>IÆm nuts about Baroque interpretations. Any favorites?
One of the nice sections of the jsbach.org site is an area where you can list out Bach recordings organized by instrument as opposed to performer or piece.
http://jsbach.org/recommendedinstrument.html
Recommended Recordings by Instrument includes such unorthodox categories as:
Accordion
Banjo
Computer
Drums
Electric Bass
Electric Guitar
Koto
Panpipe
Percussion
Saxophone
Shakuhachi
Synthesizer
Vibraphone
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
And about the discussion about lurkers... I'm usually a lurker. I have posted a couple of times but that's it. Only when I am sure no one else knows what I do (which is basically Colombian stuff).
Why is that? Several reasons. One has already been mentioned: there is people here who know a lot and I would feel embarrassed to say something stupid here.
Second, it has to do with the way I enjoy music or knowledge in general. Sometimes I don't like to own things, but just like to know they exist. It feels nice to know that the world is such a big place, full of cool things you haven't heard or known about or seen before. Sometimes I am really claustrophobic when I found out that in this city I live in (Bogotß, aprox pop: 7 million) people tend to run in circles. And you end up in a party chatting with the same guys you went to the nursery with. That's scary for me. And the list is some kind of antidote for that "shrinking world" feeling I get when that happens.
My musical tastes are varied. I like exotica but also some post-rock (Aerial M, Papa M), some pop (Belle & Sebastian), electronic music (isolΘe, rinocerose, Mouse on Mars). And my favorite music in the world right now is being made by Stereo Total. What I like the most about this list is that it isn't only music related. It's also about books and art and movies and architecture and style... that's to say that it talks about life in general.
One of my favorite discussions (certainly brief) was about that guy in the Godard movie that explains that there are two kinds of men in this world. I know it has nothing to do with music, but I think in things like that there lies a big part of the list's charm.
And my favorite filmmaker is Alexander Kluge (one of the advantages of living in the third world: touring films from the Goethe Institut, that are shown over and over again because there is nothing else for the Cineclubs to show)...
It seems to be a little late for introductions, but I just couldn't help it...
Cheers,
Manuel
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
I liked your manifesto for the real artist. I really do not deny craftmanship and skills. My only remark would be, that you shouldn't overlook the innovations that happen. To be able to deal with samples is a skill of its own and some people are better in it than others. It's just a new technology and has nothing to do with being able to tell the good from the bad and or achieving a craftmanship or making interesting music. The computer is a development unlike any other in history and will definitely change our understanding of things like craftmanship, learning and copyright.
>The creativity of chopping up someone else's work and slapping your >own name on it is lost on me.
Much of this may not be creative but some sampled work requires a great amount of talent, skill and work: people such as John Oswald, Otomo Yoshihide, John Wall, RZA, DJ Shadow, etc. Whether or not the resulting music is good or bad is a completely separate question as is whether originality should be considered a virtue (an idea that's only developed over the past two or three centuries).
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: Re: (exotica) Re: A Brighter View of Our Dark Age of Music
Date: 14 Mar 2001 16:21:37 +0100
"m.ace" schrieb:
> You complain about Magnus dismissing machine music, but
> then you dismiss live music as impractical and old fashioned.
did I?
> "Live music" on the other hand, always has an element of
> danger, and even a ritual aspect.
I can sign this statement...
what's the point i this discussion? I'm certainly not arguing about personal taste. I think it's a pity if some dismisses anything new, just because computers were used to create it. To me this has nothing to do with the quality of the music, nor with craftmanship of the producers. Even old handplayed music can sound dull and soulless. the entire thread started with the explicit statements "music was better then than now" and someone had to disagree...
>The older generations clearly win hands down on skill.
Your points were true enough but I'm not sure this one completely is. Sure the cool thing about 50s/60s "easy listening" music was that much of it was made by skilled big band vets who kept it from pure schlock (at least sometimes). But classical music critics have been complaining for years that the general level of musical skill has increased to previously unimagined levels though at the expense of personality and imagination. There's enough recorded evidence to back them up (though there are some great descriptions of professional 19th century Italian orchestras so inept that they sound like the Portsmouth Sinfonia). Lately jazz critics and older musicians have made the same argument, saying that the numerous young musicians are technical demons but don't have much individuality.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
I have a couple of interesting UK issue LPs by 'the super guitar of lightnin red' which are DL Miller productions. They are from the early 70s, and are self-conciously funky and twangy. They can get a bit much, but there are some great cuts ('caravan', 'america'). Some have a very vinnie-bell type sound, but I don't think the playing is good enough to be him.
Regarding Vinnie Bell, I found the 'airport love theme' record recently and love it.
I have his 1964 (?) LP'whistle stop' on Verve. It is an odd LP. Produced by Claus Ogerman, but to me sounds very rock'n'roll, 50s- influenced, as opposed to the great string sound I love in later albums Ogerman produced. Not really recommended.
But I would like to recommend an extremely obscure Vinnie Bell recording, which I have harped on about intermittently for years. Credited as 'the exotic guitars' (but NOT the same 'exotic guitars' which later released several albums on Ranwood), Vinnie Bell contributes 4 self-written instrumental tracks to an early 60s budget label Platters LP on Guest Star records.
Two of them are quite amazingly brilliant - one is a hawaiian-exotic cut and the other is a catchy uptempo latin-sounding number.
This LP is by the Platters, and is called 'Only you'; it pops up on ebay now and then, and can generally be had for $2 or so.
cheers,
jonny
(in nyc)
Get free personalized email at http://email.lycos.com
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
"Usselman, Lawrence J" <ljusselm@tycoelectronics.com> wrote:
If done correctly, these packages can be just as safe as custom LP mailer
cartons, if not more so. You cannot just jam an album into an assembled box
and expect it to arrive without damage.
===============
Yeah, one would think, but...
I arrived home yesterday to find a USPO Priority box containing my first eBay LP (CK, it's the Arpia vol.4). The box looked like it had been stepped on and came completely wrapped in plastic. When I removed the plastic I realized this was because the box was soaking wet. Yep, they managed to drop it in water and then seal the water in!
Fortunately the record itself was wrapped in plastic bubble wrap and the box filled with shredded paper. Miraculously, the LP arrived intact and with no evidence of the adventure the box had gone through.
Amazing though, huh?!
lousmith@pipeline.com
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>There is something about seeing an almost complete >collection in one location
>that speaks to me. I was willing to pay $15 for 10 >Streisand LPs in one whole
>bunch, but I would have never considered paying $1.50 >on ten different trips for
>10 different Streisand LPs. It might have to do with >a laziness factor .... by
>purchasing the entire group at once, you don't have >to worry about the 'Now which
>of these LPs do I already own?'
I bought almost my entire Herb Alpert and the Tijuana Brass collection in one day in thrifts in Akron. Nothing like lugging home 11 records all by one artist for under $11. And yes it was worth it. Still don't have the X-Mas album though. Looked at a CD of it this last December and thought about it, but then it didn't seem right not to have it on vinyl.
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 250 color business cards for FREE! at Lycos Mail
Maye people that complain about electronic music should take a listen to the more experimental stuff out there... I have heard really good things, adventurous, imaginative, talented, funny, smart...
OK... maybe it can not be put on some kind of pedestal to be worshipped as is the case with those 'squeezed Louis Armstrong notes' but so what? It's music. It makes people feel things. Maybe it doesn't make you feel jelous of the guy playing the guitar or in awe of him, but then those are things that distract you from the music itself.
If the problem you are having is with trance music, there are several electronic genres that are very different from that repetitive beat. Try people like Mouse on Mars, Marumari, To Rococo Rot, Schlammpeitziger... Or IsolΘe, Rinocerose and Pluxus. Or downbeat (Thievery Corporation, Howie B., etc.)
Possibly this whole discussion is more than about music. It is also about curiosity. And some people seem to be able only to feel curiosity for things made by dead people. And that seems a little strange to me. Would you prefer to know how the world used to be than to know how it is now?
I'm sure there are very reassuring things if you take that path... And that can also be a way of taking refuge of the chaos of the present. But personally I think that's what's so fascinating about living in this time.
Anyway... I'll try to look for something exotica related here in Bogota and tell you about it...
Cheers,
Manuel
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
> Would you prefer to know how the world used to be than to know how it is now?
> I'm sure there are very reassuring things if you take that path...
Interestingly enough, I read this post after returning home for a opening lecture/reception at D.C's National Building Museum for an exhibit titled "Designing Disney's Theme Parks - the Architecture of Reassurance"
Overall it is a good exhibit - lots of drawings and scale models for some of the original Disney parks from the 1950's era. This era pretty much coincides with the era that much of the mainstream exotica music was produced. .... one can see definite links between Martin Denny creating albums with different global musical themes with
Disney's Themepark with different 'themes' showing different types of neighborhoods - the adventureland, the fantsayland, and the tomorrowlands.
It was interesting to hear a lecture from an architectural viewpoint -- and hear new things - like one of the purposes of the steam train that circles the original park. It sits on a tall earthen berm, which prevents people inside the park from looking outside and seeing the everyday surburban sprawl.
This exhibit had one very bittersweet item displayed - one of the original animatronic birds from the Enchanted Tiki Room. It was nice to see the bird still working and moving, but it seems so wrong to see it displayed in a plexiglass box on a pedestal in a museum display, without all the accompanying tiki decor around it. (I pondered
whether this would be the same fate as some of the tiki items from the Kahiki restaurant) The wall displays had some of the original drawings for the tiki room display, included a sign that says the attraction requires an 'E' ticket -- on a range from 'A' to 'E', 'E' tickets were for the best exhibits. The animatronics were so novel and
so new when they first appeared - you needed the best ticket to see it, but as the years progressed, the required ticket required went lower and lower.
It's been a while since someone posted a link to the friends of the enchanted tiki room, so I thought I'd provide it here. http://www.geocities.com/disneyguy55/friendsoftiki.html
I'll close with an excerpt from the Disney exhibit book .... "The history of Disneyland makes it abundantly clear that Walt Disney saw the park as an alternative to things he didn't like about L.A., including automobility, suburban sameness, and the lack of a memorable civic center. But there were things he liked very much about the city
and intensified within the confines of the berm. Fantasy buildings, shaped like derby hats and hot dogs, that suggested what a malleable, pictorial medium architecture could be. "
Vern
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: Re: (exotica) Lenny and Fausto at the disco
Date: 15 Mar 2001 12:35:05 +0100
hey, after all these years of reading posts about Lenny Dee... could someone be so kind to throw in a Best Of compilation into the Exoticaring? I'd like to hear what I read about! Could you, Alan? You seem to like the disco phase of Dee and I like disco.
uh oh, you really know how to stir up a discussion with generalizations, Steve. Of course you know, that your craftmanship theory stands and falls with the details.
Basically your arguments are the 19th century view on the art of the 20th century. Almost all innovations of the last 100 years were accused of a lack of quality and craftmanship in the beginning. Be it Cubism, Jazz, Rock, comic strips - there were always these conservative old folks saying "he cannot play an instrument, they cannot sing, he cannot paint realistically, it's not serious, it's jungle music, it's not valuable" etc. Yet the results of all this are the arts of today and you are part of it and you like it.
the art and music of the last century - especially what we call Exotica - was heavily influenced by so called primitive arts. Going back to the roots. Don't tell me, this was because western culture was so fascinated about primitivism for its superior craftmanship. It was the opposite, it was the expression and visionary truth that counted. Futurism happened because the old mastership art of the 19th century was monolithic, reactionary and *booooring*.
One thing about mastership is that it wants to improve yet tends to repeat old patterns. That's why it always ends up in a dead end road. That's why innovation often comes from so called dilletants or from developments outside an art form.
You will have extreme difficulties to explain what good craftmanship is at all. Like f.i., wether the singing of Frank Sinatra is so good because it is so perfect - which it isn't - or because it shows expression, when he doesn't hit the right note all the time. Try to explain! You mention the Electric Light Orchestra, they could sing multi-vocally extremely well, better than the Beatles. Does it mean I have to like them more? Is this a sign of quality at all? (BTW: ELO made at least two brillant albums, but this is just my taste.) A definition of craftmanship that ignores artistic, emotional and conceptional qualities, or even personal taste, has yet to be invented. The history of craftmanship... I'd really be interested what would come out of that. I'd rather see the course of history as a dialectic exchange play between dilletants and craftsmen, each needing the other to develop.
To call "over-dubbing and sound-effects a lame-ass trick to appeal to the drug-crowd"... this is the most conservative thing I have read in a while. The funny thing is, that I know kind of what you want to say, but the way you express it, it's, sorry, nonsense. It's an argument against anything new. There was this first man in history who made music by beating a stone against a piece of wood; he did it for years and achieved mastership in it. Then came the second man stringing a skin between the ends of another piece of wood and wanted to make sounds with it. But the first man said: Don't do that. You only want to impress the drug crowd with your string. Stone music is all we need. If you practice hard enough, you can achieve mastership with the stone.
In "Fabricated music" you say "(the act of creation is) a spontaneous expression made possible by years of concentrated study of technique". Very well, I can second this, but this doesn't say anything about *which* technique. The art of sampling, f.i., is such a technique, no matter you accept it or not. History is written without your approval.
> It was interesting to hear a lecture from an architectural viewpoint -- and hear new things - like one of the purposes of the steam train that circles the original park. It sits on a tall earthen berm, which prevents people inside the park from looking outside and seeing the everyday surburban sprawl.
The parks are also designed to force visitors to view the attractions from a particular perspective. One book I read (The Art of Walt Disney, by Christopher Finch) likened it to a movie lot or being shown a real-life Disney movie with each ride being a separate film segment.
The Encounter Restaurant (which I've mentioned in several threads now) was recently remodeled by Disney Imagineers.
--
Matt Marchese
"I've been havin' this nightmare.......a real swinger of a
nightmare, too." -Frank Sinatra (The Manchurian Candidate)
LOS ANGELES (AP) -- Richard Stone, whose musical compositions for such popular cartoon shows as ``Animaniacs'' and ``Freakazoid'' won him more than a half-dozen Emmys, died Friday of pancreatic cancer. He was 47.
Stone grew up watching Warner Bros. ``Looney Tunes'' cartoons in the 1950s and '60s before going on to study cello and music composition in college.
He not only emulated the style of Carl Stalling, who composed hundreds of musical scores for classic Warner Bros. cartoons in the 1930s, '40s and '50s, but also incorporated elements of jazz, Broadway, country and rock music into his work.
Stone also carved out his own style on modern-day shows, winning seven Emmys since 1994 for such cartoons as ``Animaniacs,'' ``Freakazoid'' and ``Histeria!''
He also worked on the cartoons ``Pinky & the Brain,'' ``Taz-Mania,'' ``Road Rovers'' and ``The Sylvester & Tweety Mysteries'' and scored several movies, including the cult classics ``Sundown: The Vampire in Retreat'' and ``Pumpkinhead.''
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
In a message dated Thu, 15 Mar 2001 11:15:54 AM Eastern Standard Time, "Domenic Ciccone" <djdciccone@hotmail.com> writes:
<<
>And for those who watch Sex And The City (I'm still catching up on the
>first
>two seasons) Tipsy's music shows up from time to time in the background -
>you can't miss it!
>
Last night I was stunned when I heard Sam Paglia's "Night Club Tropez" on "Sex And The City". But I also really like the music on "The Sopranos", even though its not exotica...The other night I heard Dave 'Baby' Cortez pumping "The Happy Organ" while Anthony gave his attitude-ridden nephew some facts he "isn't gonna like to hear, but he's gonna hear it anyways and deal with it...."...JB
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>>
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
What with all the talk of soundtracks, I hope that y'all occasionally find your way to http://filmscoremonthly.com
Here's some interesting goings-on as reported on the site's home page:
James Bond Theme Trial Ongoing
News flash by Lukas Kendall
The libel trial between Monty Norman and London's Sunday Times is ongoing. I want to alert our readers to excellent, comprehensive summaries that Pete Greenhill has been providing for the John Barry newsgroup at Yahoo's egroups, as he has been attending the trial. (I think you have to sign up in order to access the board.)
Here are the daily summaries -- there apparently aren't any for days 1 and 2:
> Speaking of Nancy & Lee, here's a question from my post that was blocked
> the other week.
>
> Does anyone else have "Nancy & Lee Again" from about 1972? What do you
> think of it?
No, it's great. Not AS great as No.1, but if you're at least slightly a fan, you gotta have this. It has this little talk between Nancy and Lee, where he says, he's now going to Sweden etc. All Lee Hazlewood albums are kind of obscure, has any of them been reissued at all? I guess the most underestimated singer/songwriter of the 20th century HAS to be obscure.
> >Something can make a good sample and not be "good" in any
> >other way. I would assume that to be obvious but apparently not.
>
> I'm afraid I don't understand that at all. If something is good
> enough to steal to use in ones' own song, it must have some sort
> of value.
yes, but only because it gets a value in the new context as a sample. your answer only shows that you simply don't know how (electronic) musicians work today: I would guess that most samples come out of really obscure sources that you wouldn't want to listen to entirely. all they have is a weird little phrase that some musician believes to be valuable for a track s/he's working on. Of course one could try to rerecord that exact sound or phrase, but it would be a senseless effort, just as if you'd want to paint something, when a photo would serve the same needs. Sometimes, according to Dave, musicians just can't afford an entire orchestra, so sampling can also be seen as a form of poetic justice.
To me, an example of a "bad" sample in a song is when it is so long, you can easily figure out what it is, and then you find yourself wanting to hear the original song the sample came from. That's my only contention. A group like Tipsy does good things with samples. Quite a number of hip-hop groups, and very inept "ambient" musicians do bad things with samples.
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 250 color business cards for FREE! at Lycos Mail
> >Is there any Fellini film that Nino Rota DIDN'T make the music for?
>
> Obviously.. any film made after Rota's death..!
oops. I forgot how early Rota died. Now you bring it up, I remember it quite well though: it was the first time I had this feeling, that some essential part of the culture of the century that I love was going to die. Fellini's death was another such event. And Dali's and Kubrick's...
As for Rota covers, I have to mention the Fibonaccis, one of the bands on the Index label, that was founded by the president of the Residents fan club, Phil Culp. All of these seem to have disappeared mysteriously.
> To me, an example of a "bad" sample in a song is when it is so long, you can easily figure out what it is, and then you find yourself wanting to hear the original song the sample came from. That's my only contention. A group like Tipsy does good things with samples. Quite a number of hip-hop groups, and very inept "ambient" musicians do bad things with samples.
>
no rules! if in the context it makes sense, even a long known sample can be OK. I forgot who mentioned it, but samples can be hommages to a certain artist and songs too.
this is maybe a silly question, but can anybody tell me what the pink panther (Inspector Clouseau feature films played by Peter Sellers) has to do with the animated pink panther figure? Which was first? What's the connection?
If Allen Klein dies before Jodorowsky, then supposedly the rights to Holy Mountain and El Topo will go back to him and they can get "official" release/reissue from the original negatives. At the moment, unless Criterion or some other company can convince Klein that Jodorowsky is not the devil himself, we'll have to continue waiting. Unfortunately this problem of ownership is also why getting the soundtrack to Holy Mountain has been prevented. Klein has even threatened Criterion because of the release of Fando and Lis, which he has no rights to. From what I know, the "official" release of Holy Mountain in the UK was taken from the Japanese laser, so there's fogging and such with the nudity. Luckily I was able to see Holy Mountain on the big screen a while back, an uncut print which had material in it I had never even seen in bootlegs. At the moment I don't know who has the best available bootlegs of either movie, though Shocking Video claims to have an uncut print of El Topo that isn't from laser, and I'm sure the quality is great, from my continuing experiences with them. Still, fogging or no, these are masterpieces of film that everyone should see.
As a side note, I've been hearing a lot lately, not just from Jodorowsky himself, but from gossip as well, that Marilyn Manson may be funding the sequel to El Topo. I haven't heard if he expects a role in it though.
If you want to learn more about the problems, direct from Jodorowsky, broken English and all, look at the more or less official site: http://www.hotweird.com/jodorowsky/
There's also a link to a video interview a friend and I did with him here in Chicago, which is a bit more on the nature of the creative process.
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 250 color business cards for FREE! at Lycos Mail
> This was more or less what Karlheinz Stockhausen ranted about.
> He wrote that the use of electronic media like radio and
> tape & vinyl recordings (this was in the pre CD era) should be restricted
> to music that only could be heard in that way, i.e. electronic music.
> According to him acoustic music should only played live.
these so called avantgardists could be pretty dogmatic about their theories. Stockhausen seriously believed that his invention of the 12 tone music would guarantee Germany 100 years of leadership in music. :-D
> After Schoenberg freed music from the shackles of tonality (macrostructure), Stockhausen considered
> it his own task to free music from the shackles of acoustic texture (microstructure).
>
> Neither of them understood that music's biggest shackle would be rationalism, wich was broken
> by John Cage (psychostructure).
>
> All of the above of course in the context of Western music. In non-Western musical
> cultures such shackles are just considered to be a complete waste of time.
>
> (exit lecture mode 8^ )
wasn't it Martin Denny himself who said, he always needed noisy sounds to break the harmonic structures of his music? I mean, basically most of what we are talking about in this list is of course good ol' well-tempered western music with some occasional blue note.
thanks for the flowers! I was trying to prove in a playful way that something new can come out of sampling; I guess I succeeded.
> You truly captured it! Now you owe me fifty dollars for the performance license.
according to which law?
> You'll have to negotiate with Magnus separately.
Magnus unfortunately became a victim of his own voodoo magic last night. I guess he put the needle in the wrong puppet. As for me: I slept amazingly well!
> Guess what I think of that particular "masterpiece".
:-D Believe it or not, Steve: In the case of Marcel Duchamp's appreciation we can probably shake hands. But you can't blame him from what art-people made of him. As it is in so many cases: I consider the original gag, that this objet trouvee really was, as OK and something that had to be done once. Just once! The real problem about Marcel Duchamp are the masses of epigones and critics, who as usual completely misunderstand, take too serious and over-interpret what once was just a single provocative surrealistic prank and comment on the art market. Once it was proven that a trivial object could be declared as a piece of art, it was over. No need to prove it again, let alone again and again a thousand times. It only proves that the avantgarde today is as conservative as the conservatives.
>> An exoticat on the list, Paul Dean, loaned me Mickey One. I don't
>> know how I missed this classic film noir masterpiece. A young
>> Warren Betty is running from the mob in a dark kafka/fellini
>> shadowy world. I really recomend this film.
>Seconded. The jazz soundtrack by Eddie Sauter and >Stan Getz is phenomenal.
If you're interested you can get a great reissue of it was about twice as much material as on the original LP. The packaging is really swell too. And if you like this, a good companion album by Getz is "Focus". It's third stream jazz though so expect to be thrown by the classic music elements.
Mr. Unlucky
Get 250 color business cards for FREE! at Lycos Mail
> For me part of the problem remained not knowing where the label fit after
> the new wave ended.
that's true. they have gone a bit too far into this noisy neo teutonic concept art scene for my taste. Where's the silly pop fun of Silicon Teens today? Or gay disco like the Communards? It has all become so dead serious.
> heard Johhny Cash singing I walk the Line in German it souds VERY weird at
> least to me.
:-) to me it sounds just plain cute, really.
> But he shouldn't have stopped > working with Bruno S. or whatever that Wild Man Fischer clone was called.
> You mean Klaus Kinski probably. I don't think Bruno Ganz qualifies as a
> Wild Man Fischer clone...
It's strange: As different as these subjects we currently discuss sound: Mute, art, German film... I think they all have the same problems today:over-conceptionalistion on cost of humor. Too much "serious" "theater", too little pop. Too "tough", not easy enough. Actually, the more I think about it, the concept of Neo-Easy Listening is more revolutionary than I ever thought. But try to explain that to art people or filmmakers of the kind of Herzog etc. ... no way they understand!
> Mr. bigshot only likes art. He doesn't waste his time with craft.
> Because craft isn't art.
No I don't think that's what he meant. Rather the opposite: art is only good if it is based on "skills" i.e. craft. I *think* that's what he meant.
So what is art? I guess since 100 years art doesn't want to be defined any more. And before, it didn't have to be defined, because it was clear what it was: it was craft. I think I even understand why Steve feels uncomfortable with today's art. because it feels free to define itself and by that opens doors for every charlatan on the scene to step in. maybe the charlatans have even taken over the scene. they control the white cubes, they control the art press. I know how it is.
Still I don't see a point in attacking the freedom of art and making rules. making rules in art can only lead to contradictions. Freedom is the duty of art today. maybe that's because what once was done by handicraft is now done by technology. When photography was invented, painting obviously lost a lot of its businesses. At that point painting became free. A painter didn't have to dublicate reality, s/he could paint phantasies, abstract or whatever. It was good. It was a progress for the human mind.
But this is a long time ago. All avantgarde concepts are dead now. They have no answers for the future. but the avantgardists control the art scene. they don't understand exotica. they don't understand tiki. that can make one mad. but as OK as it is to fight against these people, it would be a mistake to throw out the baby with the bathwater and go back to the thinking of the times before the avantgarde. We can only go further and I didn't read much about that in Steve's theories.
But I understand what makes him mad. I guess in 75% of the cases it's the same things that make me mad. But I blame other reasons for it. For instance capitalism. I think that capitalist freedom has made the word freedom problematic. I think it's there, where one has to dig, if s/he wants to find out what's wrong with art today. And now I'm finally arriving on far-off-topic ground.
> Its so easy but I cant define it. Humour is absolutely necessary, but
> also the dark. It must have something hidden in it, a mystery.
Very well... 100% d'accord! But these things can be embedded in very different scripts. Intellectual constructions, cool strategies etc. You may not even be able to read most of them. I think art should also be kind of explicit, easy to read. Some people would call this "entertaining"; yes, I think art should entertain. From the cradle to the grave ;-)
>This has almost happened! A hymn used in the Catholic church called >"Living In All Men" is a lyrical re-write of Bob Dylan's "Blowin' In >The Wind"!
Guillame Dufay, wrote the "Messe L'Homme Arme", which was a Mass based on a melody of a popular song of his day. This was all the way back in the 15th century, which is a length of time that almost Dufays description.
Sorry,
Brian Phillips
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
I knew eventually the thread of arts vs. craft would lead us to The Shaggs. That would be the example I would use to show that you don't have to be an 'artist' (in the elitist sense of the world) to do mind opening stuff (or art or whatever you want to call it).
But then again I knew that Steven would probably laugh at someone saying that the Shaggs might be the only reason mankind was put on earth (which might be the case).
I have always hated virtuoso players. There is nothing there but ego, ego, ego. They want to be looked at, they want to be adored, they want to be imitated... it's not enough to express themselves, they want all the other stuff. And that's why I think The Shaggs are so great: no ego, no need to please the masses, just "The Shaggs own thing".
In part that is why I think we are living in such a great time. Now you don't need to develop your chops over 20 years to be able to do music. That might sound like a nightmarish scenario to Steven but for me is just heaven. I can imagine paradise as a place where people do the things they want to do just because of themselves, not to impress or to 'get chicks' or become famous, or any of those silly reasons that people have in their heads while doing things.
I had some more to say (about Wenders and how Wings of desire is the beginning of the end for him) but I'll leave that for later.
And since there are so much comic lovers here I have to recommend Hicksville, it's a comic book by Dylan Horrock, a New Zelander artist. It's simple and pretty and smart and a complete hommage to comics and why people like them. It's not that polished so people who want their comic drawings perfectly neat might be disappointed. But for those who prefer a little piece of truth over the polish earned by years of 'working your chops'... well it is great.
It's so good I begun to read it and stopped after a couple of chapters. Because I wanted it to last for ever. But I finished up reading it, and liking it a lot.
Oh... and about weird movies... my favorite movie is a weird one: Celine et Julie vont en bateau. Three hours of narrative loopholes, directed by New Wave maestro Jacques Rivette. It's not weird in the same vein as Jodorowski (there are no midgets or mutilated actors), but the structure is so strange I just couldn't stop grinning all the way (and it lasts for more than 3 hours). It's a movie I would compare to The Shaggs, it so different from everything else that you have no idea where it's going to turn next.
Bye,
Manuel
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
This happened to me this morning; it was like a dream sequence from a record collector's movie:
I was going to a record trade market to find an extremely rare record...
The thing is, I own this one already, it's the RAH Band's "Crunch & Beyond", but a friend of mine, Andreas, had been talking into me to buy it from me for almost a year now, constantly increasing his offers. The other week he arrived at 50.-DM, which is 23$ and he urged me to sell it to him, because he is going to DJ by the end of next week and badly wanted to have this.
So I gave it another try and listened to my "Crunch & Beyond" again, only to find that I liked each and every track on it better than ever. I just didn't want to sell it. I called some used record shops, but nobody had it.
So I decided to go to this record fair, which is only taking place every 2 months or so. I was very early, most dealers were just opening their stands. My hopes to find "Crunch & Beyond" were not very high. I went to the first stand that was in my way, and went through the first box of records, and, I'm not kidding: the sixth or seventh record was "Crunch & Beyond"!!! I couldn't believe my eyes! And it was prized for only 7.- Marks! I had paid for my copy 25.-DM last year. I was so excited, I thought I was dreaming. So I went to the guy and said "I want this one". And he wanted only 5.- Marks from me! It was unbelievable!
The story is not over yet. I went to the next stand, and - well, I make it short this time: I found "Crunch & Beyond" again, this time for 12.-Marks. This was so f.....g unlikely! Of course I wanted to buy it once more, the only problem was, that there was nobody at that stand to sell it to me; apparently they had gone for a coffee or something, so I decided to take the album and come back later to buy it, as I was afraid that someone else would buy it meanwhile.
OK, I spent an hour or so, buying this and that, then I went back to the stand, or better: to the place where the stand WAS. The entire stand was gone and nobody knew whose it had been! It was still kind of early, why the hell had they left? Well... here I was with my RAH Band album and no way to find out to whom I owed 12.-DM. I really didn't mean to steal a record, but as it looked I had no chance NOT to. Jeesh, what a pity ;-) So I went home, singing loudly along and banging on the stearing wheel of my car to the beat of Frankie Laine's "Wanted Man"...
Magnus, something had been completely going wrong with your voodoo punishment against me!
> >And maybe I missed this thread, but would Warhol be considered art then?
>
> I would consider him an artist. But not a very good one.
I know why: Because Warhol sort of invented this "bad is good" concept; that's what Pop Art is all about. Subsequently Warhol was one of the losers of the art market collapse of the late 80s. Especially the prices of his silk screen prints went down remarkably.
Still Pop Art was the one direction in the art of the second part of the 20th century, that filled me with the most hope and has influenced the best things in our present culture. Is that a contradiction? Not if you see art in a context.
> As much as I love The Shaggs, I still can't put my finger on what makes
> them so special. Is it their innocence? Is it the fact that it was actually
> put out on record? There must be a zillion bands out there that are just
> as inept as The Shaggs
I think it was some kind of historic coincidence. When the idea of "incredibly strange music" was invented, the Shaggs were one of the first examples and everybody got to know them. It could have been any other record of that kind as well.
> The one advantage that classical music has is time. Most of the
> totally worthless dreck has fallen out of circulation in the
> hundreds of years of changes in repetoire.
this statement is a total contradiction to what you said about Bach. Apparently he was down and out for 200 years, considered as the dry calculating mathematics musician, and then rediscovered and now we think he's the greatest.
> No more alcohol for me. Never. We dont mix anymore.
as I always said: alkohol is one of the hardest drugs. But isn't a Scandinavian without alcohol like a Rasta without Reggae?
> Nice story about the record, but... are you sure it was not just a dream?
maybe it was a dream. but how did all these records come here?
> Why did you need two copies?
would you not buy any, say, M.D. Exotica for 2$? like for a friend, or for sale? I bought 10 Bimbo Jets and 15 Whipped Creams, when I could get them for one buck each.
the question was not, why anbody would love the Shaggs, but why they became so incredibly well-known from a certain point in history. And I believe this point in history was sometime in the mid-eighties, not in the 60s, and it had something to do with their representation in this book "Inredible Strange Music", which - by the way - helped a lot of other musicians to get some new attention and make a comeback, f.i. Esquivel. Is that a strange theory?
I think the thing that separates the Shaggs from other less capable musicians is sincerity. The Shaggs didn't get recorded because they were trying to score a record deal or become rock stars, but because their dad thought they were great. For every kind of record by people like the Shaggs, or Kali Bahlu, or Angelique the "singing model" (which by the way falls into the discussion of "vinyl vixen" covers -- good cover, terrible terrible singer), are about 500 albums by people who really want to be rock stars. After years of sifting through promos, the sad part I find is that a lot of people who put out albums hoping to make it big, are a combination of things, but typically they lack sincerity, creativity, enthusiasm, and maybe vision. I would much rather listen to a quirky album by someone who is driven by their own highly personal visions, even if they have little talent or skill, than by dime-a-dozen copy cat groups who strive for nothing more than to be rich and famous.
Sure you can put down the Shaggs because of problems they encountered in the studio, as well as their lack of skill, and less than typical lyrics, but they are still so unique and sincere, it's hard to keep away from them. But from their first album to second was a lot more practice, which made a big difference. The same thing could be found with the Kids from Widney High. The first album was visionary. The second album was so polished and poised for artistic acceptance, that it had more in common with the sound of a Paul Simon world music-styled album than with the Shaggs, to the point where it was really dull, which is what makes it unlistenable -- not because of poor musicianship or puzzling songs about insects.
We can only hope that hipsters listening to the Shaggs because someone told them how awful it was, comes to understand the intention of the sisters, and then listen to them because their music was honest, and not listen to them for the sake of being ironic.
Mr. Unlucky
(Looking for a new DJing gig...)
Get 250 color business cards for FREE! at Lycos Mail
Did anyone happen to read the article on The Shaggs in The New Yorker a year or two ago? Its probably in their online archives and I would recommend a close reading of it.
The article points out that far from being naive genuises, the Wiggins sisters absolutely hated having to write, play or perform and had zero interest in music. It was their father who wanted to cash in on the teen rock groups ... The Monkees, The Partridge Family et al ... who picked out each daughter's instrument and drilled them regularly in practice sessions that were like torture. The few times Shaggs played live the audience stared in dumbfounded amazement ... even in the irony-free early 70s, the audience suspected it was all a gag.
I haven't heard the entire Shaggs album ,just a few cuts here and there. Frankly, I hear a good deal of passive-aggressiveness in it ... its almost as though they wanted to make it as God-awful as possible in order to be released from the bondage they labored under. If you've had your doors of perception blown off their hinges by listening to the Shaggs, that's great.
Pablo
Get 250 color business cards for FREE! at Lycos Mail
"...Warhol sort of invented this "bad is good" concept; that's what Pop Art is all about."
~~> I think Clement Greenberg is spinning in his grave right now. But proceed to law Greenberg low. He won't kick. Pop Art really wasn't about "bad is good" but more about how art had returned to its "craft" roots. A newspaper comic strip or a soup can were just as artistic as an Academic painting. Its no coincidence that most of the Pop artists worked in advertising and graphic design before being discovered.
"Subsequently Warhol was one of
the losers of the art market collapse of the late 80s. Especially the prices of his silk screen prints went down remarkably." ~~> Warhol's value went down because he started doing repitious crap after the 60s. Frankly, Andy was famous because he *was* famous and because he hung around famous people. He learned this from Dali, who had stopped doing anything interesting after the mid 40s. This all comes, in a Modern sense, from Oscar Wilde ... whose talent never diminished.
Anyway, what was Pop art ... warmed over Dadaism. As Man ray said "I made Dada when I was five and was roundly spanked for it." Testify, Brother Man Ray!
Pablo
Get 250 color business cards for FREE! at Lycos Mail
thus spake m.ace (and the multitudes were glad thereof): "Who knows what may have been lost? You may say, "But it DOES
work -- Bach was rediscovered!" To which I reply, "Yes, Bach was lucky --
and he had a long-term gig which set up some notoriety for him -- but what
about the others who weren't so lucky?"
~~> while its true that Bach disappeared from musical performance for nealy 100 years, it isn't likely that he would have been extinguished entirely and absolutely. Bach's works were widely published and he had a plethora of musical offspring (a plethora is defined as more than two and less than 18) who were dispersed to the musical courts of Germany (altho it wasn't called Germany at that time). His eldest son, Wilhelm Feideman bach was selling manuscript copies in order to raise ready cash for more drinking a merry making. I think Fats Waller summed it up best with "I've come to the conclusion that Bach is here to stay."
Get 250 color business cards for FREE! at Lycos Mail
I listened to the new Tipsy yesterday, and I must say, it's amazing. It's probably the most pictorial music I have ever heard. It's like an acoustic caleidoscope of the exotic, a film for the ears, the perfect sound environment for bars, pools and public places. A true monument of the art of sampling.
I was disappointed though by the rhythms. I missed the persuasive hypnotic beats a la Cinnabar from the first album. Nothing to dance to, it didn't put me in trance like Triptease did.
> after hearing the nominated song from "Crouching Tiger Hidden Dragon", I'm not sure I want to see the movie.
The film is great, the genre isn't new. Make sure you see films by Tsui Hark or directors related to him: A Chinese Ghost Story, Peking Opera Blues, Once Upon a Time in China, Sword Man, etc. Many of them have second and third volumes, many come as originals with French subtitles. My favorite film of all times from this genre is: Swordman 2.
> I try to tell myself: they came from 1975 to 80. No cool electronic sounds at that time, too late"
1975 to 80 was a time with the coolest electronic sounds ever. What are you talking about, Magnus? Anything that made electronic music really take off, started then: Moroder, Kraftwerk, Disco, New Wave.. whatever!
> I think the thing that separates the Shaggs from other less capable musicians is sincerity. The Shaggs didn't get recorded because they were trying to score a record deal or become rock stars
just like lots of others, but OK, it sure was one of the things that was good about them.
> I would much rather listen to a quirky album by someone who is driven by their own highly personal visions, even if they have little talent or skill
but this is the question! (as if we didn't have a lengthy debate about it just recently) To have visions *is* a talent, to be able to play an instrument is only a talent, if there is a vision involved with it. Otherwise the player has just developed the skill to be come a machine. I think this is basically why Steve's argumentation had to fail.
> And I just think its great the way most of Andy Warhol's work >wasn't created by him. The whole idea of mass production and >the 'Factory' is so late 20th century.
Or very 16th century. Renaissance workshops weren't engaged in mass production but otherwise the system was practically the same (giving generations of art historians and museum curators careers sorting it out).
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
> With Bach it wasn't so much a matter of the music falling out
> of the repetoire because it was bad, as much as it was a matter
> of it becoming inconvenient to perform.
na ja... ok... i still think, and that's what I wanted to remark, that ageing does not automatically tell the good from the bad. (my father always told me this lie: "quality will always succeed in the long run" I don't believe it!) Each age has its own point of view on the past and there's a constant selecting, abondaning and rediscovering. Quality is relative to the expectation a potential recipient has towards art.
> Most of the time, it reminds you of your favorite music from way
> back when, it's because it's the same music. When my boss did
> the Ren & Stimpy show, he didn't have much money for music scores.
>
Some tunes in Ren & Stimpy are excellent choices and definitely owe to the success of the show. I'd really like to know what some of these pieces are; one mysterious melody I heard a couple of times in different episodes is played by some bells. It appears f.i. in the episode Yak Shaving Day, when the yak comes out of the bath tub at night. Do you happen to know what I'm talking about?
Speaking of film music: It's still a shame how film music and sound engeneering is underestimated. You could clearly see this again when you watched a bit of the academy award show. For me the soundtrack is really half of the truth of a film and the artists who work on it deserve the same attention as the rest.
> Before you start claiming victory and slapping yourself on the
> back in congratulation, you might want to acknowledge what I
> actually said instead of putting words in my mouth.
come on, Steve. This is not about winning. I actually believe, this was, what you quintessentially said. If you see things in a more differentiated light now, the better. I have definitely profitted from the discussion and consider your points as valuable for me, even if I see things a bit different here and there. I'd count that, if anything, as a victory, but hopefully not only for me.
>To have visions *is* a talent, to be able to play an
>instrument is only a talent, if there is a vision involved with it.
>Otherwise the player has just developed the skill to be come a machine. I
>think this is basically why Steve's argumentation had to fail.
I don't exactly think that having a vision equals having a talent. I do think that many have visions without the skills to execute their ideas as precisely as they can conceive them. And I also think that a lot of people have talent or skills, but no visions or ideas to execute with that talent. Like a lot of self-taught artists, who are perhaps assaulted with hallucinations and try to paint or draw what they see. They might come up with some strange art done in crayons that is interesting despite lack of artistic skill. And certainly there are many with perhaps musical skills and training who have no personal ideas to execute -- perhaps they end up becoming producers or playing in a symphony.
The Shaggs had some training, they wrote some unusual but intriguing song lyrics, their father put them into a studio, they did what they could. But I don't think it would have endured if it wasn't likeable, or if the punk movement or No Wave movement hadn't happened, or if there hadn't been something else to compare it to for a reference point. There are plenty of other artists out there who have made not so good music but had these fascinating ideas to explore. The Shaggs are good for a laugh, or because they make your brain stop working for a few minutes. They provide a reference point toward which to try to understand personal values and opinions about art. Like, what is good music as opposed to bad music? Those things some of us have been trying to come to terms with on this list. But who wants to talk about the Kids from Widney High? No one, cause it's not nice to make fun of kids with disabilities.
Mr. Unlucky
Get 250 color business cards for FREE! at Lycos Mail
I think that the soundtrack is MORE than half of the truth of a film.
Watch a Hitchcock film with the sound off. Then listen to the film without
watching it. The sound is what gives the film it's atmosphere and emotion.
The picture gives the atmosphere a context and functions to distract and hypnotise the audience, letting the soundtrack work on a more unconscioius
level.
Moritz R wrote:
> Speaking of film music: It's still a shame how film music and sound engeneering is underestimated. You could clearly see this again when you watched a bit of the academy award show. For me the soundtrack is really half of the truth of a film and the artists who work on it deserve the same attention as the rest.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Where did you find this? I wasn't aware this was ever translated into English...
Magnus Sandberg wrote:
>My paranoia is that it feels like we are leaving
> something I consider "essential" to man, nature, into a cyberworld
> without any real values. In my little world digital technology and plastic
> just is not nature
I think everybody with a heart knows this feeling. I do think though, it is in fact paranoia. It's an illusion that the world was better in the past. It depends on what you focus your attention on. If you'd really had lived in the 50s, in that glorious time when your favorite music was played, you'd seen other things, that you would not have liked. Most people, who were our age in the 50s, tell us, that the 50s were an awful time, full of cold war, sexual repression, hunger in the 3rd world, ethnic intolerance... What you see of it today, are the few pearls of human creativity that always helped to make the planet a better place. You are one of these creative people and you can be happy about it without any feeling of guilt.
> in my work anger desperation hate and violence has been the key ingridience. And one part of me is ashamed over this.
But that's alright, Magnus! The dark things are also important and helpful for others. Burn your feelings of guilt! Put ice cubes into the shirt of shame!
I just bought a dual CD player/CDR-Maker (free-standing). Question: Can I put more than one CD-Single onto a CD-R? I am unable to get the CD-R to allow me to go beyond track #1.I am attempting to make a compilation of about 15 CD-Singles I have laying around. I am not going through my computer...Am I doing something wrong? Am I missing something?? Anyone??? Thanks in advance...JB
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>A friend of mine rents PA equipment for concerts, and >one gig he did was for a Mongoloid Choir singing a >tribute to the Beatles. They had hired a pickup band >and took turns singing the lead. My friend ran a
>tape on the show with the Producers blessing. He >played it for me once and it is just as jaw >droppingly bad as the Shaggs. In particular, there is >a hollered version of "YEDDUH-DAY" that could peel >paint off a wall.
I think your friend could make money not only off of people like us who like weird music, but obsessive Beatles fans who want every cover version around of the foursome's songs.
Mr. Unlucky
Get 250 color business cards for FREE! at Lycos Mail
> >I actually believe, this was, what you quintessentially said.
> >If you see things in a more differentiated light now, the better.
>
> Hehehe... There's an interesting logical fallacy in those two
> sentences.
I don't see that, sorry.
> There ya go...
I went already. For me this discussion was over and - as I said - i appreciated your comments as much as I disagreed with some of them.
Let me just say, that in some cases my English doesn't seem to be good enough to detect every nuance or "tone" in what you, or others, said. The same goes with my own comments, which may sometimes sound to your ears different than I meant them. Especially in things philosophical it's extra hard, as I can only fall back upon terms I know from my (German) language. A literal translation often fails, as a native English speaking person not only speaks a different language, but also comes from a different education in the arts and the humanities.
I mean I'm glad that there is something like an international language and I have nothing against the fact that it turned out to be English - and not Esperanto. Although I must admit that for Germans, Dutch and Swedes English is by far easier to learn, than it is for instance for French, Italians or Spanish people, let alone Japanese. Therefore if your native language is English, you will always have a certain advantage. I only hope you keep this in mind a bit and take not for granted that the rest of the world speaks your language!
And let me say something else - and I really don't mean it offensive (I include myself in here from the beginning): My grandmother used to call philosophy "a game of the male mind". I don't know if you noticed, but in such discussions the ladies of this list never participate and I guess it's because there is a lot of male domination involved in it. I became aware of this when you said this thing with "winning the argument" or so. I don't exclude myself from this, really. I think there is something to think about for all of us. There is nothing to win in our discussions than enlightment for everybody, how ever controverse the discussion is going. And I hope it will not be the last!
> That's weird! I got a box of Tevion CD-Rs (74 mins.) for x-mas and they were
> the worst I ever had.
Strange. I had no problems whatsoever with them so far... and I burnt something like 40 of them. Tevion seems to have improved the CD-R80.
The entire CD-R complex remains a mystery. I have heard so many theories now, why anything works out better than something else, be it the color of the media, the brand, the burners, the software or the system, and still there seems to be no logical explanation why you would get a problem with a specific CD-R. To me it seems that random mistakes, where ever they may occur, are the real reasons for failures. You can't protect yourself against it.
Subject: (exotica) 1st CD with copy protection out
Date: 28 Mar 2001 16:56:38 +0200
Mike Ace has mentioned it recently, now it's getting serious: the first CD is on the market now, that cannot be copied anymore. The artist's name is Charlie Pride. Can anybody from the US get and test it for all of us?
I wonder if they really sell more CDs with this copy protection. Maybe the really big pop acts, but many artists will sell less, because nobody will know that their CDs exist at all.
Subject: Re: (exotica) 1st CD with copy protection out
Date: 28 Mar 2001 11:04:20 -0500
>the first CD is on the market now, that cannot be copied anymore. >The artist's name is Charlie Pride. Can anybody from the US get and >test it for all of us?
The Pride CD isn't copy protected in the normal sense since there's nothing that prevents copying (though industry reports all call it that). Basically, the disc is designed so that it won't play in CD-ROM drives using a directory kludge that's been around for a few years. The idea is that if you can't pop it into your computer's CD-ROM then you won't burn CD-R copies or MP3s. Of course you can always feed a standard CD output into your computer and accomplish the same thing (but probably with some signal loss depending on your setup) but they're betting that most people won't bother with that. The annoying thing is that I use my computer to play discs at work and a different room of my apt plus many car CD players are actually CD-ROM based so these discs won't work there. In other words, the labels are betting on a technology (this one anyway, it may get more sophisticated) that will alienate a fairly significant number of everyday users but will barely slow down anybody!
!
with even a minor interest in bypassing it. Hmmm.
LT
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
> <<shit...too bad u missed the 80's...now THAT was a sucky decade..JB>>
>
> Hey, wait-a-minute! I loved the 80's - Flock of Seagulls, cool shirts with all those flaps and buttons, Tears for Fears, DEVO (new to me then at least) - that HOT girl from Missing Persons and her plastic bra..........
>
> - Nate
>
You must be a mutant or something!
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: Re: RE: (exotica) Classical music and Alan's dilemma.....
Date: 29 Mar 2001 10:21:56 -0500
>There's just too much to learn to get into all that.
Sounds to me like you got a classical snob or at best a fan who can't communicate with non-fans. You don't have to know all that stuff, though like anything more knowledge always helps. Don't worry too much about whether you're getting the "right" recordings because there aren't any: classical buffs will argue about these for ever (opera fans are the worst) and too much of that is just trivial. There's been some mention of Stokowski's orchestrations of Bach on the list recently; classical types nowadays generally think these are tacky but I think they're a hoot and there's always plenty of "authentic" Bach around if that's what you prefer.
There's probably some radio station in your area that broadcasts classical and most public libraries have albums that can be checked out for free. The Naxos label has an almost endless list of inexpensive ($US 5 to 6) discs covering the gamut from medieval to avant-garde and they generally get positive reviews. One guide book that I've found amusing and helpful is Jim Sveda's Record Shelf Guide though I think it's out of print now (his radio show is still on). The best general history I've found is Jan Swafford's Vintage Guide to Classical Music.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
In a message dated Thu, 29 Mar 2001 12:04:20 AM Eastern Standard Time, alan zweig <azed@pathcom.com> writes:
At 11:21 PM 3/28/01 -0500, Bruce Lenkei wrote:
>
>
>I recently pruchased my first "Up with People" album and am enjoying it
>quite a bit. The title song is a damn catchy tune. My question is:
>Is there more than one UWP album out there, or is this it?
I bet there's a hundred more. But I have three.
I kind of like a couple of the songs too but I'm not sure you need more
than one.
On the other hand, there's a slow and a more rockin version of their theme
song and you probably should have both.
Being that you're an Up With People completist.
I actually found one i liked that has a lot of now sound type tunes on it...it was in the wrong "Up With People" cover, but an Up With People cover anyway. so I don't remember the title...If you look closely at the one with the white cover and red print you will see U.W.P. member Glenn Close (spelled Gleen Close) a-singin' with the crew..JB
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>>
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>Does anybody know anything about how music enters >your brain?
>
>AZ
I think it goes into holes in your ears. Then it swirls around for a while, seeking the lowest point to exit out. Then, later, when you have a bowel movement, it comes out. It's very messy. I would avoid it. And then when you get older you might have to wear diapers.
I don't think it's fair to compare classical with other music forms, refering to the earlier arguements. You just end up arguing emotional points. Classical is better than jazz because I like it more. Or, When you listen to classical music you feel deeper emotions. These are personal interpretations. I've felt emotions listening to Coltrane's Interstellar Space that I can't even describe. Same with Tod Dockstader. Same with works by Xenakis. For easy music I could say that I typically feel a sense of overwhelming calm and excitement at the same time, like I do with Sergio Mendes, which typifies a wide assortment of ideas and musical styles that I like in the whole easy music area. But I would imagine that I feel things with some albums that are not that different from the things some people feel when listening to, yawn, Mozart. (Fun to perform but not as fun to listen to, but that's just me.)
Sound experience is all about those little hairs in your inner ear vibrating, right? So classical music typically has far more instruments making noise than, say, a jazz band. And exotica has more instruments typically than the average jazz band. And then ambient music or musique concrete has hardly any. Then does the arguement become something like one can enjoy ambient music only about a tenth as much as classical? And if you enjoy, say, ambient music more than classical, does that mean you have hearing loss (which I know I do from some ear operations)? And what if you don't like the new Tipsy as much as the first one?
Mr. Unlucky
Get 250 color business cards for FREE! at Lycos Mail
> I know that it is sort of about the music. It's always partly about the music.
> But if you're sitting in a club and a piece of music comes on and you go
> "Ooh, this is Lush Life. Have you heard the Johnny Hartman/John Coltrane
> version?", is that about appreciating the music more?
> I'm not sure.
I'm not sure either, but I think it's about communication among men. Women do it all the time, about everything, men need things like "music" or "football", to get it going. If you want to call in notorious theories about men being hunters and women collectively growing up children, you may come to simple explanations, perhaps too simple, I don't know. But since men had to communicate silently during the hunt, they had time to analyze what they saw and heard later, sitting around the fire. If they had recordings of what they heard, they would already almost be like you and me. In painting it probably was like that: the first paintings were portraits of hunting preys performed with ashes. This sounds really like Flintstone theory, but you demanded it, when you wrote:
> Anyway I'm thinking about a lot of very basic questions.
> If you'd like me to provide you with links to webpages with scientific
> research on this, I'd be happy to look them up.
>
That's nice, thank you, although I don't think I have a lot of time to go much deeper into this. Besides the endless hours I spend with the exotica list, I have to - last not least - get some work done ;-) Actually my brand of CDRs work really fine with my burner now and as long as this's the case, I'm happy. It's strange though that my usual daily computer news servers never had a story about burning problems. I guess the scientists may not have come to a conclusion about it themselves - or they don't know the sources that you know.
John A. Alonzo, a Hollywood cinematographer, died on March 13 in Los Angeles. He was 66.
Mr. Alonzo was nominated for an Academy Award for his work on Roman Polanski's 1974 murder mystery, "Chinatown," which starred Jack Nicholson and Faye Dunaway. His other credits included "Harold and Maude," "Norma Rae," "Black Sunday," "The Bad News Bears", "Vanishing Point" and "Star Trek: Generations". He also contributed special material to "Close Encounters of the Third Kind." One of his early short subjects, "The Legend of Jimmy Blue Eyes," also received an Oscar nomination.
Born in Dallas, Mr. Alonzo grew up in Guadalajara, Mexico, and Los Angeles. He started working in television and then tried his hand at acting, playing bit parts in several films including "The Magnificent Seven." He also photographed a television series for National Geographic, and directed the television films "Belle Starr," with Elizabeth Montgomery as the Western outlaw, and "Blinded by the Light," about a religious cult, with Kristy McNichol.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
> In a message dated 3/29/1 1:52:59 PM, clayton.black@washcoll.edu wrote:
>
> >I don't really think I'd want to go back
> >(certainly not to the 70s, which, I agree with bigshot, was a time of
> >wretched, albeit humorous in retrospect, aesthetics).
>
> But remember, the Soul-Funk-Disco sounds were at their analogue besssst then.
> Black Music, particularly the LP really peaked in creativity at that time.
> The lushness, the hard-driven funk, the rare groove, the beauty of the group
> ballad, the use of bass as a clearer aural driving force behind the music,
> have an everlasting sound that got kicked to the curb by the digital and
> synth era of the 8T's.
D'accord totale. It only proves again that it is pointless to speak of "the 70s". One has to make clear wether one doesn't like the jazz of the 70s, the rock, the disco, the soul, the hip hop, the punk, the electronic music or whatever. It's pointless to attack a decade so diverse as the 70s. fact is that not only Tanaka is currently reintroducing disco into contempory music, plus you've gotta be aware that it's meant as dance music.
> I'm confused by your phrase that I didn't post about anyone else -
> I'm surprised that you didn't mention John Phillips... and noone else either.
"noone else" isn't referring to "John Phillips" here, but to "you". I thought that the Mamas and the Papas would be important enough, that at least a few people would comment a bit on Phillip's death, but....
> >One of the "themes" of my film was that record collecting is NOT
> >about the music.
>
> Huh? It's all about the music, isn't it?
You've gotta see that film, really, and you will not be so sure about it anymore, I can tell you. Like: what is it about when someone collects the very same version of the same song by the same artist a dozen of times just to own every possible pressing that was ever made of this song? Or this one weirdo, who claims that he can tell you by heart every tracklist of each of his 100.000 or so albums... boy, Alan, why didn't you let me get your film broadcasted in Germany? What a loss!
> I don't think it's fair to compare classical with other music forms, refering to the earlier arguements.
My friend, who ran the Jazz department of Universal for years and recently took over the Classical department as well, says, it's all Classical music to him. He doesn't want to make a difference between Jazz and Classical, saying that any music eventually will become classical music. He gets a lot of contradiction from the Classical circles for that, but I can see his point. So all you lovers of Classical music, be prepared for a flood of new releases from Universal soon!
> So classical music typically has far more instruments making noise than, say, a jazz band. And exotica has more instruments typically than the average jazz band. And then ambient music or musique concrete has hardly any.
Subject: (exotica) Beach Music Official in S.Carolina
Date: 30 Mar 2001 10:28:13 -0500
Beach Music Official in S.Carolina
By THE ASSOCIATED PRESS
Filed at 8:16 a.m. ET
COLUMBIA, S.C. (AP) -- Put on your dancing shoes.
Gov. Jim Hodges has signed a bill to make beach music the official popular music of South Carolina.
``Beach music is the music of South Carolina,'' Hodges said in signing the bill Wednesday. ``This new law is an opportunity to honor local artists who have made beach music the international language of good times.''
The law makes beach music the second official state music. In 1999, Hodges signed legislation designating the spiritual as the state's official music.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
In a message dated Thu, 29 Mar 2001 8:34:38 PM Eastern Standard Time, "cheryl" <cheryls@dsuper.net> writes:
<<
>
> >One of the "themes" of my film was that record collecting is NOT
> >about the music.
>
> Huh? It's all about the music, isn't it?
It should be all about the music, and it probably is for most Exotica
listmembers, but if you see Alan's film, you'll understand what he's saying.
He interviews collectors who are way past the stage of "normal", and into
accumulating for various reasons. It's a great film, by the way! (no, he
didn't pay me to say that...)
I have to agree with Cheryl. I was fortunate enough to obtain a copy of the film. What I think Alan's film accomplishes is that it makes music and acquisition of it a part of a personality that is predisposed to an activity like it. The really surprising part is that not ONE of the people profess an undying love for music, rather most seem to be more obsessed with categorization, sompiling, and in some cases, storage (a major issue in the film). Each real life "character" in Alan's film is a recognizable person. Many points they offer will hit close to home for many here. Its hard to pinpoint it, but what seems to have been accomplished is that he has profiled the vinyl junky, yet made him (and in some cases, her) likable without any artificial additions. And the film takes risks, it is a self-propelling vehicle that goes with the moment, no planned message our outcome....JB/saw NO walking experts in the film, but sure see them everywhere else now that they've been pointed out!
as such!
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
>>
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
Subject: Re: (exotica) Re: What is exotica, anywqy!
Date: 31 Mar 2001 22:34:22 +0200
Colleen, you may want to check out the exotica faq and the exotica archives of the past years; not that I couldn't answer it anymore, but some of the threads under subjects like "what is exotica?" were just too entertaining and brillant, to be possibly repeated. Just in short: The really close definiton of exotica is all about music by Martin Denny, Les Baxter and Arthur Lyman. Lounge and Surf stuff like the Ventures is only second-close.
for the FAQ try checking this site: http://tikiland.de
Mo
--
studio R
senses for a senseless world
http://moritzR.de
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
