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Date: Thu, 9 Aug 2001 10:11:53 +0100
From: Charles Moseley <charlesm@contentrepublic.com>
Subject: RE: (exotica) Bossa Prices
Reading Alan's post on the reasons for expensive Brazilian records, I get
the impression (again) of paranoia seeping in. Who exactly are these DJs who
are driving the prices of Brazilian records up? Are there thousands of Samba
and Bossa nights springing up in the nightclubs of the world? Is there
suddenly a massive rave culture emerging that requires DJs to buy up
Brazilian records? I for one don't know of any Brazilian nights and most of
the Latin music I do hear played out is part of smaller sets in the
occasional bar.
How many Japanese people do you know Alan? Do they all want to pay massive
amounts of cash for Brazilian records? Do you see them out in Toronto with
great piles of Brazilian LPs under their arms?
Surely an expensive record is a combination of desirability and scarcity.
The idea that certain groups of sinister people are somehow conspiring to
price us out of a market is pathetic. Of course if someone hears a good
record they'll try to find it for themselves. That Tamba 4 record is
expensive, its worth owning and it probably became more expensive when
tracks from it appeared on compilation albums like the Dancefloor Jazz LPs.
I know a few people who would pay for it and a few people who regularly sell
records like that for high prices. Guess what. None of them are Japanese and
only one is a DJ (and he's actually a journalist who plays at the odd
party).
Beware the Japs and the DJs! They're coming to ruin your record collecting!
What's next? The commies? The Chinese? The Brits?
Charles Moseley
Editor - C3 magazine
3 St Peters Street, London, N18JD
Tel: +44 (0)20 7704 3313
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ISDN: +44 (0)20 7359 6756
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Date: Thu, 09 Aug 2001 09:08:51 -0400
From: "Nathan Miner" <nminer@jhmi.edu>
Subject: (exotica) Fluffertrax!
There's a great site on Live 365 called Fluffertrax - all porn soundtrack =
music - great vintage stuff.
This guy was on a local radio station this a.m. - he's spent like 7 years =
amassing a collection of material.
Check it out!
- - Nate
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Date: Thu, 09 Aug 2001 12:52:26 -0400
From: alan zweig <azed@pathcom.com>
Subject: RE: (exotica) Bossa Prices
At 10:11 AM 8/9/01 +0100, Charles Moseley wrote:
>
>Reading Alan's post on the reasons for expensive Brazilian records, I get
>the impression (again) of paranoia seeping in. Who exactly are these DJs who
>are driving the prices of Brazilian records up?.>How many Japanese people
do you know Alan? Do they all want to pay massive
>amounts of cash for Brazilian records? Do you see them out in Toronto with
>great piles of Brazilian LPs under their arms?
.
You're right, I'm a racist.
But that doesn't change the fact that in fact I do know who these DJ's are
and if you'd like me to name them, I can start with the names of the five
guys who form a fairly popular collective here named Movement.
I can also name one of them, who just happens to be Japanese himself and
who owns a used record store which caters almost exclusively to his fellow
DJ's and to his former countrymen.
I guess he didn't know how much I hated him and his kind when he told me
that he makes frequent trips back to his former homeland in order to sell
records and that he has many mail order customers there.
And maybe he was just being metaphorical when I asked him "How come that
record is so expensive?" and he told me "Because I can get twice that in
Japan".
Maybe it is just a racist conspiracy theory. About 15 years ago, on a
visit to Los Angeles, I returned to my favorite used clothing store in
Malibu only to find that the Hawaiian shirts which had been ten bucks were
suddenly going for a hundred bucks. When I asked the clerk what happened,
he told me that the demand by Japanese tourists had driven the prices up.
Even at the time, I thought to myself "That's what they said about the Jews
in Germany!" If my forebearers hadn't been so wild for Hawaiian shirts,
perhaps six million more would be alive today.
I guess you're offended on behalf of DJ's more than Japanese, Charles.
Well that one I won't take back. It's the butterfly effect, like I said.
One DJ plays the cool cut and half way around the world, ten more DJ's -
and pseudo DJ's - suddenly NEED that record. I've worked in a used record
store. And I've not only seen actual Japanese "tourists" buying up
everything in sight, without regard to cost but I've also dealt with DJ
types who all seem to want the exact same records. Bob James first record
because De La Soul sampled it. Not Bob James 2 or 3 or 4. Just the first
one. That one Sun Ra record. Not the ones he put out himself on his own
label but that one that has that funky cut.
I'm not saying all DJ's are sheep. It couldn't be so. Somewhere there's a
DJ who for instance, went through his Shirley Bassey records and found out
that her version of "Light my fire" is actually pretty groovy. The problem
is that a week after he played it, suddenly there was a Shirley Bassey
record that cost thirty bucks instead of five.
And now it's five again. It's over. That cut isn't groovy anymore. That's
what happens when every single DJ in town just happens to have the same
Shirley Bassey record.
It doesn't take armies of Japanese and DJ's to drive up the price. It just
takes a few record dealers who are tapped in to that market and who
understand just how much one of these people will pay for a record that's
suddenly become hot.
>Beware the Japs and the DJs! They're coming to ruin your record collecting!
Not necessarily. If you're "lucky" enough to be looking for records that
don't fall into the categories which interest Japanese collectors and DJ's,
you're fine. Otherwise, yeah they will ruin it. Until like sheep, they
move on and graze somewhere else.
Then again, maybe you could question why you're looking for the same
records they are. Or you could make do with CD's. Or you could decide,
like I did once upon a time, to only like the records you can find at
thrift stores. Sometimes you can actually find a record they want. I got
Joe Cain's "Latin Explosion" there. It's a forty dollar record here. It's
also actually a very groovy record and I don't blame the DJ's for liking it.
Trouble is that when you hear the especially groovy records, your tastes
refine and the next thing you know you're turning Japanese.
Sayonara
AZ
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Date: Thu, 09 Aug 2001 13:51:35 -0400
From: "m.ace" <mace@ookworld.com>
Subject: (exotica) Thunderbirds Are Go
The 1966 Thunderbirds feature film, "Thunderbirds Are Go" is listed on TCM
at 8:00am (eastern), this coming Sunday morning. This is the one with the
Super-Marionated guest appearance by Cliff & The Shadows.
m.ace mace@ookworld.com
http://ookworld.com
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Date: Thu, 09 Aug 2001 14:03:28 -0400
From: Brian Phillips <hagar@mindspring.net>
Subject: Re: (exotica) Thunderbirds Are Go, or a little Gray matter
Ah, yes! Cliff Richard, JR. and the Shadows; it does take place in the
future, you know. Funny how the Shadows don't age and Cliff Richard has a
son. Gives the musical bit a sort of timeless qual...ANYhow, while it does
feature the great music of Barry Gray, it doesn't have the exact take of
the "Thunderbirds" theme song, a mild harrumph.
The DVD does have the original versions on it, most of the time. One of
the episodes on the first set is redubbed (lost the old soundtrack?).
For those who haven't seen it, do. The print that has been hitting cable
lately is very good.
F. A. umm....err..B. Phillips
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Date: Thu, 09 Aug 2001 11:23:51 -0700
From: "F. Cobalt" <fcobalt@lycos.com>
Subject: (exotica) Bossa on Ebay
>Yesterday I typed in a search at e-bay on "bossa" out of curiosity at what
>would come up and was surprised at the flurry of high-end bidding going on
>for Brazilian albums. Someone is unloading a collection, and more than a
>few of the items have exceeded the $80 range and $100 mark (sorry, but
>that's in the area of the impossible for me). I wasn't surprised to see
>that some of the same people are bidding for the most hotly contested
>records (although the number of bidders with a history of fewer than 10
>purchases looks suspicious), but I had no idea that this was a hot market.
>Does anybody know about this? I thought the auctions for music library
>albums was competitive, but this seems far worse.
>
>Clayton
Bossa is a bid deal in Japan which might be part of the reason for the mounting bids on Ebay. Japan has been one of the biggest consumers of Brasilian music for quite some time, long before American hipsters "discovered" the whole Tropicalia movement. But after people tired of the limitations of Veloso and his ilk, and since MPB is harder to embrace (it's not political, it isn't really edgy, it's fairly lightweight) and people haven't really been able to get into it, it's easier to go back to basics. I think for middle of the road tastes, you can always count on bossa, because if it's bossa, it's going to have a fairly basic, somewhat predictable style. It's far easier to go wrong with a Gal Costa record than a Tom Jobim record, for example, if you don't know a lot about Brasilian music.
But there are a lot of reissues out there. $184 for an Os 3 Morais album is crazy, unless, you know, you're a collector who just has to have a first edition, etc., etc. Then again a lot of records are much harder to find, and if you're a diehard, say, Edu Lobo fan, sometimes you have to take what you can get. Brasil is still very much a third world country, and you can sometimes go through crates and crates of vinyl until you can find something in very good condition (in my experience), so that's another reason I would theorize on a lot of vinyl going for high prices. As with any kind of music, it helps to know what's out there before you shell out big bucks on something and find yourself saddled with something not so good just because it has some bossa songs, like a Maria Bethania record.
Mr. Unlucky
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http://businesscards.lycos.com/vp/fastpath/
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Date: Thu, 09 Aug 2001 15:40:21 -0400
From: "m.ace" <mace@ookworld.com>
Subject: Re: (exotica) Thunderbirds Are Go, or a little Gray matter
>Ah, yes! Cliff Richard, JR. and the Shadows; it does take place in the
>future, you know. Funny how the Shadows don't age and Cliff Richard has a
>son. Gives the musical bit a sort of timeless qual...
Technically, they appear in a dream occurring in the wooden noggin of one
of the Tracy boys. So maybe he was an oldies fan?
>ANYhow, while it does feature the great music of Barry Gray, it doesn't
>have the exact take of the "Thunderbirds" theme song, a mild harrumph.
I recall a live-action title sequence with a marching band doing a, uh,
marching band arrangement of the theme.
>For those who haven't seen it, do. The print that has been hitting cable
>lately is very good.
The TCM web schedule claims that it will be in wide-screen letterbox format.
- --m.ace
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Date: Thu, 9 Aug 2001 16:10:15 -0400
From: bump@defectiverecords.com (Bump Stadelman)
Subject: RE: (exotica) Bossa Prices
is it really the japanese people that are driving the prices up or
is it the fact that our dollar (USD) is pretty lame in comparison to the yen?
isn't that fault of our politcal/economic/corporate mentality or
whatever is at fault for such a state of the almighty dollar?
and isn't it the greedy merchants that would sell their grandmother
and even their soul if the price was right?
disregarding loyal customers and what is fair while
salivating at the thought of a japanese record
collector looking his or her way.? (with capitalism this is considered a
GOOD thing)
japan seems are fortunate enough to have incredible economic power
that makes the most of us look puny.
we should pressure our elected officials to empower our currency,
just for the reason to bring those record prices down!
but what the hell do i know.
bump
>>Beware the Japs and the DJs! They're coming to ruin your record collecting!
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Date: Thu, 9 Aug 2001 16:33:22 -0400
From: "R. Schultz" <randy.schultz@juno.com>
Subject: Re: (exotica) Bossa Prices
On Thu, 9 Aug 2001 16:10:15 -0400 bump@defectiverecords.com (Bump
Stadelman) writes:
> japan seems are fortunate enough to have incredible economic power
> that makes the most of us look puny.
The Japanese economy is actually in the midst of incredible turmoil right
now, and has been for awhile. The image of a thriving Japanese economy is
actually a bit antiquated.
Randy
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Date: Thu, 9 Aug 2001 16:56:35 -0400
From: bump@defectiverecords.com (Bump Stadelman)
Subject: Re: (exotica) Bossa Prices
like i said, what do i know.
just wondering why the us dollar does not go a long way in japan?
and why merchants cater to the japanese tourists.
i suppose many people still have this image.
i just got back from Cambodia and Indonesia.
the street merchants attack us only when there are no japanese around.
when they show up, poof, they run straight to the japanese tourists.
much to my relief.
my point,
you can't blame the japanese people for high record prices.
its not there fault there money SEEMS to be in a better state than ours.
its like blaming the Mink for the prices of their coats.
i guess mink coats are antiquated too. ;)
but what do i care.
i would never pay an outrageous sum for a record anymore anyway.
i have plenty to trade or sell.
bumpanova
>> japan seems are fortunate enough to have incredible economic power
>> that makes the most of us look puny.
>
>The Japanese >On Thu, 9 Aug 2001 16:10:15 -0400 bump@defectiverecords.com
>(Bump
>Stadelman) writes: economy is actually in the midst of incredible turmoil
>right
>now, and has been for awhile. The image of a thriving Japanese economy is
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------------------------------
Date: Fri, 10 Aug 2001 10:50:19 +0200
From: Moritz R <tiki@netsurf.de>
Subject: Re: (exotica) Bossa Prices
Charles Moseley schrieb:
> Reading Alan's post on the reasons for expensive Brazilian records, I get
> the impression (again) of paranoia seeping in. Who exactly are these DJs who
> are driving the prices of Brazilian records up? Are there thousands of Samba
> and Bossa nights springing up in the nightclubs of the world?
partly yes. anything latino, brazil, samba seems to be very hip again and that is hip to a more mass-oriented crowd = many DJs. on the other hand I think - and this includes numerous visits of american/canadian thrift and record shops since 1979 - that records from Brazil are simply rare. I bought maybe 400 records on the american continent and there was literally none from Brazil.
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------------------------------
Date: Fri, 10 Aug 2001 10:37:19 -0400
From: lousmith@pipeline.com
Subject: (exotica) [obits] Peter Hirsch, Alan Rafkin
Peter Hirsch
NEW YORK (AP) -- Peter Hirsch, who developed the Muriel Cigars commercials featuring Edie Adams, died of thyroid cancer July 29. He was 65.
Hirsch, chairman and creative director at Calet Hirsch, supervised the cigar campaign in which Adams sings, ``Why don't you pick one up and smoke it sometime?'' His firm also created ads for Kmart, Toshiba and Stolichnaya vodka.
In 1989, Hirsch developed a TV commercial promoting early cancer screenings from the American Cancer Society for the Advertising Council.
Alan Rafkin
LOS ANGELES (AP) -- Emmy winner Alan Rafkin, the self-described curmudgeon who directed many of television's most popular comedies during a career spanning four decades, died Monday of heart disease. He was 73.
His directing credits include ``The Dick Van Dyke Show,'' ``The Andy Griffith Show,'' ``The Mary Tyler Moore Show,'' `I Dream of Jeannie,'' ``Murphy Brown,'' ``M-A-S-H,'' ``The Love Boat,'' ``Laverne & Shirley,'' ``Suddenly Susan,'' ``Veronica's Closet'' and ``The Jeff Foxworthy Show.''
Rafkin won an Emmy in 1982 for an episode of ``One Day at a Time'' and two Cable ACE awards, in 1988 and 1990, for ``It's Gary Shandling's Show.''
In all, he directed episodes for more than 80 prime-time series.
Rafkin, who began as a nightclub comic, also acted in prime-time series and soap operas and directed a handful of movies.
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Date: Fri, 10 Aug 2001 16:52:45 +0100
From: Charles Moseley <charlesm@contentrepublic.com>
Subject: (exotica) Tom - Epilogue
Weirdly enough, after the Tom Jones recommendations last week I suddenly
found both the LPs Tom Jones Sings 13 Hits and At-Tom-Ic, both 50p in
charity shops.
13 Hits - with Tom in a laurel wreath against a red background has one side
of sweet soul and one side of rocking motown-esq soul. What a great find for
50p. The rocking side is very upbeat, well arranged with big horns, great
bass, some proper instrumental pop drums and Tom not too loud in the mix.
I'd never put any of these on a comp (pure bigotry) but the LP as a whole is
fantastic.
At-Tom-Ic I haven't listened to yet.
Charlie
Charles Moseley
Editor - C3 magazine
3 St Peters Street, London, N18JD
Tel: +44 (0)20 7704 3313
Fax: +44 (0)20 7226 8586
ISDN: +44 (0)20 7359 6756
www.c3mag.com www.c3mag.com www.c3mag.com
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Date: Fri, 10 Aug 2001 11:58:11 -0400
From: Brian Phillips <hagar@mindspring.net>
Subject: Re: (exotica) Thunderbirds Are Go, or a little Gray matter
At 10:17 PM 8/9/2001 -0400, you wrote:
>At 03:40 PM 08/09/2001, I wrote:
>>I recall a live-action title sequence with a marching band doing a, uh,
>>marching band arrangement of the theme.
>
>Or maybe that was at the beginning of the second movie, "Thunderbird Six".
I haven't seen "Thunderbird 6" in years. I just saw TAG about a week ago
and it definitely ends with a marching band playing the theme. They march
and play, eventually forming the word "Thunderbirds".
Afterwards, is a funny disclaimer!
Is the Man on the Moon looking down on me?
Brian Phillips
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Date: Fri, 10 Aug 2001 15:32:48 -0400
From: "Br.Cleve" <brcleve@mindspring.com>
Subject: Re: (exotica) Bossa Prices
on 8/9/01 5:11 AM, Charles Moseley at charlesm@contentrepublic.com wrote:
>
> Reading Alan's post on the reasons for expensive Brazilian records, I get
> the impression (again) of paranoia seeping in. Who exactly are these DJs who
> are driving the prices of Brazilian records up? Are there thousands of Samba
> and Bossa nights springing up in the nightclubs of the world? Is there
> suddenly a massive rave culture emerging that requires DJs to buy up
> Brazilian records?
I'm doing a weekly one in NYC and about to start 2 more in Boston shortly.
And I'm opening for Bebel Gilberto tonight at a sold out show.
But there are a few reasons for the prices on these albums. One is scarcity
- - original bossa albums on now legendary labels like Elenco and Forma rarely
made their way out of Brazil, and were usually pressed in very limited
quantities.
Another reason is that samba house is one of the fasted growing genres of
electronic dance music; a year ago there was maybe a new title every month,
now there's 50 a week. Samba house nights are flourishing in NYC, San
Francisco, and Tokyo. Obviously finding new sample sources, especially on
out of print recordings, is imperative.
Yet another scene with a heavy bossa influence is the nujazz sound of labels
like Schema, Compost, Stereo Deluxe, etc. Germany, Italy and Japan
definitely have the most interest in Brazilian music (and Caipirinha
cocktails are easy to find in Germany!)
As a regular ebay bidder on Brazilian recordings, I note that many of the
winning bidders are infact Japanese. Bossa/samba has always been popular in
Japan (and Rio has a large Japanese population); it has many similarities to
soft rock, also quite popular in Japan.
br cleve
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Date: Fri, 10 Aug 2001 16:04:23 -0400
From: lousmith@pipeline.com
Subject: (exotica) [obit] Billy Byrd
Wednesday, 08/08/01
Versatile guitarist Billy Byrd dies at 81
By PETER COOPER
Staff Writer
Billy Byrd, whose lead guitar work was a defining element in most of Ernest Tubb's 1950s recordings, died yesterday of natural causes at age 81. He had been in poor health after suffering a stroke in February.
A Nashville native, Mr. Byrd was adept at playing simple, highly commercial, melodic country leads for Tubb, but he was also well-respected for his jazzy flights of virtuosity. He emulated the jazz sounds of players such as Charlie Christian and Django Reinhardt, and he tutored Nashville session greats including Hank Garland and Harold Bradley.
''Without him coming along and showing us that jazz stuff, we never would have been able to do what we did,'' said Bradley, who considered Byrd his best friend. ''When I was 14, Billy was dating a girl down the street from me, and he'd come over with two guitars and show me jazz licks.
''At one time he was the best pop jazz player in town, and he had a great influence on me and Hank (Garland) and a lot of people, both as a friend and as a guitar player.''
Mr. Byrd played with Nashville pop bands as a teen-ager and recorded with Herald Goodman's Grand Ole Opry group in 1938. After taking time off to serve in World War II, he played with Western swing and country acts.
By 1949, he was making regular Opry appearances with Little Jimmy Dickens and George Morgan. He played guitar on Dickens' first Columbia recording session, which yielded hits Take An Old Cold Tater and Wait and A-Sleeping At The Foot of the Bed. Mr. Byrd also appeared on recordings by Jimmy C. Newman, Johnny Horton, Webb Pierce, Leon Russell and others.
Tubb hired him as a member of his Texas Troubadours backing band in mid-1949.
''Billy came from a pop and jazz background, and there were some people who were leery of the notion that he could play country with Tubb,'' said Ronnie Pugh, Tubb's biographer. ''But ... he did it and did it well. The 10 years Billy was in the band, he did practically all of the instrumental breaks.''
Tubb often introduced Mr. Byrd's solos in concert and on record by saying, ''Aw, Billy Byrd now'' or ''Take it away, Billy Byrd.'' Mr. Byrd became a celebrated instrumentalist, and he and Hank Garland worked together to design the semi-hollow-body Gibson Byrdland electric guitar.
Mr. Byrd left Tubb's band in 1959, rejoining twice in the 1960s and 1970s. He also recorded three solo albums with Warner Bros. When not on the road and not playing in Nashville clubs, he could often be found driving cabs.
Visitation will be held 6-9 p.m. today at Mount Olivet Chapel and Cemetery on Lebanon Pike and 9 a.m.-1:30 p.m. tomorrow at Mount Olivet. A funeral service will be at 2 p.m. tomorrow at Mount Olivet, with burial to follow at Mount Olivet.
Surviving family members include his wife, Glenna C. Byrd; four daughters, Beverly Byrd Holley, Charlotte Wright, Billie Wilburn and Barbara Boswell; eight grandchildren; and a great-grandchild.
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