> More details please. I thought S&R were some 80s reggae producers. Lounge?
> I
> want to know more!
>
> Charlie
>
> Two names (Sly and Robbie that is) strangely missing from the recent
> reggae
> or dub or Ska debate, considering they practically invented the sound that
> is under a lot of modern lounge records.
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------------------------------
Date: Mon, 10 Dec 2001 09:39:31 -0500
From: <lousmith@pipeline.com>
Subject: (exotica) [obit] Faith Hubley
December 10, 2001
Faith Hubley, Oscar Winner in Animation, Is Dead at 77
By ALJEAN HARMETZ,NYTimes
Faith Hubley, a three-time Academy Award winner whose 50 animated films often combined elements of myth, jazz and a deeply felt humanism, died on Friday in New Haven. She was 77 and lived in Manhattan.
For more than 45 years Ms. Hubley made a film a year, an achievement that Dan McLaughlin, head of the animation workshop at the University of California at Los Angeles, called unbelievable. Her first 21 films were made in partnership with her husband, John, before his death in 1977. Her newest film, "Northern Ice, Golden Sun," came out of the lab just a few days ago; its premiere is to be tomorrow at U.C.L.A., and it is to be shown Jan. 8 at the Museum of Modern Art as part of a celebration of Ms. Hubley's life.
Exploring what she called mythic landscapes, Ms. Hubley used primitive myths, magic and music and, in three classic films, the recorded voices of her four young children to comment on the world as it was, is and should be. A jazz fan who sometimes played the cello in her films, she used the works of Dizzy Gillespie, Benny Carter and Quincy Jones as background for what has been described as "filmic poetry." Although the visual images of her later films evoke Mir≤ and Klee, Ms. Hubley has described her films as close to cave painting. "Northern Ice, Golden Sun," not quite seven minutes long, paints the deep attachment the Inuit feel toward the earth.
Ms. Hubley once said that the central thread that runs through her impressionistic, dreamlike and often whimsical films is "human development, with a strong emphasis on the importance of children as people and on the environment people live in."
When Faith and John Hubley married in 1955 and began making films together, they had only two marriage vows, according to Ms. Hubley. "One was to eat with the children," she said. "The other was to make one independent film a year."
The Hubleys kept both promises, and filmmaking became a family affair. They won their first Academy Award in 1959 for "Moonbird," an impressionistic account of young children at play whose unique soundtrack was the recorded voices of their two sons, Mark and Ray. The Academy of Motion Picture Arts and Sciences would not change the name of the category in which they won from "cartoons" to "animated films" until 1971, but the Hubleys were already expanding cartoons beyond Disney.
Their second Oscar came in 1962, for "The Hole," in which two construction workers debated nuclear destruction. Their third, in 1966, was for the buoyant "Herb Alpert and the Tijuana Brass Double Feature," in which the band plays on as more and more people crowd into its automobile.
The Hubleys' work was the subject of a retrospective in 1998 at the Museum of Modern Art.
Until John Hubley's death during heart surgery, Ms. Hubley was considered the lesser partner in their work. When they met, he was already well known. At Disney he had worked as an art director on "Bambi," "Dumbo," "Pinocchio," and "The Rite of Spring" episode of "Fantasia." Staunchly pro-union, he had left Disney during a bitter strike in 1941 and then was a founder of United Productions of America, where he helped move animation away from Disney with the creation of "Mr. Magoo" and "Gerald McBoing-Boing."
Ms. Hubley, who grew up in Hell's Kitchen in Manhattan, had bolted from home at the age of 15 without finishing high school. Reticent in interviews about her childhood except to say that her parents had "made no room for children," she created an intimate self-portrait on film in the 25-minute "My Universe Inside Out" (1996), which hints at child abuse and her parents' burning down the family house.
At 18, Ms. Hubley went to Hollywood. Because World War II had emptied the studios of young men, she got a job as a messenger at Columbia. She worked her way up to sound-effects editor, music editor and script clerk, and dreamed of being an independent filmmaker.
History gave her a shove in the right direction. Because of John Hubley's political activism, they were blacklisted. Returning to New York, they fed their growing family by working on commercials and educational films. Their first independent film, "Adventures of an *," was finished the year after their marriage, right on schedule.
"We could have been rich," Ms. Hubley recently told a reporter. "But I told John, `If you're an artist, you can't be a huckster.' "
The Hubleys earned an Oscar nomination for "Windy Day" in 1968. This time the voices of the children were those of their two daughters, Emily and Georgia. In "Cockaboody" (1973), Emily and Georgia played at being grown-up mothers and glancingly mulled the death of their own mother.
When John died, the Hubleys were working on their 21st film, "The Doonesbury Special." Finished by Ms. Hubley, Garry Trudeau and their longtime animator, Bill Littlejohn, the film became their seventh to be nominated for an Oscar.
After her husband's death, Ms. Hubley turned to larger themes and more abstract images. "Step by Step" (1979) projects mother love against the impossibility of protecting children in a world of foul water and limited food. "Seers and Clowns" (1994), which was animated by Ms. Hubley, both her daughters and Mr. Littlejohn, uses the words of Chief Seattle against metamorphosing images of wisdom and folly.
"Faith was always timid about doing animation," said Mr. Littlejohn, who first worked with Ms. Hubley on the 1962 film "The Hole." "The strengths of her films were her brilliant designs and her strong ideas. And making one film a year is a standard no one else has approached."
Ms. Hubley's solo films, usually a combination of her watercolor paintings and cel animation, often dealt in a poetic way with the treatment of women ("Witch Madness," 1999) and with pre-Christian myths. "The Big Bang and Other Creation Myths" gives no more credence to the scientific explanation of the beginning of the world than it does to half a dozen primitive beliefs.
At the time of her death, Ms. Hubley was a senior critic in the department of art at Yale University. In addition to her four children, she is survived by six grandchildren.
To the end, Ms. Hubley loved being an independent filmmaker. As she told an interviewer a few months ago: "I am willing to pay the price: total financial anxiety all the time. I don't have any greed illusions. I need to eat, and that's that."
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------------------------------
Date: Mon, 10 Dec 2001 09:55:13 -0500
From: <lousmith@pipeline.com>
Subject: (exotica) [obit] Faith Hubley
December 10, 2001
Faith Hubley, Oscar Winner in Animation, Is Dead at 77
By ALJEAN HARMETZ,NYTimes
Faith Hubley, a three-time Academy Award winner whose 50 animated films often combined elements of myth, jazz and a deeply felt humanism, died on Friday in New Haven. She was 77 and lived in Manhattan.
For more than 45 years Ms. Hubley made a film a year, an achievement that Dan McLaughlin, head of the animation workshop at the University of California at Los Angeles, called unbelievable. Her first 21 films were made in partnership with her husband, John, before his death in 1977. Her newest film, "Northern Ice, Golden Sun," came out of the lab just a few days ago; its premiere is to be tomorrow at U.C.L.A., and it is to be shown Jan. 8 at the Museum of Modern Art as part of a celebration of Ms. Hubley's life.
Exploring what she called mythic landscapes, Ms. Hubley used primitive myths, magic and music and, in three classic films, the recorded voices of her four young children to comment on the world as it was, is and should be. A jazz fan who sometimes played the cello in her films, she used the works of Dizzy Gillespie, Benny Carter and Quincy Jones as background for what has been described as "filmic poetry." Although the visual images of her later films evoke Mir≤ and Klee, Ms. Hubley has described her films as close to cave painting. "Northern Ice, Golden Sun," not quite seven minutes long, paints the deep attachment the Inuit feel toward the earth.
Ms. Hubley once said that the central thread that runs through her impressionistic, dreamlike and often whimsical films is "human development, with a strong emphasis on the importance of children as people and on the environment people live in."
When Faith and John Hubley married in 1955 and began making films together, they had only two marriage vows, according to Ms. Hubley. "One was to eat with the children," she said. "The other was to make one independent film a year."
The Hubleys kept both promises, and filmmaking became a family affair. They won their first Academy Award in 1959 for "Moonbird," an impressionistic account of young children at play whose unique soundtrack was the recorded voices of their two sons, Mark and Ray. The Academy of Motion Picture Arts and Sciences would not change the name of the category in which they won from "cartoons" to "animated films" until 1971, but the Hubleys were already expanding cartoons beyond Disney.
Their second Oscar came in 1962, for "The Hole," in which two construction workers debated nuclear destruction. Their third, in 1966, was for the buoyant "Herb Alpert and the Tijuana Brass Double Feature," in which the band plays on as more and more people crowd into its automobile.
The Hubleys' work was the subject of a retrospective in 1998 at the Museum of Modern Art.
Until John Hubley's death during heart surgery, Ms. Hubley was considered the lesser partner in their work. When they met, he was already well known. At Disney he had worked as an art director on "Bambi," "Dumbo," "Pinocchio," and "The Rite of Spring" episode of "Fantasia." Staunchly pro-union, he had left Disney during a bitter strike in 1941 and then was a founder of United Productions of America, where he helped move animation away from Disney with the creation of "Mr. Magoo" and "Gerald McBoing-Boing."
Ms. Hubley, who grew up in Hell's Kitchen in Manhattan, had bolted from home at the age of 15 without finishing high school. Reticent in interviews about her childhood except to say that her parents had "made no room for children," she created an intimate self-portrait on film in the 25-minute "My Universe Inside Out" (1996), which hints at child abuse and her parents' burning down the family house.
At 18, Ms. Hubley went to Hollywood. Because World War II had emptied the studios of young men, she got a job as a messenger at Columbia. She worked her way up to sound-effects editor, music editor and script clerk, and dreamed of being an independent filmmaker.
History gave her a shove in the right direction. Because of John Hubley's political activism, they were blacklisted. Returning to New York, they fed their growing family by working on commercials and educational films. Their first independent film, "Adventures of an *," was finished the year after their marriage, right on schedule.
"We could have been rich," Ms. Hubley recently told a reporter. "But I told John, `If you're an artist, you can't be a huckster.' "
The Hubleys earned an Oscar nomination for "Windy Day" in 1968. This time the voices of the children were those of their two daughters, Emily and Georgia. In "Cockaboody" (1973), Emily and Georgia played at being grown-up mothers and glancingly mulled the death of their own mother.
When John died, the Hubleys were working on their 21st film, "The Doonesbury Special." Finished by Ms. Hubley, Garry Trudeau and their longtime animator, Bill Littlejohn, the film became their seventh to be nominated for an Oscar.
After her husband's death, Ms. Hubley turned to larger themes and more abstract images. "Step by Step" (1979) projects mother love against the impossibility of protecting children in a world of foul water and limited food. "Seers and Clowns" (1994), which was animated by Ms. Hubley, both her daughters and Mr. Littlejohn, uses the words of Chief Seattle against metamorphosing images of wisdom and folly.
"Faith was always timid about doing animation," said Mr. Littlejohn, who first worked with Ms. Hubley on the 1962 film "The Hole." "The strengths of her films were her brilliant designs and her strong ideas. And making one film a year is a standard no one else has approached."
Ms. Hubley's solo films, usually a combination of her watercolor paintings and cel animation, often dealt in a poetic way with the treatment of women ("Witch Madness," 1999) and with pre-Christian myths. "The Big Bang and Other Creation Myths" gives no more credence to the scientific explanation of the beginning of the world than it does to half a dozen primitive beliefs.
At the time of her death, Ms. Hubley was a senior critic in the department of art at Yale University. In addition to her four children, she is survived by six grandchildren.
To the end, Ms. Hubley loved being an independent filmmaker. As she told an interviewer a few months ago: "I am willing to pay the price: total financial anxiety all the time. I don't have any greed illusions. I need to eat, and that's that."
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------------------------------
Date: Mon, 10 Dec 2001 16:22:04 -0000
From: G.R.Reader@bton.ac.uk
Subject: (exotica) stan kenton - brads page?
I picked up a Stan Kenton 10" LP at the weekend. A bit knackered, but I had
heard a lot about him, so thought I'd give it a go.
'Milestones', milestones from the career of Stan Kenton, late 50's I think.
Apart from 'The Peanut Vendor' its a bit of a brash Jazz bash. Kind of Jazz
you'd hear in detective films. Nothing else that I knew. And nothing that
really hit a nerve. Mind you I've not had a chance to play it again. Still
10p, can't go wrong.
Would this be typical of Kenton? I suspect not.
So I thought I'd look up Brads Space Age Pop page, and see what there was in
there about Kenton. But I can't get through, I've not been and visited in
quite a while have the pages moved? Are they no longer on the web. Say it
an online radio station on Live365.com. Just click on the link to listen.
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------------------------------
Date: Tue, 11 Dec 2001 10:07:51 -0500
From: <litlgrey@ix.netcom.com>
Subject: Re: (exotica) Mary Jane + Hanagray + Disco Godfather
Marco, you're very welcome ! I had to use my girlfriend's Yahoo Briefcase that time because I had filled mine up with different things, and I had even filled my ugly cat's Briefcase up with Moog tracks (Mort Garson, Enoch, that sort of thing). I'm glad you nosed around the other folders - that was exactly the right thing to have done!
DJ Marco <djmarco@thestepgods.com> wrote:
>
Hanagray, thanks for posting your Yahoo soundfile link. Those cigarette ads are hilarious but I'm most grateful for the France Gall song "Der Computer #3"! I love Francey anyway and this is a great fun dance track. Now I've got something in German to play at HONEY MACHINE!
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------------------------------
Date: Tue, 11 Dec 2001 09:31:48 -0800 (PST)
From: Ben Waugh <sophisticatedsavage@yahoo.com>
Subject: (exotica) Les Chiens Dans Le Ventre: BB in the news
SEOUL, South Korea ûû French actress and animal rights
activist Brigitte Bardot has sent a protest letter to
South Koreans over their country's dog-eating culture.
"Defending and justifying this brutality in the name
of culture is an absurdity!" Bardot said in the
letter, which was posted on her animal protection
foundation's Web site and carried by The Korea Times,
an English-language newspaper of South Korea, on
Monday.
In the letter dated Dec. 4, Bardot said her Brigitte
Bardot Foundation has received "nearly a thousand
insulting and threatening messages from Korea."
"I dare to hope that all Koreans are not like those
who recently sent those awful messages to my
Foundation, and I dare to hope that many of you will
not ignore animal suffering," the letter said.
She did not detail contents of the messages in her
letter.
Bardot has long criticized the dog-eating habit of
Koreans. About 3 million of South Korea's 46 million
people are believed to eat dog meat as a delicacy. Dog
meat also is eaten in some other Asian countries,
including China, Vietnam and the Philippines.
Early this month, the 67-year-old actress angered
Koreans by hanging up the phone during an interview
