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exotica-digest         Tuesday, March 2 1999         Volume 02 : Number 336



In This Digest:

(exotica) Re: Stereo Action
Re: (exotica) Tech: I Have Seen The Future
(exotica) Tell me about the, PLEASE!
(exotica) you rang?
Re: (exotica) The People's Court
Re: (exotica) General Cinema
(exotica) More good Stereo Action titles
(exotica) Leeteg documentary
(exotica) New MP3 search engine
(exotica) Mirium Burton-African Lament
(exotica) Martin Denny articles
(exotica) "Tiki" vs. "Jungle" exotica
Re: (exotica) Martin Denny articles
Re: (exotica) The People's Court
Re: (exotica) Ye-Ye/Schlager
Re: (exotica) Re: Stereo Action
Re: (exotica) "Tiki" vs. "Jungle" exotica
Re: (exotica) Ye-Ye/Schlager & XoTiCa
Re: (exotica) film music
(exotica) Stereo Action discography
(exotica) Ma(i)s Que Nada
Re: (exotica) Stereo Action discography
Re: (exotica) Ma(i)s Que Nada
Re: (exotica) Ma(i)s Que Nada
(exotica) Sound Gallery vol. 1
(exotica) Wives and Lovers
(exotica) Crosthwaite, Partridge, Goldwater obits

----------------------------------------------------------------------

Date: Mon, 01 Mar 1999 14:35:27 -0500
From: Peter Risser <[e-mail]>
Subject: (exotica) Re: Stereo Action

Dick Schory is alright.  It has some great tracks, but others are sorta lame.
Lest we not forget: Three Suns Movin' and Groovin was Stereo Action.
Fever and Smoke may have been also, but I don't know.

And apparently Esquivel had at least one Stereo Action release.


If you are interested in knowing a few RCA Artists up close and personal,
you can pick up the RCA Space Age Pop series of CDs, which include cuts
from many of those albums.  They are all great.

BTW, I haven't heard the whole Leo Addeo album, but I *love* the ocarina
cuts on this comp.  They rule, especially Stumbling.  So there.  A
different 2 pence.


Peter


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------------------------------

Date: Mon, 1 Mar 1999 15:26:21 -0500
From: Ross Orr <[e-mail]>
Subject: Re: (exotica) Tech: I Have Seen The Future

>>  . . . The old concept that you are
>>going to pay to own the object looks to be in real trouble here. . .
>
>I think the object will always be important to me and to others as crazy as
>me.

I think I'd make a distinction between new and old music here.

When you spend months going through spore-infested record bins, unearthing
music that has nearly vanished into oblivion, then finally come upon some
surprise killer track that just tickles you to death--Well, then I think
you can't help wanting the object. It becomes a kind of talisman embodying
that sucessful hunt. That's how I see it, anyway--anyway I'm sure not
giving up any of *my* LPs.

But I was talking more about NEW music--where often I might not
particularly care about getting the packaging or a complete album as a
unit. Basically my problem is that I don't have the time or income to sift
through all the hundreds of new groups and find ones I like. So what I do
end up buying is a very skewed and random selection of what my friends are
listening to (particularly if something turns up as a used CD). So I
actually might be interested in a kind of personalized "subscription"
service, where you could download compilations of different artists.
(Particularly if they could ever figure out a reliable "if you liked THAT
you'll probably like THIS" algorithm, which would still periodically send
you a wild card or two.)

Also, perhaps the definition of "the object" that you feel you need to
possess might evolve slightly in the digital world. I was thinking about
this when I found out about those maniacs who have lovingly archived
the ROM images of all the classic arcade videogames from the late 70s
and early 80s.

I generally don't care about games at all--but when I tried out the
"genuine" Asteroids on my mac, even I had to laugh at the audacity of the
Trinitron going black and perfectly displaying all those goofy wireframe
graphics-- right down to the "Copyright 1977 Atari" across the bottom of
the screen. So in that case what they're "collecting" isn't a physical
thing anymore--but it still has some of those same elements of searching
out and rediscovering something from the past, that was apparently going to
be lost.

Maybe when we all have fiber-optic lines coming into our houses and MP3
data compression is unnecessary, there will be collectors who ransack old
backup archives for MP3's of obscure bands. . . the ones who never got a
recording contract, who bravely put their songs on the web and then sank
into oblivion. . .

cheers,



 --Ross

|| Ross "Mambo Frenzy" Orr  <[e-mail]>
|| Ann Arbor, Michigan USA




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------------------------------

Date: Mon, 01 Mar 1999 12:30:16 -0800
From: Jack <[e-mail]>
Subject: (exotica) Tell me about the, PLEASE!

Dusty Groove says: Johan agrees

I reviewed that Black Emmanuelle's Groove for KFJC and though I didn't say
it in my review, it did nothing for me at all.

So, different strokes fo' diffowent fokes
JD


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------------------------------

Date: Mon, 01 Mar 1999 12:14:09 -0500
From: <[e-mail]>
Subject: (exotica) you rang?

Date: Sun, 28 Feb 1999 14:04:48 +0000
From: Hugh Petfield <>
Subject: (exotica) Re: Boston

Hello, Hugh and the rest of the world!  Boston is woefully lame when it
comes to great places just to "hang out," especially for free!

>JAKE IVORY'S 1 Landsdowne Street: Karaoke with
live pianists to belt out songs from the Fifties to the
80's.  Loud, brash and raucous.

Never been, probably stoopit college students spending their parents money
on karaoke to the strains of Billy Joel.

>HIBERNIA, 25 Kingston Street:  Boston's trendiest
small night club is tucked away on the edges of the
Financial District.  Most of Boston's bars tend to
embrace the Cheers look with a tad too much
enthusiasm, but Hibernia bucks the tweed and pine
trend.  Cool, with loud, loud music.

But the "loud,loud music" is probably nothing this list wants to hear,
EVER!

>THE GOOD LIFE, 28 Kingston Street: No compost
but plenty of crooning in a trashy but trendy bar.
Live music Wednesday to Saturday tends towards
mellow jazz.  Exudes a sense of Sinatra-esque sleeze,
red leatherette walls, chrome chairs and an impressive
cocktail menu.

>The lastmentioned sounds wonderful, but might it
warrant the Lounge Laura stamp of approval?

Hugh.

I have never been, but all of my friends have here.  Yes, there is a good
jazz trio on Thursdays, who play with a singer of standards on Saturdays.
The drinks are suppossedly expensive.  This means:  BRING YOUR OWN FLASK!


post script:  Ain't been to the new place where our Brother Cleve bartends,
but it's on my "to do" list!  The best things in Boston are our THREE (or
more) Tiki Restaurants, and the glorious record stores...
Jane Fondle, the artiste formerly known as Lounge Laura, or something



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------------------------------

Date: Mon, 01 Mar 1999 10:39:45 -0800
From: Jeff Phillips <[e-mail]>
Subject: Re: (exotica) The People's Court

Br. Cleve wrote:

> for those of you who don't have any idea what we're talking about: this=
 was
> a 30 second clip of the General Cinema Corp logo (GCC), which looked li=
ke a
> movie projector. As the reels moved, it was accompanied by a trade off
> between electric harpsichord and snare drum played with brushes, that
> followed the animation. The harpsichord dropped out after 12 measures,
> leaving the snare to finish the last 4. When it ended, either the words
> "Coming Attractions" or "Feature Presentation" appeared on the screen.

And I miss the old Loew's intro theme (before Sony bought 'em out), with
a peppy vixen singing, "Thank you for coming to Loew's / Sit back and
relax / Enjoy the show!"

EZ does it,

Jeff Phillips
- --=20
Director of Concert Production   |=AF(   http://www.philharmonia.org
Philharmonia Baroque Orchestra   |  \   [e-mail]
333 Market Street, Plaza Suite   | =BA \        phone [phone]
San Francisco, California 94105  |=86=86=86=86|         fax [phone]=
3



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------------------------------

Date: Mon, 01 Mar 1999 18:11:28 -0500
From: Bump <[e-mail]>
Subject: Re: (exotica) General Cinema

>>One, does anyone remember the intro music for General Cinema's?
>>I'd love a copy of that.
>
    ME TOO!!!! good call.  i loved that, luckily almost every movie i
went to see as a kid was at a general cinema...i would play air drums to it
while bopping around in my seat! it still plays in my head to this day...
i believe i have it on a trailer tape somewhere?????

>oh yeah, I always loved that. In fact, I just wrote a homage/take off of it
>for the Cinemax cable channel (for their "Friday Premiere" trailers; I
>think it starts airing today). I haven't been to a General Cinema in years;
>I wonder if they still use it?

they still use the "tune" but it is so washed out and made ultra mellow by
cheesy/spacey keyboards and it just plain souless.

they used the one we are talking about well into the 70's.

wish i had cable, i would love to hear your homage!

bump out

=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=
=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9
Bump
Universal DJ
Defective Records
[e-mail]
http://www.defectiverecords.com
"...there's a whole lots of times i wish i could say i'm not white." --FZ




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------------------------------

Date: Mon, 1 Mar 1999 18:16:12 EST
From: [e-mail]
Subject: (exotica) More good Stereo Action titles

>[e-mail] wrote:

>Can anyone furnish a list of "good" RCA Stereo Action LP's? I have four.
Three
>are excellent and one disappointing. The excellent ones are:

>    "Dynamica"     Ray Martin Orchestra
>    "It's Magic"      Marty Gold Orchestra
>    "Futura"         Bernie Green Orchestra

>Anyone have others to recommend? Thanks.

The following additional Stereo Action titles get my personal thumbs up:

    Guitars Unlimited + 7 -- Crazy Rhythm
    The Three Suns -- Movin' and Groovin' (strong contender for their best)
    Dick Schory -- Runnin' Wild

Like Nat Kone, I'm not wild about Leo Addeo's Stereo Action records.  I don't
care much for Marty Gold's Stereo Action Goes Hollywood, either.  It's Magic
is better, but even it is not one of the best in the Stereo Action series
(IMHO).

While we're on the subject, anyone who has a lead on a copy of Bernie Green's
Futura (CDR o.k. too) for less than $30, please let me know.  I'd love to
follow the sound of it around my living room.

Sean


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------------------------------

Date: Mon, 01 Mar 1999 18:18:59 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) Leeteg documentary

At 04:43 AM 2/27/99 EST, you wrote:
>For those of you who missed the opening of the Tiki art show and Leeteg
>exhibit at the Huntington Beach Art Center


There's a RealAudio story on Leeteg from last Saturday's NPR Weekend=
 Edition:
http://programs.npr.org/archives/WESAT/Day.cfm?Date=3D02/27/99&Program_ID=3D=
WESA
T&FileName=3DWESAT022799

Scroll down to:
=A0 Black Velvet -- An art exhibit at the Huntington Beach Art Center honors
the originator of black velvet painting. Scott talks to curator Greg
Escalante about the fine line between kitsch and art. (2:45)=20

- -Lou
=A0=20




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------------------------------

Date: Mon, 01 Mar 1999 19:19:51 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) New MP3 search engine

SAN FRANCISCO, CALIFORNIA, U.S.A., 1999 MAR 1 (NB) -- By Matt Hines,
Newsbytes. A new search engine has been launched to help Internet users find
links to music downloads utilizing the controversial MP3 format.

Dubbed MP3meta, the site was created by SavvySearch Inc. which operates a
multi-engine Internet search by the same name. The tool searches across a
number of different Web engines and returns links to sites which carry MP3
files.

MP3 allows computer users to download and distribute songs over the Web but
is attracting criticism from recording companies which claim there are
insufficient parameters in place to protect their copyrights.

Last Friday, a standards group, which includes major players from the
recording and computer industries, met to discuss guidelines for secure
online music applications including MP3.com, the leading online source for
MP3 files.

MP3.com claims that it successfully bought advertising time during the
television broadcast of last week's Grammy Awards, but that its spots were
canceled leading up to the event as a result of the recording industry's
distaste for the MP3 format.

The recording industry has become increasingly concerned as new modes for
copying and distributing music over the Internet have popped up. The Secure
Digital Music Initiative (SDMI) was established at the end of last year in
order to protect the record companies' copyrights on the Web. The initiative
was founded by the Recording Industry Association of America (RIAA) and
includes support from major labels such as Universal, EMI, Sony, and Time
Warner.

SDMI was created partly in reaction to the high-profile court battle ongoing
between a number of record companies and Diamond Multimedia. Diamond was
brought to court over its Rio device which uses the MP3 platform.

The goal issued by SDMI is to provide a forum where technology companies can
work together to create an open architecture and specification for digital
music security. The group wants to insure interoperability among digital
products as well as protect copyrighted music in existing and emerging
digital formats, according to SDMI spokesmen.

The MP3meta search engine is located at http://www.mp3meta.com

MP3.com is located online at MP3.com




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------------------------------

Date: Mon, 01 Mar 1999 16:47:46 -0800
From: Jack <[e-mail]>
Subject: (exotica) Mirium Burton-African Lament

Anyone have this LP who would care to elaborate ?

I know it's a super dooper rare 1, I do know that

JD


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Date: Mon, 01 Mar 1999 17:42:38 -0800
From: "Kevin C." <[e-mail]>
Subject: (exotica) Martin Denny articles

I finally obtained issue #7 of Cool and Strange Music, featuring the excellent
interview with Martin Denny. Besides the article on Denny in "Incredibly Strange
Music", or things on the net, are there any other good articles on Denny that
anyone can point me towards.

I've got a lead on an Utne Reader article. If you've seen this, please comment
(to see if my pursuit is worth it).

Thanks,
Kevin Crossman
The Search for the Ulimate Mai Tai
http://www.kevdo.com/maitai/


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Date: Mon, 01 Mar 1999 17:47:21 -0800
From: "Kevin C." <[e-mail]>
Subject: (exotica) "Tiki" vs. "Jungle" exotica

http://home.earthlink.net/~spaceagepop/whatis.htm#exotica

They ID two strains of Exotica music:
 "Jungle"- Les Baxter and hollywood creations
 "Tiki"- Denny and Lyman, et. al.

"The strictest definition limits exotica to the imitations of Polynesian,
Afro-Caribbean, and Hawaiian music that were produced by Les Baxter and others
from the mid-1950s to the very early 1960s. This music blended the elements of
Afro-Cuban rhythms, unusual instrumentations, environmental sounds, and lush
romantic themes from Hollywood movies, topped off with evocative titles like
"Jaguar God," into a cultural hybrid native to no place outside the San Fernando
Valley.

There were two primary strains of this kind of exotica: Jungle and Tiki. Jungle
was definitely a Hollywood creation, with its roots in Tarzan movies (and
further back, to W.H. Hudson's novel, Green Mansions. Les Baxter was the king of
jungle exotica, and spawned a host of imitators while opening the doors for a
few more genuine articles such as Chaino, Thurston Knudson, and Guy Warren. Tiki
was introduced with Martin Denny's Waikiki nightclub combo cum jungle noises
cover of Baxter's "Quiet Village," although Denny's vibe player, Arthur Lyman,
soon became the style's most representative artist. Tiki rode a wave of
popularity in the late 1950s and early 1960s marked by the entrance of Hawaii as
the 50th state in 1959 and the introduction of Tiki hut cocktail bars and
restaurants around the continental United States. Tiki exotica is now enjoying a
resurgence in popularity, and Tiki mugs and torches that once collected dust in
thrift stores are now hot items."

Do others concur with this?

Thanks,
Kevin Crossman
The Search for the Ulimate Mai Tai
http://www.kevdo.com/maitai/


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------------------------------

Date: Mon, 01 Mar 1999 23:01:27 -0500
From: cheryl <[e-mail]>
Subject: Re: (exotica) Martin Denny articles

The Utne Reader (Sept/Oct 1994) article (slightly under one page on
Martin Denny, actually) doesn't really tell you anything you probably
don't already know.  Don't bother searching too hard for it, if that's
all you're interested in.  The Cocktail Nation article in the same issue
is a lot of fun, however - lots of info on ComEd, cocktail recipes, etc.
Both are excerpted from "Cake", a journal from Minneapolis.

cheryl

Kevin C. wrote:
>
> I finally obtained issue #7 of Cool and Strange Music, featuring the excellent
> interview with Martin Denny.
>
> I've got a lead on an Utne Reader article. If you've seen this, please comment
> (to see if my pursuit is worth it).


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------------------------------

Date: Tue, 2 Mar 1999 00:29:09 EST
From: [e-mail]
Subject: Re: (exotica) The People's Court

In a message dated 3/1/99 9:58:55 AM EST, [e-mail] writes:

<< Apparently Alan Tew wrote "The Big One" which was used as production music
 for the People's Court.  Didn't someone here say that a long version
 existed on some comp somewhere?
 I'd love to know what that was. >>

It is available on "The Hanged Man" soundtrack CD/LP

Ashley


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Date: Tue, 02 Mar 1999 00:53:39 -0500
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) Ye-Ye/Schlager

At 07:10 PM 3/1/99 +0100, Marco \"Kallie\" Kalnenek wrote:
>
>Brian Karasick wrote:
>
>> The question then is, can some Schlager also be the
>> equivalent of ye-ye ?
>
> Schlager refers to a very broad range of music, but at one time
>it certainly included things that could be the equivalent of what the
>French were doing.

I'm way out of my element here but I'd say Brian, that it's wishful
thinking on your part that "Schlager" and "ye ye" be the same thing.
I believe that the "ye ye" style of Schlager is the style of Schlager that
you overwhelmingly prefer.
If Schlager and ye ye were the same thing, you wouldn't have to dread this
"Lolita sings in German" record that I'm thinking of bringing you when I
come to Montreal next week.  You wouldn't have to worry about all your
friends buying you yodelling polka records and expecting you to be thrilled.
You could just wholeheartedly declare yourself a Schlager fan and not fear
the flood of crap that might come your way as a result of the declaration.
But life's not that easy, is it, my poor record-collecting colleague?

Nat



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Date: Tue, 02 Mar 1999 00:53:41 -0500
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) Re: Stereo Action

At 02:35 PM 3/1/99 -0500, Peter Risser wrote:
>
>BTW, I haven't heard the whole Leo Addeo album, but I *love* the ocarina
>cuts on this comp.  They rule, especially Stumbling.  So there.  A
>different 2 pence.

Not so fast pardner.  There's more than one Leo Addeo record on Stereo
Action.  There's no cut called "Stumbling" on "Paradise Regained" which
means it's probably on the record called "The music goes round and round",
I think.
I was only referring to Paradise which is essentially a Hawaiian record.
I've heard a lot of great, wildly-over-the-top Leo Addeo.  At his best, his
use of extraneous touches is rivalled only by Esquivel.
But that usually doesn't happen on his Hawaiian records.

Nat



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Date: Tue, 2 Mar 1999 00:55:36 EST
From: [e-mail]
Subject: Re: (exotica) "Tiki" vs. "Jungle" exotica

In a message dated 3/1/99 8:46:47 PM EST, [e-mail] writes:

<< There were two primary strains of this kind of exotica: Jungle and Tiki.
Jungle
 was definitely a Hollywood creation, with its roots in Tarzan movies (and
 further back, to W.H. Hudson's novel, Green Mansions. Les Baxter was the king
of
 jungle exotica, and spawned a host of imitators while opening the doors for a
 few more genuine articles such as Chaino, Thurston Knudson, and Guy Warren.
Tiki
 was introduced with Martin Denny's Waikiki nightclub combo cum jungle noises
 cover of Baxter's "Quiet Village," although Denny's vibe player, Arthur
Lyman,
 soon became the style's most representative artist. Tiki rode a wave of
 popularity in the late 1950s and early 1960s marked by the entrance of Hawaii
as
 the 50th state in 1959 and the introduction of Tiki hut cocktail bars and
 restaurants around the continental United States. Tiki exotica is now
enjoying a
 resurgence in popularity, and Tiki mugs and torches that once collected dust
in
 thrift stores are now hot items."

 Do others concur with this? >>


Actually the whole Tiki thing started much earlier. It was a result of GI's
whio fought in the Pacific during WW2 and bringing back mementos to the
mainland. Remember a big influence on exotica music was the musical "South
Pacific" which I believe hit Broadway around the mid-50s (based on James
Michener's book "Tales Of The Souuth Pacific" which was a best seller was
published in 1947). The whole thing really got big when "South Pacific" was
made into a movie (1958) and given further ammo with the Hawaiian statehood in
1959. By that time, establishments that had been around since the '40s like
Don The Beachcomber's and Trader Vic's really started to rake it in. That's
when the tiki bars/restaurants aping the style of these entrereneurs started
to crop up.

I have to disagree with the statement about Arthur Lyman being exotica's "most
representative artist."  Lyman only left Denny's band because he was offered a
lucrative deal by Henry J. Kaiser to replicate Denny's style so Kaiser could
continue to get the crowds who wanted to hear "exotica" music at his Hawaiian
Village. The reason Denny left the Hawaiian Village was beacuse Kaiser wanted
him and his band exclusively, including for recording contracts. Denny baulked
at this deal and jumped ship, while Henry J. Kaiser nearly broke up the band
- -- gaining Lyman and one other member of his original band.  Denny was the
arranger who came up with the idea of having his band do the jungle noises.
Lyman was primarily a jazz vibist, a damn good one mind you, but his
arrangements were really not in the same league as Denny.

Also Martin Denny insists that his music was more of an "exotica" rather than
"tiki" sound as you mentioned. "Exotica" has always been a mixture of world
musics from the far east, middle east, Africa, Latin America and Polyenisia.
Denny denies having any real knowledge of "tiki" culture, rather it was an
adaptation of these worl d musical elements into what were standards, jazz and
easly listening music of the time.

Ashley


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------------------------------

Date: Tue, 02 Mar 1999 11:28:38 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Ye-Ye/Schlager & XoTiCa

The term "Schlager" seems to come up in 1880 in Vienna, describing the
success of a popular song comparing it to the hit of a flash. The German
word "Schlag" means "hit" or "beat" as in "Blitzschlag", the hit of a
flashlight. Popular music was always considered as a lower form of
music, but you could say that Schlager is the German word for Pop.

Today by the mention of "the German Schlager" most people would probably
think of it as in his "great old days", i.e. in the 1960s. It was often
pointed out in this list that the German pop music at that time was
heavily influenced by Rock'n'Roll, so the term seems to refer most to a
time when the music lost most of its own unique character. Which has
been mostly a development of the "Operette" mixed with mild Jazz
elements up to those days. The performers of the Schlager in post-war
Germany draw a line between them and the ever popular "Volksmusik",
which was considered as old-fashioned and provincial, if not Nazi. Today
they often go together, at least in TV shows, a combination that Heino
had sort of invented. To many this had made him a dangerous right-winger
and the most hated singer in Germany.
As English music gained more and more popularity since the 50s the term
Schlager was more and more used mainly for music of German language; but
you could read sentences like "Paul Anka, Canadian Schlager-singer...."
as well, showing the universal meaning of the term. The word is also
used for popular products in general, "the new VW became a huge
Verkaufsschlager", ie. sales hit...

Exotic influences were early: In the 1920s the "Comedian Harmonists" let
all kinds of foreign musical influences slip into their repertoire
("Onkel Bumba aus Kalumba tanzte Rumba", "Mein lieber Schatz, bist du
aus Spanien" etc.).
They sang in at least five different languages and were incredibly
successful even in the States at that time. As most of their 6 members
were Jews you guess what happened to them after 1933...
The Schlager of the 50s and 60s was full of escapist ideas, the lyrics
were dreaming of the "white sands of Athens", as well as of a "fiesta
Mexicana", they wished to recieve a "telegram from Tennessee" or
expressed their "desire for Samoa"... The exotic element became a
cornerstone for the Schlager, unfortunately rather in its lyrics than in
the music.

Today's Schlager revival a la Guildo Horn also refers mainly to the 60s
and is all about singing in German and having fun at the same time, an
attempt that seems to have a rebellious character to many people, yet
cannot quite hide its ironical character.


- -Mo

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Date: Tue, 02 Mar 1999 12:28:05 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) film music

Nat Kone wrote:

>I don't really like to talk about how music complements a film

I still think film music is something interesting to talk about, but you're
right, when you say there isn't *one* way of making film music. Sometimes the
music is like "the sound of the situation" sometimes it is "the sound of the
state of mind of the main figure". As a film maker you probably have to make
clear where you are, especially when you mix these different perspectives in one
film.

>it's kind of silly to separate the music from the film

Nobody did that. A statement like "you can't separate the music from the
soundtrack of a film" would make more sense to me.

>And yet even when they fail, they seldom ruin the film.

I can't agree with you here. For me the soundtrack is not more and not less than
half of the truth of a movie. But I'm too lazy now to prove this with a number of
examples. Just try to look at a film without the sound and compare the experience
to listening to a film from the TV in the next room without seeing it.

>From my knowledge and experience of how the process works, I think that a  >true
symbiosis is usually a happy accident.  When you leave behind the
>tried-and-true, it's a shot in the dark.  Sometimes you're lucky and
>sometimes you're not but you get away with it anyway.Hm. Of course you can work
like that, try and error, in a more unconcious way, and it's probably much more
creative; intuition is the strong side of the artist. But it doesn't mean you
can't tell what happened when you look at the results afterwards. It's still an
interesting point to analyze how soundtrack and music work....

>I also think that some of your examples of perfectly chosen scores are more
>examples of things that you can't imagine any other way because that's how
>you're used to seeing them.
>Everybody now knows the story of how Bogart wasn't the actor originally
>cast in Casablanca.but before that, it was a story of perfect casting.I didn't
know the story, but I think Bogart was a perfect cast. So what?

>I understand that you're a musician.  Maybe this is just a classic case of
>musician versus filmmaker.I made music, I made films, but in this case the
misunderstanding apparently was about the perspective of what we were talking
about: The motives of the artists (you), the way film music works (me). Actually
I like to discuss this in free creative way, I don't state I know the truth, esp.
not at such an early point of discussion, I'd rather collect ideas and come
closer to a subject slowly. It's really not about being right or wrong.

>Sometimes I subscribe to the theory that the score shouldn't even be
>noticed.  But I must admit I'm not consistent.  Still, though I own a few
>soundtrack records that I enjoy, I seldom walk out of a film commenting
>about the music beyond acknowledging that it worked.I often do, especially when
it didn't work. :)


- -Mo

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Date: Tue,  2 Mar 1999 04:54:32 PST
From: [e-mail]
Subject: (exotica) Stereo Action discography

At 02:58 PM 2/28/99 EST, [e-mail] wrote:
>
>Can anyone furnish a list of "good" RCA Stereo Action LP's?
I have four.
Three
>are excellent and one disappointing. The excellent ones are:
>
>    "Dynamica"     Ray Martin Orchestra
>    "It's Magic"      Marty Gold Orchestra
>    "Futura"         Bernie Green Orchestra

***************************************************
Here's a Stereo Action discography I assembled about three years
ago, which I believe to be complete:

LSA2287    Ray Martin and his Orchestra - Dynamica (1961)
LSA2290    Marty Gold and his Orchestra - ItÆs Magic (1961)
LSA2306    Dick SchoryÆs Percussion and Brass Ensemble - RunninÆ
Wild (1961)
LSA2344    Vic Schoen and his Orchestra - Brass Laced with Strings
(1961)
LSA2353    Leo Addeo and his Orchestra - The Music Goes æRound and
æRound (1961)
LSA2365    The Chorus and Percussion of Keith Textor - Sounds Terrific!
(1961)
LSA2371    The Guitars Unlimited Plus 7 - Crazy Rhythm (1961)
LSA2376    Bernie Green and his Orchestra - Futura (1961)
LSA2381    Marty Gold and his Orchestra - Stereo Action Goes Hollywood
(1961)
LSA2382    Dick SchoryÆs Percussion and Brass Ensemble - Stereo
Action Goes Broadway (1961)
LSA2396    Henri Rene and his Orchestra - Dynamic Dimensions (1961)
LSA2414    Leo Addeo and his Orchestra - Paradise Regained (The
Exotic Music of the Pacific) (1961)
LSA2418    Esquivel and his Orchestra - Latin-Esque (1962)
LSA2422    Ray Martin and his Orchestra - Excitement, Incorporated
(1962)
LSA2425    The Chorus and Percussion of Keith Textor - Sounds Sensational!
(1962)
LSA2432    Manny Albam and his Orchestra - More Double Exposure
(Twenty Tunes - Two at a Time) (1962)
LSA2485    Dick SchoryÆs Percussion and Brass Ensemble - Holiday
for Percussion (1962)
LSA2489    Various Artists - Stereo Action Unlimited! (1961)
LSA2532    The Three Suns - MovinÆÆnÆ GroovinÆ (1962)
LSA2508    Manny Albam and his Orchestra - I Had The Craziest Dream
(1962)

***************************************************

The Keith Textor LPs are among my favorites in the series. Textor
added sound effects and vocal choruses, resulting in a sort of
souped-up children's record sound. Other highly recommended Stereo
Action titles are Guitars Unlimited Plus 7, Henri Rene, Esquivel
(natch), and the Three Suns.

I find most of the Marty Gold and Ray Martin material to be boring,
but every Stereo Action LP has its interesting moments.

Wayno

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Date: Tue, 02 Mar 1999 08:52:01 -0500
From: Peter Risser <[e-mail]>
Subject: (exotica) Ma(i)s Que Nada

I've seen it both ways, Mais Que Nada and Mas Que Nada.
What does it mean, and which way is correct?

Thanks,
Peter


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Date: Tue, 02 Mar 1999 08:39:06 -0500
From: [e-mail] (Paul Mazzucca)
Subject: Re: (exotica) Stereo Action discography

I think the manny albam ' i had the craziest dream ' is awesome.

marty gold i've actually passed up on and the 'stereo action unlimited'.
isn't that  good

i have:

latin- esque
runnin' wild
sounds terrific, (least favorite)
the music goes round and round
craziest dream
movin' n' groovin

i never paid more than a $1.50 for any of these gems. ( the guy in an
old junk shop thought he better up to $1.50 instead of his usual $1.00)

it  is possible.

carrie



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Date: Tue, 2 Mar 1999 15:03:41 +0000
From: "Charles Moseley" <[e-mail]>
Subject: Re: (exotica) Ma(i)s Que Nada

Mas - more





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Date: Tue, 2 Mar 1999 15:03:12 +0000
From: "Charles Moseley" <[e-mail]>
Subject: Re: (exotica) Ma(i)s Que Nada

More than nothing?





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Date: Tue, 02 Mar 1999 10:22:02 -0500
From: cheryl <[e-mail]>
Subject: (exotica) Sound Gallery vol. 1

I'm wondering if anyone can tell me more about this one - I'm assuming
it would be a worthy addition to my collection? (I found a copy used,
but haven't bought it yet).  Ashley?  Johan?

cheryl


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Date: Tue, 02 Mar 1999 10:26:28 -0500
From: <[e-mail]>
Subject: (exotica) Wives and Lovers

1.  Are Burt Bacharach and Angie Dickinson still married?  That's a perfect
pairing, if you ask me!  I bet they went to a lot of ski lodges
together....
   2. YEESH!  I found out this weekend that Mamie VanDoren and __Ray
Anthony__ were married...It's a puzzling a mix as Julie London and Jack
Webb!  Hot dames and SQUARESVILLE hubbies....
Hmph!- Jane Fondle
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Date: Tue, 02 Mar 1999 10:28:29 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) Crosthwaite, Partridge, Goldwater obits

                       *Donald F. Crosthwaite
    PADUCAH, Ky. (AP) -- Donald F. Crosthwaite, a broadcaster and entertainer,
died Saturday from complications of a stroke. He was 72.
    Crosthwaite, known professionally as Don Cross, was the co-host of Paducah
television station WPSD's ``Lions Club Telethon of Stars'' each year from
1968 until 1991. During a 30-year recording career, he released several pop,
country, gospel and nostalgia albums.
    He later managed and owned two radio stations before selling them and
returning to Paducah in 1985.
    Survivors include his wife, Virginia; a daughter, two brothers, a sister,
and a granddaughter.

                       *Cora Cheney Partridge
    TACOMA PARK, Md. (AP) -- Cora Cheney Partridge, a writer of children's
books and one of the oldest women to be ordained an Episcopal priest, died
Feb. 21 of complications from a stroke. She was 82.
    Partridge wrote more than 20 books of fiction, history and folklore.
    Her first book was ``Skeleton Cave,'' in 1954 describes a boy who finds
American Indian relics near his home. She went on to write as many as 15
children's novels, among them ``The Pegged Leg Pirate of Sulu,'' `The Girl
at Jungle's Edge,'' ``Tales from a Taiwan Kitchen'' and ``The Case of the
Iceland Dogs.''
    She was ordained an Episcopalian priest at age 65 and helped establish
rural church missions in Vermont, Delaware and Florida. She worked with
shut-ins and the elderly, often using a portable altar made from an ironing
board. In 1989, Partridge helped organize an abortion rights march of ``the
matriarchs,'' a group of women in their 60s and 70s, in Tallahassee, Fla.

March 2, 1999
John Goldwater, Creator of Archie and Pals, Dies at 83
By RALPH BLUMENTHAL,NYTimes
NEW YORK -- He is survived by Archie, Jughead, Betty and Veronica in
Riverdale, U.S.A.
     Their creator, John L. Goldwater, an orphan from East Harlem who
hitchhiked his way west in the Depression and invented prototypical teen-age
America in the comics, died of a heart attack on Friday at his home in
Manhattan. He was 83.
     Archie Andrews and his pals remain forever 16 going on 17.
     In 1941 Goldwater, a struggling writer distantly related to the late
Sen. Barry M. Goldwater, dreamed up the carrot-topped, freckle-faced
character perpetually torn between two loves, one blond, one dark-haired. He
was a hapless teen-age Everyman counterpoised to the hyperpotent Superman,
who had made his debut just a few years earlier.
     Naming his creation Archie, after a school chum, Goldwater surrounded
him with other characters patterned after teen-agers he had met in the
Midwest, gave them jalopies and typical teen-age problems, placed them in
the mythical and idyllic town of Riverdale, and found a young artist, Bob
Montana, who provided what became indelible faces.
     Millions worldwide came to chuckle over Archie's misadventures at
school with his spinster teacher, Miss Grundy, and the fussy principal, Mr.
Wetherbee; his intractable romantic triangle with the sweet Betty and
spoiled, rich Veronica; the hamburger obsession of the nerdy Jughead; the
rivalry with the handsome, conceited Reggie. In time, the supporting cast
members grew to star in their own comic books.
     Over the years the settings have been updated -- Archie and his friends
now exchange e-mail and go in-line skating -- but the problems have not
changed.
     The guiding idea, Goldwater always said, was simple. It came down to
Archie. "He's basically a square, but in my opinion the squares are the
backbone of America," he told The New York Times in 1973. "If we didn't have
squares we wouldn't have strong families."
     The formula clearly hit a responsive nerve. The comic strip once ran in
750 newspapers. Comic book sales sometimes reached 50 million a year, though
they have leveled off at about 15 million a year.
     Goldwater's touch catapulted him to the pinnacle of the comics world,
with a multimillion-dollar fortune and publishing empire, Archie Comic
Publications Inc. of Mamaroneck, N.Y., one of the industry's big three,
along with Marvel and D.C. Comics. Archie was on the radio, on television
and in the movies. There was even a short-lived chain of Archie restaurants.
     Goldwater was also instrumental in creating the Comics Code Authority,
which was formed in 1954 to self-police the industry's depictions of sex and
violence. He was also a national commissioner of the Anti-Defamation League
of B'nai B'rith and his wife, Gloria, was the first national chairwoman of
its women's division.
     His childhood world of East Harlem was no Riverdale, U.S.A. His mother
died giving birth to him in 1916 and his father succumbed to grief,
abandoning his baby and dying soon afterward. Young John was raised by a
foster mother and grew up to complete high school, where he knew a
red-haired boy who became the prototype for Archie. Goldwater was six feet
tall and husky with dark hair, more the Reggie type.
     With the Depression worsening, he left New York, hopping freight trains
and bumming rides to the Midwest, where he worked for a time in Kansas as a
news reporter. Assigned to school sports, he hung around with football
teams, meeting the players and the girls they attracted, who would later
supply him with ample comic material.
     After a few years he continued west to the Grand Canyon, where he
worked at a lodge, but was dismissed for socializing with the female help,
affording him more future material. The lodge paid his way to San Francisco,
where he found work again as a reporter and saved enough to book passage on
a ship back to New York. On board, he met two young women bound for the
novitiate. Both fell for him, which later gave him the idea of the
Betty-Veronica rivalry.
     Back in New York, he got a job on the docks and his experience with
shipping gave him an idea. He went to a magazine publisher and offered to
buy his outdated issues at a penny each. Then he shipped them abroad to an
avid market. The business prospered and Goldwater soon joined with a pulp
magazine publisher, Louis Silberkleit, to found a magazine publishing
business in 1941, just as the war was restricting paper supplies.
     Their Archie venture, with illustrations by Montana, himself then a
teen-ager, began as a four-page insert in another comic. It proved an
immediate hit and Archie and his pals quickly got their own comic.
     In 1954, with national critics decrying brutality, vulgarity and sex in
the comics, Goldwater helped found the Comics Magazine Association of
America, whose Comics Code Authority persuaded magazines to voluntarily weed
out offensive copy as well as ads for guns, knives and war weapons. He was
president for 25 years.
     In 1973, he went further, licensing Archie for evangelical Christian
messages. Although Jewish, Goldwater said the sentiments were in line with
his wholesome family message.
     In 1983, the Archie comics company, then public, was acquired by a son,
Richard, from Goldwater's first marriage, and by Silberkleit's son, Michael,
and returned to private ownership. It now employs 32 writers and artists and
publishes more than 30 comics.
     In addition to his wife and his son Richard, of White Plains, N.Y., he
is survived by two other sons, Jonathan, of Scarsdale, and Jared, of Manhattan.
     This is not Goldwater's first obituary. When he was 48, in June 1964,
The New York World-Telegram and Sun reported that he had died at age 89,
confusing him with someone else with a similar name. In a letter to the
editor, Goldwater responded, "This is a unique experience, and I guess that
I am one of the very few men in the world who is able to laugh at his own
obituary."







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End of exotica-digest V2 #336
*****************************