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exotica-digest         Monday, March 29 1999         Volume 02 : Number 358



In This Digest:

RE: (exotica) Can you say that on the list?!
Re: (exotica) Can you say that on the list?!
(exotica) Retro Cocktail Hour
Re: (exotica) Tikitune records
Re: (exotica) Weird Welcome
(exotica) who is Dr. Dirt??
(exotica) Roy Budd Reissues
(exotica) Gak Sato
(exotica) Ananda Shankar - or rediscovering how cool one's parents really are...
(exotica) introduction: Chasmo (LONG!)
(exotica) Little Jimmy Scott and other tv
Re: (exotica) Gak Sato
(exotica) Lee Hazlewood re-issues
SV: (exotica) introduction: Chasmo (LONG!)
Re:  (exotica) Basil A Go Go Commercial
(exotica) Thursday in SF
(exotica) Weekend Scores
(exotica) BOB!
(exotica) one more from the zoo
Re: (exotica) BOB!
(exotica) Weekend Scores
(exotica) Beyond Lawrwnce Welk (NYTimes)
(exotica) obits: Ellen Langer,Frederick McCallin,Theodore McRae,Lillian McMurry

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

Date: Fri, 26 Mar 1999 15:12:14 -0800
From: "Ron Grandia" <[e-mail]>
Subject: RE: (exotica) Can you say that on the list?!

Laura advises me that it is likely a Tiki anal probe... (I asked for =
mine OFF list.)

 I suspect that she will be receiving an alarming number of requests for =
this item from listees. I will now spend the rest of my day reflecting =
on the thought of our favorite Astroslut strutting into this place and =
boldly proclaiming the need for a ten-pack of these tikiticklers and =
unabashedly asking for a volume discount.=20

I can die now. Happy.

Ron

>=20
> WOW! Where, o' where can I get my tiki dildo????! I want one NOW!
>=20
> Jill "Mingo-go"
>=20



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

Date: Sat, 27 Mar 1999 10:00:08 EST
From: [e-mail]
Subject: Re: (exotica) Can you say that on the list?!

In a message dated 3/27/99 4:54:52 AM Eastern Standard Time,
[e-mail] writes:

<< > Oh, and this is disturbing to all you TIKI collectors out there.  A
rather
 > perverse friend of mine was in a China Town sex shop,and saw, um, oh, I
 > can't say it...let's just say it was some sort of "probe" with a tiki atop!
 > I AIN'T LYIN'

 WOW! Where, o' where can I get my tiki dildo????! I want one NOW!

 Jill "Mingo-go"
  >>

I hear it is like the one that has the jewels for the eyes and has a "music
chip" that plays Quiet Village when you turn it on.   Althought from the looks
of it, Left Arm of Buddah may be more appropriate.


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

Date: Sat, 27 Mar 1999 21:22:50 -0600
From: "Darrell Brogdon" <[e-mail]>
Subject: (exotica) Retro Cocktail Hour

It's an all-new Retro Cocktail Hour webcast this week, featuring some
of the rarest crime jazz ever - Richard Markowitz's score from the
'50s B-pic "Stakeout on Dope Street", performed by the Hollywood
Chamber Jazz Group (from a hard-to-find RCA EP issued in 1958).
Plus -- tracks from the new Ryko CD reissues of "I Want To Live" and
"Johnny Cool", and swinging movie tunes by Armando Trovaioli, Jerry
van Rooyen and Aaron Bell.

Also this week -- our bout with bongo fever continues, thanks to Jack
Costanzo, Candido and Don Ralke; Buddy Cole does amazing stuff with
his organ(s); Stanley Wilson serves up some exotica from "Pagan
Love";  and we'll hear from Dick Schory, The Three Suns, Diana Dors,
Sid Bass, Rene Bloch and Al Caiola.

To hear The Retro Cocktail Hour on the World Wide Web, just go to:

http://kanu.ukans.edu/retro.html

Requires at least a 28.8 Internet connection and RealPlayer.
Download RealPlayer for free at:

http://www.real.com/products/player/50player/index.html?src=download

If you tune in our webcast, please drop us an e-mail and let us know
you're out there!

Thanks for the space.


Darrell Brogdon
[e-mail]
The Retro Cocktail Hour
KANU Radio
Broadcasting Hall
The University of Kansas
Lawrence, KS 66045
Visit The Retro Cocktail Hour at:
http://kanu.ukans.edu/retro.html
Listen to The Retro Cocktail Hour at:
http://kanu.ukans.edu/retrolisten.html


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

Date: Sat, 27 Mar 1999 23:01:33 EST
From: [e-mail]
Subject: Re: (exotica) Tikitune records

In a message dated 3/26/99 10:27:31 AM Pacific Standard Time,
[e-mail] writes:

 Hey Jack -- is this you trying out a new AOL account?? :)
  -Lou

You guys are weird.  My name is John
Nice welcome from y'all (sarcasm)

John


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

Date: Sun, 28 Mar 1999 08:47:12 EST
From: [e-mail]
Subject: Re: (exotica) Weird Welcome

In a message dated 3/27/99 11:03:44 PM Eastern Standard Time,
[e-mail] writes:

<< You guys are weird.  My name is John >>

Oh tell us something we don't already know.  BTW, via computer viral psycho-
physical dynamics, and thru your fingers touching your computer keyboard,
guess what?

You are weird too!!!

Or was that something you already knew?

Welcome aboard our hopelessly (or is that haplessly) adrift boat,

Robert

P.S.  Oh, btw John, did you read Jill Mingo-go's request for Jane Fondle to
send her a Tiki dildo?  Such banter is the norm.


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

Date: Sun, 28 Mar 1999 11:18:44 -0500
From: Citizen Kafka <[e-mail]>
Subject: (exotica) who is Dr. Dirt??

A comedian, who (we think) did a routine sitting at piano playing simple
chords and singing bizarre fake Moldavian(?) folk songs, who also played
a character named "Dr. Dirt" in a TV commercial ('60's?).

Information, a name, anything! (it is not victor borge, not even
close!).

This is not a contest, i need this info for research.

thanks for any help!!

citizen kafka


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

Date: Sun, 28 Mar 1999 17:19:09 +0100
From: "Robert Baldock" <[e-mail]>
Subject: (exotica) Roy Budd Reissues

Now that I've got a "proper job" I'm not monitoring this list as
closely as I once did but I don't think I've seen a mention of the
bunch of Roy Budd soundtrack reissues which have come out
recently.  I'm sure we all know about the Get Carter reissue but did
you know these are also out:

Black Windmill, Diamonds, Fear Is The Key, Paper Tiger, Sinbad &
The Eye Of The Tiger.

They're all on the Cinephile label.  Dusty Groove has them and
Scottish list members will also find them in Fopp.


Robbie


- ----------------------------------------------------------
** ** ** * Spaced Out - the Enoch Light Website * ** ** **
** ** ** * http://www.rcb.easynet.co.uk/light/  * ** ** **
- ----------------------------------------------------------


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

Date: Sun, 28 Mar 1999 17:19:09 +0100
From: "Robert Baldock" <[e-mail]>
Subject: (exotica) Gak Sato

Has anyone heard anything of a new CD by Gak Sato called Post-
echo (on the Right Tempo label)?  It's a debut album described (by
the Scotsman newspaper) as "absurdist bossa-nova house" from a
Japanese-Italian "studio whizz" recalling Pizzicato 5 and Dimtri
from Paris.  The cover looks very Persuasive Percussion...

I think it comes out tomorrow.


Robbie


- ----------------------------------------------------------
** ** ** * Spaced Out - the Enoch Light Website * ** ** **
** ** ** * http://www.rcb.easynet.co.uk/light/  * ** ** **
- ----------------------------------------------------------


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

Date: Sun, 28 Mar 1999 17:19:09 +0100
From: "Robert Baldock" <[e-mail]>
Subject: (exotica) Ananda Shankar - or rediscovering how cool one's parents really are...

Sad news indeed about the loss of this psychedelic sitar maestro.

Ananda Shankar is very much in my thoughts at the moment after
a very strange experience in a record shop this afternoon when I
picked up a copy of his eponymous album's reissue.

Having heard such great things about this legendary piece of sitar
rock, I'd been after a copy of this for a good 2-3 years.  But as
soon as I saw the cover I realised it was actually another "lost"
album of my childhood (though I'd mistakenly remembered it as
having been a Ravi Shankar album...), joining the ranks of Spaced
Out, Kaleidoscopic Vibrations and Moog Indigo.

Strangely, listening to the album again - probably for the first time
in 25 years! - the only track I half remembered was Snow Flower.
But rediscovering the album has been confirmation indeed that my
parents' musical taste has had a very formative effect indeed all
these years later...!


Robbie


- ----------------------------------------------------------
** ** ** * Spaced Out - the Enoch Light Website * ** ** **
** ** ** * http://www.rcb.easynet.co.uk/light/  * ** ** **
- ----------------------------------------------------------


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

Date: Sun, 28 Mar 1999 10:49:36 -0800
From: "Chasmo" <[e-mail]>
Subject: (exotica) introduction: Chasmo (LONG!)

I've been active on the Net since 1994, and would have joined this
list long ago if not for the fact that my job (freelance tech writer and
webmaster) requires me to monitor several much less interesting
lists, which daily fill my mail buffer to capacity with exciting posts
like "HOT TIPS on setting file permissions in Perl CGI scripts."

Finally last week I said screw it, and dumped a couple of the most
boring listservers to free up space. And here I am on the exotic
music list in all my naked glory.

I've been an avid LP, 45, and 78 rpm disc collector for almost seven
years. I have about 10,000 records, which is nice to boast about on
lists like this one, but not so great when it comes to moving, which
I'll be doing next week. I've moved twice since I started amassing
this collection, and both times heard plenty of bitching and
moaning from friends as they realized the many heavy LP boxes
they helped me load were filled with titles like "George Wright
Goes South Pacific" and "101 Strings Play Spaghetti Western
Themes."

For this move, I'm getting smart and loading the boxes with rare
Beatle and Stones LP's up top, so that my friends will think they're
actually helping deliver a highly valuable collection to its new
residence. The Leonard Nimoy and Les Baxter sections will be
buried deep inside those U-Haul boxes this time.

I started buying exotica sides about two years after my collection
seriously began. My inspiration was a cassette my band at that
time used as setting-up music. It was some stereo demonstration
record that I've yet to find again, with cuts from mariachi bands,
accordion trios, and Larry Adler-style harmonicizing. We thought
we were so damn hip using this tape for its cheese factor, but I
soon found myself playing the thing regularly at home instead of
the other more "valuable" LP's I'd been picking up at thrift stores.

Soon the bug hit me and I started picking up every Esquivel and
Martin Denny title the Salvation Army had to offer. I hate to think
now what great stuff I had been passing up previous to my
conversion, well before the publication of "Incredibly Strange
Music" when alterna-types suddenly started raiding the thrift bins of
all the Dick Hyman moog workout discs.

Still, the town I live in (Chico, CA, a college town about 90 miles
north of Sacramento) is not exactly a hotbed of culture, meaning
that the local frat dude and white trash tastes are more inclined to
Night Ranger and Bad Company discs when it comes to vintage LP
collecting. That leaves at least some room for people like me to go
in and snap up all the Enoch Light's and stuff.

I've been a musician since I was twelve, drumming (mostly),
playing guitar and producing/recording for a variety of rootsy-type
bands. My first high-school band was a '60s-style garager outfit,
but we didn't go over well at a time when our peers were just
discovering the "magic" of The Cure, The Smiths, etc. We became
a rockabilly band just in time to miss the tail end of the Stray Cats'
rockabilly revival, then a ska band just as acts like The Specials
and the English Beat were falling out of favor. Oh well.

In 1991 after a drunken conversation with a guitar-playing friend ("I
love you man," "We oughta start a band," etc.) I put together a
Velvet Underground "tribute" band with me in the Lou Reed spot.
Our goal was to do one big show, with props, costumes,
dominatrixes (dominatrices?), and the whole bit, then disband. We
ended up keeping the thing going for almost a year. We played
pretty much dead-on VU covers. A tribute band isn't the most
creative approach to music, but I have to admit it was fun doing
Lou, and we turned a lot of people on to glories of noise guitar.
Hopefully we didn't also turn a lot of people on to heroin.

My biggest brush with greatness to date was drumming for a swing
band I helped found in 1992, Blue Plate Special. At that time, there
were only a handful of swing acts playing the San Francisco club
scene, so seven guys in suits were definitely an anomaly up here
in Steve Miller country.

A friend and I started Blue Plate after many herb-filled evenings of
listening to the great jazz and blues hybrid music of the late 1940s.
We figured it would never go over, but as musicians, it was either
follow our dream or resolve to play Skynyrd covers at the local
bars. To our surprise the thing took off, and we were soon touring
LA and SF regularly and playing great gigs like the post-Grammy
party in 1996, where we backed up Stevie Wonder on some old
Ray Charles tunes, jammed with young-lion trumpeter Roy
Hargrove, and earned the admiration of both Chuck Berry and John
Popper. I even danced with Sheryl Crow, though I didn't know who
she was at the time. (I'm name dropping here, OK?)

Gradually the swing thing started ramping up, and we saw our
friends in bands like Royal Crown Revue and Big Bad Voodoo
Daddy start appearing in films and TV spots. The band as a whole
decided it was time to relocate to Los Angeles and start
hobnobbing with the industry execs. Call it fear of success, but I
didn't think I'd enjoy actually making it "big" and declined to move
with them. All this happened at a time when the Gap ad with "Jump
Jive and Wail" was turning former Goth-heads into reconstructed
Hepcats, and I smelled a foul trend emerging.

I've always been attracted to music styles that lie outside the
mainstream tastes, and when a style suddenly becomes the Big
New Thing, I tend to lose interest even though the music itself may
not change a bit. I could see that happening with the swing revival,
and I really didn't want to ruin this style I loved by seeing it co-
opted by the 90210's and yupsters and Macy's Tiger Shops. That's
the lofty, principled excuse I gave for not moving; probably more
influential was the fact that I just hate fucking LA.

In short, I stayed in Chico, and Blue Plate Special is now having
moderate success as one of those touring acts that draws great
crowds in metro areas but because of poor management still can't
put together enough coins to buy a ham sandwich. They've made
numerous TV appearances and visited nearly every state in the US,
but I don't miss it, and I still think I made the right decision for
myself. Listeners who aren't musicians don't realize that the hour
or two you're on a stage are only a couple out of a long day of
corporate ass-kissing, riding in a smelly van, waking up next to a
trumpet player who wears Underoos, and getting into a wool suit
that has seen three outdoor summer festivals and then rode around
stuffed in a drum trap case for three days.

Today I drum for three bands, one a local rockabilly outfit that
probably won't ever get out of Chico but is a great excuse to drink
free beer, another an up-and-coming "American music" trio backing
an incredible roots guitar player and bassist, and the third a band
that is probably of most interest to this list.

It's called Dan Cohen's Near Death Explosion, and it is the product
of a 50-something eccentric guy named (duh) Dan Cohen. Dan
grew up in LA in the late '60s and early '70s playing with
underground garage acts and sharing bongs with guys like Arthur
Lee of Love. Today he lives with his elderly mother in a retirement
village in a town called Paradise (which provides plenty of
songwriting fodder) and does pretty much nothing but write and
record.

Dan is also a collector of exotica, particularly stuff like theremin
records, sound effects discs, and old exercise records, all of which
we use as backing on his recordings. The recordings we make are
what this project's all about, since we rarely play live--Dan is a little
on the anti-social side and often starts forgetting lyrics and chords
to his own tunes when he's faced with an audience.

We've been featured on two CD's so far, both of them released by
NYC saxist John Zorn. The latest is a T-Rex tribute titled "Great
Jewish Music Volume I," in which our track appears sandwiched
between a really horrible Sean Lennon cut and something by
guitarist Vernon Reid, who really doesn't belong on the disc at all.

Zorn wants to release a full-length disc of our stuff, so Dan and I
just wrapped up post-production last week. Dan's also pitching the
disc to Tom Waits, a friend and mutual fan (in fact, Dan's brother
Greg is the bassist on Swordfishtrombones and is now on tour with
Waits).

I decided not wait for the release of this thing and posted all of the
tracks on the Web in RealAudio. It's to be titled "11 Dan Cohen
Fans Can't Be Wrong." You can hear the whole bit at:

http://www.zapt.com/dancohen/

Criticism, both constructive and destructive, is welcome.


Chasmo
[e-mail]







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

Date: Sun, 28 Mar 1999 14:17:56 -0500
From: "m.ace" <[e-mail]>
Subject: (exotica) Little Jimmy Scott and other tv

Bravo reruns their recent Profile of Little Jimmy Scott, Tuesday night at
10:00pm and 1:30am (eastern).

Bravo also pulls out the Profile of Dusty Springfield, Wednesday night at
10:00pm and 1:30am. As this was a full hour program in Bravo's
no-commercial days, one can assume that 10 to fifteen minutes of material
will now be missing. Well, I *know* this is so, 'cause I caught some of it
the other week when they threw it on unscheduled, and there were chunks
missing, it lost its flow, very clunky (and heck, let's face it -- most of
these things are really British productions that Bravo simply buys US
rights for... last year's Stax documentary was a French/British production
that was several years old).

Now... after a year "on hiatus" I've revived my website's TV picks page. So
if there's something really special and "listly," I'll post it here, but
otherwise just swing on by my site to check the schedule. There's quite a
lot this week. It covers a wider range of material than would be relevant
to mention here. And I feel less guilty about clogging the mailboxes of
those who aren't interested (or our international correspondents). Please
check it out. Use it if it's useful. Pleased to be of service.

Located here:
http://www.voicenet.com/~ecam/
Click on "TV Scavenger" in the Features column

thanks,

m.ace  [e-mail]


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

Date: Sun, 28 Mar 1999 14:47:32 -0500
From: Bump <[e-mail]>
Subject: Re: (exotica) Gak Sato

>Has anyone heard anything of a new CD by Gak Sato called Post-
>echo (on the Right Tempo label)?

Not yet...
I liked the remixes they, he, she, it have done for Right Tempo like the
Sesso Matto Experience and the Lady Magnolia, Umiliani, and Masquerade by
Armando Trovajoli from the Right Tempo Experience. Should be worth a listen
at least.
but i gotta put a period to my buying sprees!
i am drowning in new vinyl.
maybe some nice person will mp3 it for us.



Since we are all wierd.
and talking about tiki dildoes (is that the right pluralization?)
I want a videotape of them in action.
or at least stills!   :0
Jane, maybe your porno music video director can incorporate your new toy
in the upcumming Astroslut vid. :}


Bump out




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Date: Sun, 28 Mar 1999 23:35:12 +0100
From: [e-mail]
Subject: (exotica) Lee Hazlewood re-issues

Folks

I haven't seen anyone post this info yet and i knew some would be
interested ...

Smells Like Records have started their Lee Hazlewood re-issue programme ..

YAY !!!

i've received copies of 'Cowboy In Sweden' (from the Swedish TV progeramme)
and 'Farmisht, Flatulence, Origami, Arf!!! And Me' (recorded in Tempe,
Arizona in 1997, is a collection of pop standards backed by the Al Casey
Combo)

'Cowboy In Sweden' sounds great ... some songs i'd not heard before ... all
the right ingredients ... on 'Farmisht, Flatulence, Origami, Arf!!! And Me'
his voice has changed only a little in about 30 years and needless to say
it's still GREAT ... this is Lee relaxed and enjoying himself ... all
covers including 'She's Funny that Way' which he did on 'Requiem For An
Almost Lady' ... i've never heard the Al Casey Combo before but they're
pretty sympathetic ... not quite the same buzz as the older sounds and dark
arrangements ... but great to hear new material and maybe getting enough
just deserts to get him over here to England ...

Apparently, later on will be 'Trouble Is A Lonesome Town','13' and 'Requiem
For An Almost Lady', 'The Not So Very Important People', Singles
compilation (title tba) and 'The Cowboy & The Lady' (with Ann Margaret).

Us lucky people have got some rather nice listening time ahead of us ...

friendly almost every day

Sem Sinatra




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Date: Mon, 29 Mar 1999 08:55:57 +0200
From: "Sandberg Magnus" <[e-mail]>
Subject: SV: (exotica) introduction: Chasmo (LONG!)

Well, i take the opportunity to welcome you to the list!=20
My name is Magnus Sandberg and I live in Stockholm, Sweden. My favorite =
exotica so far is Phil Moores "Polynesian Paradise" and Russ Garcias =
Fantastica.

Happy to have you with us! says,
Magnus (pronounced Mah-ng-nus)






Finally last week I said screw it, and dumped a couple of the most=20
boring listservers to free up space. And here I am on the exotic=20
music list in all my naked glory.



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

Date: Mon, 29 Mar 1999 04:23:23 EST
From: [e-mail]
Subject: Re:  (exotica) Basil A Go Go Commercial

I just saw her in Annette's Pajama Party!!


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

Date: Mon, 29 Mar 1999 04:23:48 EST
From: [e-mail]
Subject: (exotica) Thursday in SF

this Thursday is the second of my premiere nights at the Li Lo Lounge

Connecticut @ 18th on Potrero Hill, San Fran
9 pm til close

If you are attending due to this email please introduce yourself and I will
buy you a drink!!

cheers
Otto
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------------------------------

Date: Mon, 29 Mar 1999 10:19:29 +0000
From: "Charles Moseley" <[e-mail]>
Subject: (exotica) Weekend Scores

The Taking of Pelham 1 2 3 soundtrack LP (bootleg). Very very good, all
over the place Lalo meets Quincy with more dramatic effects than you can
shake a stick at.
Diamonds soundtrack LP - A one trick pony, with the same theme all the way
through the LP but still very good. Bass heavy, breaks driven jazz in a KPM
style, lots of samples and very cool.
Fear is the Key soundtrack LP - Very jazzy, well produced set somwhere
between swinging/now sound with a couple of tracks that were on the House
of Loungcore compilation

I notice that the Cinephile label which has reissued the Roy Budd material
is run by Jonathan Wassisname who is also the man behind Trunk - The Super
Sounds of Bosworth and who has sold me a batch of Indian records in the
past including two Anandar Shankar LPs and the Shalimar soundtrack. Good
man!

Charlie





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

Date: Mon, 29 Mar 1999 15:46:40 +0000
From: "Giovanni Berti" <[e-mail]>
Subject: (exotica) BOB!

Laura Palmer wrote:

> I forgot to jump in on the TWIN PEAKS thread of a few weeks ago,
> but, heck, in the early 90's you coulda just called me "Laura Palmer."  I
> was totally obsessed with that show, and it sticks with me today (I am still
> afraid of BOB!)

and M.Ace wrote:

> I'm afraid of Bob too.
> He's even on the list... [e-mail]

I don't know if BOB is actually on the list, but I can ASSURE you I
saw him LIVE. I mean, some years ago I went to this Desmond Dekker
(btw, greatest reggae voice alive) gig here in Bologna, Italy and
BOB was PLAYING GUITAR with him. No kidding, the man was really
looking like BOB with absolute precision. It FREEZED MY BLOOD,
especially when he kept looking RIGHT INTO MY EYES for minutes while
playing. He was very tall, long grey hair and left-handed. At first,
I thought it was just my PARANOIA, but - SHIT - couldn't believe my
eyes. For the skeptics, I have three explanations: the actor who
impersonated BOB (no Actor's Studio skillness required, btw) was this
reggae musician, or that man must have a perfect twin, or..........
aaaaaaaaarrrrrrrrgggggggghhhhhhh  nnnnoooooooooooooo don't take me
awaaaaaaaaaaaaaay bbbbbbbbooooooooooooobbbbbbbbbbbbbbbb!!!!!!!!!!


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

Date: Mon, 29 Mar 1999 15:46:40 +0000
From: "Giovanni Berti" <[e-mail]>
Subject: (exotica) one more from the zoo

> > Date: Tue, 23 Mar 1999 09:28:19 -0500
> > From: "Nathan Miner" <[e-mail]>
> > Subject: (exotica) Re: Cat Themes
> >
> > There's a song on one of the Strip comps. (Las Vegas Grind Vol. 1 or 2) =
> > where the guy makes "meoooow" sounds and says something like "Nice little =
> > pussy cat"

It's the GREAT Andre Williams' "Sweet Little Pussycat" on vol. 4
(vinyl edition). He's BOSS, still.
Other remarkable track in the series: "Scatty Cat" by Bob Bunny on
vol. 3.
ciao & miao
Gionni


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Date: Mon, 29 Mar 1999 09:47:36 EST
From: [e-mail]
Subject: Re: (exotica) BOB!

In a message dated 03/29/99 8:45:23 AM Eastern Standard Time,
[e-mail] writes:

<< Laura Palmer wrote:

 > I forgot to jump in on the TWIN PEAKS thread of a few weeks ago,
 > but, heck, in the early 90's you coulda just called me "Laura Palmer."  I
 > was totally obsessed with that show, and it sticks with me today (I am
still
 > afraid of BOB!)

 and M.Ace wrote:

 > I'm afraid of Bob too.
 > He's even on the list... [e-mail] >>

Of course I now insert a keyboard piece (letter) under my victim's fingernail
instead of just a typed letter.

See you in the trees.

Bob!

[Waitress pours Cooper's coffee:]
Cooper:  Wait a minute!  Wait a minute!  [sips, sighs blissfully]  This is--
excuse me--a DAMN fine cup of coffee.  I've had I don't know how many cups of
coffee in my life, but this is one of the best.  Two eggs over hard.  I know,
I know, it's hard on the arteries, but old habits die hard--just about as hard
as I want those eggs.  Two strips of bacon, extra crispy--almost black.
Cremate it.  And I'd like a big glass of grapefruit juice, just as long as
those grapefruits... [sees Audrey walking towards him] ...are freshly
squeezed.


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Date: Mon, 29 Mar 1999 11:07:16 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) Weekend Scores

At 10:19 AM 3/29/99 +0000, you wrote:
>
>The Taking of Pelham 1 2 3 soundtrack LP (bootleg). Very very good, all
>over the place Lalo meets Quincy with more dramatic effects than you can
>shake a stick at.

This has been officially released on CD in a limited edition by the guys at
Film Score Monthly. More details at their site, http://filmscoremonthly.com

You can also crank up the RealAudio, go to the following URL, and hear two
interesting segments from the latest NPR/Weekend Edition radio show:

http://programs.npr.org/npr2/PrgDisp.cfm?PrgDate=3D03/27/1999&PrgID=3D7
Annoying Music -- The city of Fort Lupton, Colorado requires noise pollution
offenders to attend a class which consists of listening to loud annoying
music. (2:55)=20

Lalo Schifrin -- Scott Simon interviews Argentinian composer Lalo Schifrin.
He's composed the soundtrack for movies such as "Cool Hand Luke," "Dirty
Harry," and "The Cincinnati Kid," and of course, his famous tune, the theme
song from the t-v show "Mission Impossible." His most recent work is the
score for the movie "Tango." (12:00)=20
=A0=20

- -Lou




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Date: Mon, 29 Mar 1999 11:07:18 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) Beyond Lawrwnce Welk (NYTimes)

March 29, 1999
Beyond Lawrence Welk: Contest Aims to Bring Accordions Into the '90s
By THE NEW YORK TIMES

BRANSON, Mo. -- Until her first year of high school, Terri Conti lived a
secret life. During the week, she was a typical New Jersey teen-ager. But on
weekends, Ms. Conti strapped on her accordion and sneaked out to musical
competitions.

A math teacher finally blew her cover when she was in the ninth grade,
putting a newspaper article about a contest she won on the class bulletin
board.

"There was this whole life in school, and then I would go to a bowling alley
a couple of nights a week and play in a big accordion band with 25 or 30
other players," Ms. Conti said.

Ms. Conti, 36, a part-time stockbroker, is no longer so shy about her choice
of instrument. She and more than 150 other accordion players entered the
national "Hottest Accordionist" contest that was held recently in this
Ozarks resort city.

The goal of the contest was to find someone who could promote the accordion
to the MTV generation. Organizers said they weren't exactly looking for the
reincarnation of Lawrence Welk.

"There wasn't an age limit, but when you're asking for someone hip and
saucy, word goes out that you're not looking for older people," said Faithe
Deffner, president of the American Accordionists Association.

Players say the time is right for a squeezebox renaissance. They point to an
influx of accordion music in songs by such popular performers as Sheryl Crow
and Hootie and the Blowfish.

The accordion is an attractive instrument because it is fairly easy to play,
said Ms. Deffner. She said most children should be able to play a
recognizable song after five or six lessons.

Part of the goal of the contest was to show how versatile the accordion can
be in current music. Players performed songs from Louis Prima's "Jump Jivin'
Whale" to Paul Simon's "You Can Call Me Al."

The instrument's image suffered in the 1960s, when things electric were
cool, and 1950s things -- such as Welk and his accordion-flavored music --
were square.

"Rock continued to dominate the scene and the accordion wasn't prominent in
that music," Ms. Deffner said.

Phoebe Legere, a semifinalist, believes that the accordion was not sensual
enough to keep the public's attention at that time. The 32-year-old New
Yorker, who performed in heels and a skintight white dress, said that was
all a big misunderstanding.

"The accordion hangs on the breast, right over the heart," she said. "It's
an instrument that speaks to us."

Most of the semifinalists in the competition began playing before the age of
9 and all said they received a lot of support from their families about
their choice of instrument.

"My dad said 'I'll pay if you play,' and he's been paying ever since," said
22-year-old Tim Padilla of Norco, Calif. He said a competition accordion can
cost around $16,000 and most players have a few accordions of varied
quality, weight and style.

The contest winner, 20-year-old Dwayne Dopsie of Metairie, La., said that as
a child he did not have much choice of which instrument to study. His late
father, Alton Rubin Sr., a popular performer of zydeco music known as Rockin
Dopsie, put a washboard and spoon in his hand when he was only 3.

"I'm like Lawrence Welk Jr. I grew up believing the accordion was hot," said
Dopsie, who wowed judges with a purple suit, fast-fingered style and James
Brown-like dance moves.

Dopsie took home the title, the promise of media exposure -- the contest
organizers hope to get him on talk shows -- and the right to play with Myron
Floren, accordionist with the Lawrence Welk Orchestra, at the Polka Festival
here in June.




But Dopsie says his mission is to let young listeners know there's more to
the accordion than the polka.

"I want to make the accordion an everyday thing. I want to hear on the radio
pop and rock and rap and zydeco stations," he said. "I'm going to go ahead
and change a whole lot of minds."

It's not going to be easy, warned a fellow semifinalist, Jason Stephen, who
introduced his accordion to his Delta Chi fraternity brothers at the
University of Missouri at Kansas City. They were taken aback at first, but
eventually warmed to the instrument.

"I'm a normal college student," Stephen said. "I listen to the Beastie Boys
and Beck. I just also play the accordion."









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

Date: Mon, 29 Mar 1999 11:07:13 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) obits: Ellen Langer,Frederick McCallin,Theodore McRae,Lillian McMurry

                         *Ellen Hall Langer
    BELLEVUE, Neb. (AP) -- Ellen Hall Langer, a Hollywood starlet of the 1940s,
has died. She was 75.
    Langer was born in Los Angeles to parents who were in the film industry,
having first appeared in ``All Quiet on the Western Front'' at age seven.
She later made her debut as a Goldwyn girl in ``Up in Arms'' with Danny
Kaye. Langer's lead debut was in 1943 in ``Outlaws of Stampede Pass'' with
Johnny Mack Brown.
    Langer held a number of parts in movies and musicals with the stars of her
time, including Bob Hope, Bela Lugosi and Hopalong Cassidy.
http://allmovie.com/cg/x.dll?USR=10:34:51|AM&p=avg&sql=B29761

                        *Frederick McCallin
    DENVER (AP) -- Maverick priest Frederick McCallin, who shocked the Catholic
community by adding a bar and grill to his church, died Saturday. He was 85.
    McCallin stirred controversy in 1975 when he opened a restaurant and bar at
St. Thomas More Church in Arapahoe County. Critics called it the ``Catholic
country club,'' but McCallin reasoned that ``Christ loved to eat.''
    Parishioners protested to no avail when McCallin was forced by church rules
to retire at 75.
    McCallin was born in Denver and attended St. Francis de Sales school, Regis
College and St. Thomas Seminary in Denver.

                          *Theodore McRae
    NEW YORK (AP) -- Theodore ``Teddy'' McRae, an arranger and composer who
worked with such jazz notables as Sy Oliver and Chick Webb, died March 4. He
was 91.
    McRae's hits include ``Back Bay Shuffle'' (1938) and ``Traffic Jam''
(1939), both written with clarinetist and band leader Artie Shaw.
    McRae also wrote ``You Showed Me the Way'' (1937) with Ella Fitzgerald, Bud
Green and Webb.
    He played the saxophone and served as arranger and musical director with
Webb's band from 1936 to 1939.
    In 1958, McRae formed the Enrica Records and Rae-Cox companies with Eddie
Wilcox. He produced many record albums, including ``Bennie Green Swings the
Blues'' and ``Rumpus on Rampart Street.''
http://www.allmusic.com/cg/x.dll?p=amg&sql=B104735

March 29, 1999
Theodore McRae, 91, a Jazz Musician (NYTimes)
     Theodore (Teddy) McRae, a composer and arranger who worked with such
jazz artists as Artie Shaw, Sy Oliver and Chick Webb, died on March 4 at his
home in Manhattan. He was 91.
     McRae's hits included "Back Bay Shuffle" (1938) and "Traffic Jam"
(1939), both written with Shaw, the clarinetist and band leader, who made
them into best-selling recordings.
      McRae's other credits included "You Showed Me the Way," which he wrote
in 1937 with Ella Fitzgerald, Bud Green and Webb. He played saxophone with
the Chick Webb band from 1936 to 1939, also serving as arranger and musical
director, and led his own band in 1944.
      In 1958 he formed the Enrica Records and Rae-Cox companies with Eddie
Wilcox and produced many record albums, including "Bennie Green Swings the
Blues" and Edmund Hall's "Rumpus on Rampart Street."
      McRae was born in Waycross, Ga., and reared in Philadelphia.
      He studied medicine, then switched to music and in 1928 organized a
band with his brothers, Bill, Ed, Floyd and Dave.
      Later, he was musical director for Louis Armstrong and worked with the
Lionel Hampton and Cab Calloway orchestras.
      He was a contributor to the Jazz Oral History Project of the Institute
of Jazz Studies at Rutgers University in New Brunswick, N.J.
     He is survived by his wife, Fredist; a son, Robert, and five daughters,
Freda Staton, Norma McRae, Mattina Whitehead-Hamilton, Ethel Newbold and
Lavonia Reeves-Bailey.


March 29, 1999
Lillian McMurry, Blues Producer, Dies at 77
By ROBERT McG. THOMAS Jr.,NYTimes
     Lillian Shedd McMurry, who stumbled on a cache of old blues records in
1949 and was so taken by the pure, haunting sound that within a year she had
opened a recording studio, died on March 18 at a hospital near her home in
Jackson, Miss. She was 77 and, as the founder of Trumpet Records, had been
the first to record two giants of the Delta blues, Sonny Boy Williamson and
Elmore James.
     Friends said the cause was a heart attack.
     It is a reflection of the way things were in the prewar South that a
white woman from a musical family could grow up moving from Mississippi town
to Mississippi town and never once hear the area's most evocative music. She
became an unlikely pioneer in an unfamiliar field.
     It was also a reflection of the time and place that some of the
century's most original and talented musicians could perform for decades,
sometimes even on the radio, without being offered recording contracts.
     It was a tribute to Mrs. McMurry's character, vision and love of music
and musicians that once she was exposed to the blues she began making up for
lost time, recruiting and recording many leading figures, among them Willie
Love, Big Joe Williams and Jerry McCain.
     A native of Purvis, Miss., who had a peripatetic, hardscrabble
childhood, she became a state secretary in Jackson, Miss., took some law
courses and in 1945 married Willard McMurry, who eventually operated several
furniture stores, including one at 309 Farish St. in Jackson.
     While helping her husband clean out the Farish Street building in 1949,
Mrs. McMurry came upon a stack of old records. Curious, she put one on a
turntable and what she heard changed her life. It was a song called "All She
Wants to Do Is Rock," by Wynonie "Mr. Blues" Harris, and as Mrs. McMurry
recalled years later, the sound was as strange to her as it was thrilling.
     "It was the most unusual, sincere and solid sound I'd ever heard," she
said. "I'd never heard a black record before. I'd never heard anything with
such rhythm and freedom."
     Mrs. McMurry was so taken with the music that she opened a record
department in the furniture store, specializing in blues, gospel and other
black music.
      The department proved so popular, especially after she began
advertising on the local 50,000-watt radio station, that it soon became a
full-fledged store.
     Less than a year later Mrs. McMurry converted the store into a
recording studio and created the Trumpet label, initially recording local
gospel groups.
     Then after hearing about a blues singer who played the harmonica, or
harp as it is known in blues circles, she got in her car, headed north and
tracked him down in a small Delta town.
     He called himself Sonny Boy Williamson, and by the time Mrs. McMurry
found him, he had been performing for almost 20 years and acquiring a
devoted following through his regular radio appearances on "King Biscuit
Time" over station KFFA in Helena, Ark.
     Mrs. McMurry, who signed him to a contract in December 1950, did not
learn until years later that he was really Alex Miller, known since
childhood as Rice. Typically, Williamson had appropriated the name of
another highly regarded harmonica-playing blues singer, but only,
apparently, because as an escaped convict (the story was that he had stolen
a neighbor's mule and painted it white, and had gotten away with it -- until
it rained), he needed a different name.

      Over the next few years, with Mrs. McMurry serving as a demanding,
inspired producer, he turned out a string of blues standards, among them
"Eyesight to the Blind," "Nine Below Zero," "Mr. Down Child," "Mighty Long
Time," "Red Hot Kisses" (written by Mrs. McMurry) and "Pontiac Blues," a
Williamson tribute to Mrs. McMurry's car.
     He also brought in his friend Elmore James, the slide guitarist, whose
first, and only, Trumpet recording, "Dust My Broom," became a major blues
hit and led to a career with a succession of other labels.
     Williamson remained loyal to Mrs. McMurry, perhaps partly because she
was a reliable friend who regularly bailed him out of jail and gave him
advances on his royalties -- more, in the end, than he earned.
     A hard-drinking, cantankerous man who tended to get into fights when he
was drunk, Williamson, who carried a knife and a gun, also used a lot of
foul language, but according to local legend only did so once around Mrs.
McMurry.
     As the story goes, when Williamson began cursing at the studio one day,
she chewed him out and told him to leave. When he refused, Mrs. McMurry, who
had taken the precaution of making him check it, pulled his own pistol on
him, marched him outside and ordered him not to come back. When he returned
a couple of weeks later and apologized, she took him back.
     Mrs. McMurry, whose husband died in 1996, is survived by a daughter,
Vitrice Rankin of New Orleans; a sister, Doris Wells of Sealy, Texas; a
brother, Milton Shedd of Jackson, and a granddaughter.
     Partly because of unscrupulous competition from bigger record
companies, Trumpet folded in 1955, but the McMurrys eventually managed to
pay off its debts. (Always scrupulous about paying royalties on time, Mrs.
McMurry, who was inducted into the Blues Hall of Fame last year, continued
to make sure her former artists got their due when collections of Trumpet
songs were released over the years.)
     Williamson landed at Chess records after Trumpet folded, but continued
to rely on Mrs. McMurry. After he died in 1965, it was she who paid for his
tombstone.
- ------------------------------
Death anniversaries for the week of 29 March - 4 April:
Tuesday, 30 March
1986 - James Cagney; actor
Wednesday, 31 March
1986 - Jerry Paris; actor, "The Dick Van Dyke Show"
1995 - Selena; tejano singer
Thursday, 1 April
1984 - Marvin Gaye; R&B singer
Friday, 2 April
1987 - Buddy Rich; drummer & bandleader
Sunday, 4 April
1983 - Gloria Swanson; actress
- ------------------------------




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End of exotica-digest V2 #358
*****************************