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exotica-digest         Wednesday, June 9 1999         Volume 02 : Number 412



In This Digest:

(exotica) New Exotica Book
(exotica) Gene Page
Re: (exotica) san diego finds, recent finds
(exotica) Gil Scott Heron
RE: (exotica) New Exotica Book
(exotica) Re:  arthur murray
Re: (exotica) addiction to lps
Re: (exotica) New Exotica Book
(exotica) Soft Pop Today
(exotica) Soft Pop Today
RE: (exotica) Soft Pop Today
Re: (exotica) arthur murray/tango riff
(exotica) interesting legal article
Re: (exotica) Gil Scott Heron
Re: (exotica) Gil Scott Heron
Re: (exotica) arthur murray/tango riff
Re: (exotica) Gil Scott Heron
RE: (exotica) arthur murray/tango riff
Re:  (exotica) Gil Scott Heron
(exotica) um... ok...

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

Date: Wed, 09 Jun 1999 07:07:50
From: Brad Bigelow <[e-mail]>
Subject: (exotica) New Exotica Book

I thought list members might be interested in this book review:

EXOTICA: FABRICATED SOUNDSCAPES IN REAL WORLD BY DAVID TOOP, SERPENT' S
TALE pounds 12.99

                   (Independent - London; 06/02/99)

   HAVE YOU ever believed that the secret purpose of a foreign building
might be to make sense of the music you were listening to when you first
saw it?
Are you delighted by the idea of "an occult language taught to amphibians by
fish but kept secret from humans"? Can you approach the sentence "I read
aloud
Bhaskar Chandavarkar's comments on Ritwik Ghatak" with anything other than
extreme trepidation?

   Even (perhaps especially) if your answer to these questions is not in the
affirmative, David Toop's Exotica sets out to open your ears to another
world.  It explores the 20th century's guilty fascination with the exotic,
especially
in music.

   Toop takes us to a magical place of singing insects and bustin' bongos,
where the demonic ukulele of George Formby mingles with the haunting cry of
the Antillean grackle and the character of each sound is enhanced rather than
muffled by such bizarre juxtapositions. As he plots a compellingly
serpentine course from the colonial exhibitions of the late-Victorian era
to the "world

music" industry of 100 years later, Toop celebrates a century of sonic
otherness.

   Grouped in a pyramid on the opening page is a series of rather daunting
italicised phrases ("an imagined quality of elsewhere" being, by some
distance, the most resonant), presumably intended to introduce the notion
of what we
mean by the exotic. It's a rather unpromising opening, all mouth and no
trousers;
but turn into the main body of the book, and that wordy pyramid collapses
with the delicious urgency of a market-stall fruit display upended by a
fleeing
thief, scattering ideas across the page like Granny Smiths hitting the
pavement.

   Toop marshals an impressive array of musical authorities with the
fearsome but discreet chutzpah of a great classical conductor. He moves
from Duke
Ellington in 1971, looking forward to a near future in which "It's most
improbable that anyone will even know exactly who is enjoying the shadow of
whom", to Bill Laswell's recent proclamation that "there is no exotic
other".
At one point he quotes an old Haitian proverb to the effect that "When the
anthropologist arrives, the gods depart", but the goal of this remarkable
book
seems to be a reconciliation of science and myth.

   To this end, Exotica interweaves practicality with mysticism, the
familiar with the unheard of and the trivial with the deadly serious.
Sometimes fact
masquerades as fiction. When the author writes "Since the suicide of my
wife, I had been engulfed by a rich diversity of agonies", it seems like just
another of many stylistic allusions to Joseph Conrad - unless you know the
sad truth
that Toop's wife did in fact commit suicide. Sometimes fiction masquerades
as fact, as when the same narrator wanders through the Burroughs-like
dreamscapes of high-voltage-fenced suburbia, where "blackened animals sat
at electrical
throwing distance from these banshee defences and wondered why they had
died".

   While such flights of literary fancy are not perhaps Toop's most
persuasive flourish, they do give the book's more scholarly segments an
appropriate air
of difference. Ocean of Sound, his ground-breaking history of ambient music,
was most easily digested by placing it on the table by the bed while you
slept.

Exotica achieves a similarly happy union of form and function. A truly
exotic artefact in itself, it segues with apparent ease from imagined
dialogues
with Lassie to learned disquisitions on the history of Hawaiian guitar. Yet it
has enough respect for the strange sounds it celebrates not to overlook their
roots in everyday experience.

   Anthony Seeger, the curator of Smithsonian Folkways Recordings (purveyors
of such vital sonic documents as "Sounds of the Bowels: a normal hungry man
smoking a cigarette before dinner"), explains how a lot of his label's most
exotic products "were prepared by people who had something else in mind for
them". And it's in the gaps between intention and result, artifice and
essence, the real and the fake, that Exotica plants its most fertile seeds.

   This book finds its truest magic in everyday struggles: from the pulp
film sound-track legend Les Baxter - his commercial instincts doing daily
battle,
in Toop's memorable phrase, "with an innocent need to be regarded as
serious" -
to the Pacific islanders Tau Moe's Tropical Stars, who somehow sustained an
ideal of Hawaiian identity through 56 years of international touring;
because the
greatest mystery of all is that there are no mysteries, except the heroic
endeavours of "People too ordinary for their own liking, reinventing
themselves as characters in a parallel universe".

(Copyright 1999 Newspaper Publishing PLC)



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

Date: Wed, 09 Jun 1999 08:40:45 -0400
From: <[e-mail]>
Subject: (exotica) Gene Page

><<any other gene page soundtracks i should be aware of?>>

I don't know the answer to that question, but a friend of mine wanted to
borrow some records from me and one of them is "The Sissy[that's a dance -
Ed.]"/'Baby I'm Satisfied" on Chene Records of San Francisco (520 Parker
St, Suite 101) (!) and both sides were arranged by Gene Page.

Brian Phillips

>>>Did we also mention the too-groovy BLACULA soundtrack?  There was an
interesting "think piece" on that movie in the Boston Herald of all places
a few weeks back, comparing the lead characters plight of being trapped in
vampire-dom to that of slavery!  Just think, a B-movie with a __real__
moral premise! There is always hope!
Jane Fondle




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

Date: Wed, 09 Jun 1999 09:14:32 -0400
From: <[e-mail]>
Subject: Re: (exotica) san diego finds, recent finds

>If you read my post, I didn't say that those artists on the compilation
were frogs.  He was asking if there was MORE of this stuff.  And I was just
warning him that if you start pursuing "jazz-funk", you will be kissing a
lot of frogs.

Nat, please take no umberage!  I tried to have a lil' light-hearted fun,
but I am also sensitive and passionate about music.  The funny thing is
I've NEVER had to go too far to find a lot of good stuff by any of the
aforementioned!  Maybe I've just been lucky.


>  For instance, there are "good" Stanley Turrentine jazz-funk
records in this genre but there's lots of real "CTI" dreck.
And even those artists mentioned, who I like too, did lots of stuff that
was hardly jazz-funk.  Like Roy Ayers for instance.
And so what, right?  We all kiss a lot of frogs.  That's what record
collecting is.
And that's true, except that in many record stores, ANYTHING that can be
associated with this genre, is highly overpriced.  Donald Byrd's boring
records or his records which aren't jazz-funk can be as expensive as his
great Blackbyrds record.
That was the point of my post.  You owe me a pass on your next "feh".

Passed! :)  I have never seen a lot of that stuff over-priced.  It is
interesting how $ must vary from township to burg.

>And to the cat who said it was "courageous" to mourn Mel Torme over Frank
>Sinatra, I hardly see the courage in giving an opinion, especially over a
>popular artist such as Torme!  And comparing the two is just silly, they
>are both artists, just of different brush strokes!

Well I was the cat that gave the opinion, not the one who called it
courageous.  And I agree that it wasn't.
But what's wrong with comparing artists?  I do it everyday.  You don't?

Nat

>>Well, I do "compare," when I think it's appropriate, that's all.  But not
the ol' apples and oranges bit-I try to avoid that!
Luving y'all,
Jane Fondle



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The information transmitted is intended only for the person or entity to
which it is addressed and may contain confidential and/or privileged
material.  Any review, retransmission, dissemination or other use of, or
taking of any action in reliance upon, this information by persons or
entities other than the intended recipient is prohibited.   If you received
 this in error, please contact the sender and delete the material from any
computer.




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

Date: Wed, 9 Jun 1999 06:59:04 -0700 (PDT)
From: Ben Waugh <[e-mail]>
Subject: (exotica) Gil Scott Heron

Anyone here ever get into Gil Scott Heron (famous, to
me at least, for 70s hit "Johannesburg")? If so, can
you recommend earlier work, on any recorded medium -
particularly those featuring his poetry-jazz
recordings (usually accompanied only by
bongos/congas...)? A friend made me a tape he pirated
from a radio broadcast years ago - winning titles such
as "Whitey's On the Moon," so on. The tape is great -
but not exactly high-bias.

_________________________________________________________
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Get your free @yahoo.com address at http://mail.yahoo.com



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

Date: Wed, 9 Jun 1999 11:07:41 -0300
From: "christian courtis" <[e-mail]>
Subject: RE: (exotica) New Exotica Book

>EXOTICA: FABRICATED SOUNDSCAPES IN REAL WORLD BY DAVID TOOP, SERPENT' S
>TALE pounds 12.99
>
is this david toop david toop, the guy that put out the "new & rediscovered
music" record
 with max eastley?



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

Date: Wed, 9 Jun 1999 10:22:13 -0400
From: Ross Orr <[e-mail]>
Subject: (exotica) Re:  arthur murray

Byron wrote:

>Not to be out done, Mr. Murray's leading competitor in the dog eat dog
>world of dance studios, Fred Astaire, hooked arms with RCA for a series
>called Perfect for Dancing.  All I have is the Mambos album, LPM 1067.

I have Astaire's "Designed For Dancing" LP  _Everybody Cha Cha_ (Camden CAL
467--it's credited to "the Fred Astaire Dance Studio Orchestra"). Overall
this was pretty tame. But it has a version of "Loch Lomond" which is pretty
entertaining, in the category of "anything can be made into a cha cha."

>Arthur Murray showed up a
>few years later for the Living Stereo series on RCA with his "Music for
>Dancing" series done by "The Arthur Murray TV Dance Orchestra."

His _Cha Cha_ album in that series has a couple of GREAT "arab latin"
tracks, especially "Cha Cha at the Harem." And that's the LP with the very
peculiar vocal track, "Arthur, You Should Smile More." The notes say it's
all "under the direction of Ray Carter."


Frank wrote:

>The Original covers (10' & LP) had a painting of a couple dancing,
>wearing the appropriate garb for whatever dance the album featured. The later
>issue, which I like much better feature a photo of similarly dresses
>couples on a
>flat color background with those "cryptic footprint" dance steps

The graphic style of the later covers *is* pretty cool, but the painted
cover to _Cha-Cha Mambos_ [huh?] is incredibly surreal. A suited 50s teen
with brillcreamed hair seems to be prodding a pert young girl in the
abdomen, causing her to gasp in sensual ecstasy, as they both fall away
into a lurid swirling time-tunnel background. Ay Chihuahua!

cheers,

 --Ross

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




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

Date: Wed, 9 Jun 1999 11:54:24 -0400
From: "Dom Ciccone" <[e-mail]>
Subject: Re: (exotica) addiction to lps

I visit this record shop in the town I live in every week and get a 'hit",
buy a LP or 2 every week.


And from our own all-woman Jane, who I have seen perform liiiiiiiiive...
(think Jon Lovitz).
> Boston has the competitive edge on CHEAP vinyl and reasonably priced used
and new CDs in abundance.

Aw, Jane, you let the cat out of the bag! :)  but that's OK, Cool and
Strange music Mag may be doing a feature on the Boston shops and it won't be
our little secret anymore.

Boston and neighboring Cambridge is heaven for used record and CD junkies
like me and maybe you.

I live 40 miles out from Boston and when I go to town I hit the shops.  I am
like a locust. I am like Orson Wells at the buffet table. And its gotten
worse since I started my radio show.  My wife cringes, and I do feel guilty
about spending all that money on nothing but vinyl and polycarbonate  but I
reason I am spending wisely. Or trying, the average price of a used CD used
to cost $8. Got really used to that.  Now most of the shops are charging
close to $10.

And that brings up another point. Practically all the music I buy is used.
CD's and LP's.

Now most of you must think I'm cheap, I do! but it's hard to balance the
needs of the family AND an obsessive-compulsive habit.





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

Date: Wed, 9 Jun 1999 10:54:49 -0400
From: "telstar" <[e-mail]>
Subject: Re: (exotica) New Exotica Book

It was asked...

> >EXOTICA: FABRICATED SOUNDSCAPES IN REAL WORLD BY DAVID TOOP, SERPENT' S
> >TALE pounds 12.99

> is this david toop david toop, the guy that put out the "new &
> rediscovered
> music" record
>  with max eastley?

Yup, same guy. I have never been able to forget his weird quavery voice
singing "Do the Bathosphere" and "The Chairs Story".

Hmmm, I think I'll play these on next week's show.

Allan.

++++Unusual Music+++++++++++++++++++++++++++++++++++++++++++++++++++++
"Mondo Bongos" Wednesdays 9 - 10 am on CFRU 93.3 fm in Guelph, Ontario,
Canada
+++++++++++++++++++++++++++++++++++++++++++++++++++++Unusual Music++++


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

Date: Wed, 9 Jun 1999 08:00:44 -0700 (PDT)
From: chuck <[e-mail]>
Subject: (exotica) Soft Pop Today

Moritz brings up a very interesting point, soft pop is alive and well on the Marina
label, also Siesta and Elefant come to mind.

Songs for Marshmallow Lovers is Fantastic!  I like the version of I Am a Kitten on it
as much as Kahimi Karrie's.   Barbarella is a fun ride also.  The whole cd is amazing!
I highly recommend it!   In Bed With Marina is also a nice overview of various acts on
Marina.   Adventures in Stereo  carry on a tradition started by Patience & Prudence and
also sound a little like  Total Coelo's "I Eat Cannibals"  or early Bananarama but soft
and cheesy.  I like their second album the best.   Love Letter  and the Pale Fountains
are also great modern day soft indie pop.

Snowflakes, an MPS compilation is available at http://www.dustygroove.com  & has some
truly great soft pop moments on it.  It also contains some great soft easy listening
instrumentals.  Its one of my favorite purchases in a while.

Are the albums on the MPS label easily available in thrift stores these days?   I
definitly want more off of this label.

Easy listening in the Big Easy
Chuck


- --- Moritz R  wrote:
>
> The Carpenters, Harper's Bizarre, Claudine Longet come to my mind....
>
> A 60s vocal quintet from Germany on MPS was "The Rosy Singers"; two of their pieces
appear on the ultra-soft, mega-easy double compilation-CD "Snowflakes" on Motor.
>
> The German Marina-label ( http://www.marina.com ) has put out quite some new CDs that
could be filed under "soft pop", the latest being "The Young Picnickers" by "The
Pearlfishers". You could say Marina is leading in the contemporary field of this genre.
Other names they feature are "The Pale Fountains", "Wallpaper", "Tomorrow's World",
"Adventures in Stereo", and of course "Love Letter", the new group-ID of none less an
> Simon Fisher-Turner, aka "The King of Luxembourg", who not only recorded an amazing
version of "Barbarella", but much much more.
>
> "Songs for Marshmallow-lovers" is a good intro-compilation for the
> Marina-label, the label of exquisit cover-designs. I happen to have the
> last 10 copies of it.  I could send one for, say, 15$ incl.
> oversea-postage, exclusively for anyone interested from the
> Exotica-list. On it you also find an incredible soft-sexy song called
> "I'm a Kitten" by "Fantasic Everlasting Gobstopper". And Simon Turner's
> "Barbarella"...
http://home.munich.netsurf.de/Moritz.Reichelt
[e-mail]
[e-mail]

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Date: Wed, 9 Jun 1999 08:00:12 -0700 (PDT)
From: chuck <[e-mail]>
Subject: (exotica) Soft Pop Today

Moritz brings up a very interesting point, soft pop is alive and well on the Marina
label, also Siesta and Elefant come to mind.

Songs for Marshmallow Lovers is Fantastic!  I like the version of I Am a Kitten on it
as much as Kahimi Karrie's.   Barbarella is a fun ride also.  The whole cd is amazing!
I highly recommend it!   In Bed With Marina is also a nice overview of various acts on
Marina.   Adventures in Stereo  carry on a tradition started by Patience & Prudence and
also sound a little like  Total Coelo's "I Eat Cannibals"  or early Bananarama but soft
and cheesy.  I like their second album the best.   Love Letter  and the Pale Fountains
are also great modern day soft indie pop.

Snowflakes, an MPS compilation is available at http://www.dustygroove.com  & has some
truly great soft pop moments on it.  It also contains some great soft easy listening
instrumentals.  Its one of my favorite purchases in a while.

Are the albums on the MPS label easily available in thrift stores these days?   I
definitly want more off of this label.

Easy listening in the Big Easy
Chuck


- --- Moritz R  wrote:
>
> The Carpenters, Harper's Bizarre, Claudine Longet come to my mind....
>
> A 60s vocal quintet from Germany on MPS was "The Rosy Singers"; two of their pieces
appear on the ultra-soft, mega-easy double compilation-CD "Snowflakes" on Motor.
>
> The German Marina-label ( http://www.marina.com ) has put out quite some new CDs that
could be filed under "soft pop", the latest being "The Young Picnickers" by "The
Pearlfishers". You could say Marina is leading in the contemporary field of this genre.
Other names they feature are "The Pale Fountains", "Wallpaper", "Tomorrow's World",
"Adventures in Stereo", and of course "Love Letter", the new group-ID of none less an
> Simon Fisher-Turner, aka "The King of Luxembourg", who not only recorded an amazing
version of "Barbarella", but much much more.
>
> "Songs for Marshmallow-lovers" is a good intro-compilation for the
> Marina-label, the label of exquisit cover-designs. I happen to have the
> last 10 copies of it.  I could send one for, say, 15$ incl.
> oversea-postage, exclusively for anyone interested from the
> Exotica-list. On it you also find an incredible soft-sexy song called
> "I'm a Kitten" by "Fantasic Everlasting Gobstopper". And Simon Turner's
> "Barbarella"...
http://home.munich.netsurf.de/Moritz.Reichelt
[e-mail]
[e-mail]

_________________________________________________________
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Get your free @yahoo.com address at http://mail.yahoo.com



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

Date: Wed, 9 Jun 1999 12:47:57 -0300
From: "christian courtis" <[e-mail]>
Subject: RE: (exotica) Soft Pop Today

siesta has a fine site, www.siesta.es
two great compilations, "espresso" and "aperitivo",
and some spanish stuff which is worth checking:
- -la buena vida, "panorama", which is soft pop sung in spanish,
sounds like free design, red sleeping beauty
- -"musica para hacer la digestion", literally "music for your digestion",
is a contemporary easy listening orchestra, among the best stuff i=B4ve
heard recently
packaging and covers are really soft and cool





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

Date: Wed, 9 Jun 1999 11:29:53 -0500
From: [e-mail] (Mimi Mayer)
Subject: Re: (exotica) arthur murray/tango riff

>i picked an lp put out by capitol which seems to be part of a dance
>teaching series.the "choreographer" is called arthur murray,... seems
>=B4sthere a les baxter record playing waltzes. anyone knows about other
>issues of this series?

"Tangos"  by Les Baxter & Orchestra is also from the series, called the
Arthur Murray Favorites Series, oddly enough. I've got a soft spot for
tangos -- they can be so lusciously over the top -- but this record is only
decent, not great. Apparently the Murray series include Sambas, Rhumbas,
Waltzes, Fox Trots, and Cha-Cha Mambos.  No musicians named on the lp
jacket.

Will try to post about an Arthur Murray book of dance instruction within
the next few days.

Terrific exposition about Murray and Astaire lps, Frank. Methinks the
Astaire series kicks Arthur's butt.

The master of tango is Astor Piazola (sp?), an Argentinian who took the
music to new heights. If you like melodically and rhythmically complex
stuff, deeply moody, you'd love his music. Carla Bley also recorded a
gorgeous tango (anyone know the record? I taped it from the radio.) and an
Austin band called Tosca has released one or two highly recommended CDs of
contamporary tango music. Gato Barbieri's "Last Tango in Paris" is a
classic.

=46or fun, next time anyone plays the tango "Jalousie" from the Murray
record, sing these lyrics:
Jealousy!
You're making such a mess of me!
There goes my eyeball
Into my highball...
Anyone care to expand these lines?

Silly Mimi




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

Date: Wed, 09 Jun 1999 12:20:15 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) interesting legal article

ABA Investigates The Image Conscious

The June issue of the American Bar Association (ABA) Journal is now
online. This month you can read about the image conscious - and find
out about how celebrities, athletes and entertainers are seeking to
control the use of their own likenesses.
http://www.abanet.org/journal/jun99/06FIMAGE.HTML




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

Date: Wed, 09 Jun 1999 17:24:18 +0100
From: Robbie Baldock <[e-mail]>
Subject: Re: (exotica) Gil Scott Heron

Ben Waugh wrote:

> Anyone here ever get into Gil Scott Heron (famous, to
> me at least, for 70s hit "Johannesburg")?

I don't often get the chance to name-drop but I (or at least the band I
was in at the time) shared a stage with the man a few years back!  And
not only that, we went to a party with him afterwards!  A great gig but
needless to say he was out of his face on a certain form of happy
tobacco...


Robbie

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


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Date: Wed, 09 Jun 1999 09:51:09 -0700
From: [e-mail]
Subject: Re: (exotica) Gil Scott Heron

Not that exotic in the sense of most posts to this list...

In any case, some essential Gil Scott-Heron includes:

"New Black Poet" (Flying Dutchman)

"Small Talk at 125th and Lennox" (Flying Dutchman) - this includes "Whitey on
the Moon," avail. on CD. this release is mostly sparse poetry with conga type
stuff

"Winter in America" (Strata East) - with "The Bottle" and "Peace Go With You
Brother," with more of a band (led by Brian Jackson)

"Pieces of a Man" (Flying Dutchman) - includes "The Revolution Will Not Be
Televised" and others.

If you like the black/poetry/conga thing, also check out Last Poets stuff.
They
can be a little more angry and direct than Gil Scott Heron, with titles like
"Wake Up, Nigger!" instead of "Whitey on the Moon," but the message is
similar.

Clark


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Date: Wed, 09 Jun 1999 19:02:26 +0200
From: Ton Rueckert <[e-mail]>
Subject: Re: (exotica) arthur murray/tango riff

>The master of tango is Astor Piazola (sp?),

Piazolla.

>Carla Bley also recorded a gorgeous tango (anyone know the record?

Yup. Reactionary Tango (in three parts).
It's on the "Social Studies" album, Watt Records 1981

>Jealousy!
>You're making such a mess of me!
>There goes my eyeball
>Into my highball...
>Anyone care to expand these lines?

No, thank you. I'm glad it's over.

Ton


 *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ***
 *** Ton Rueckert   Mozartstraat 12  5914 RB Venlo   The Netherlands ***
 *** [e-mail]   http://www.plex.nl/~mojoto   Ph 31/0 773545386 ***
 *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ***
 ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~
 ~~~ ~~~     Beware! Your bones are going to be disconnected.    ~~~ ~~~
 ~~~  http://www.geocities.com/BourbonStreet/4264/music/Xbe3975.ram  ~~~
 ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~


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Date: Wed, 9 Jun 1999 10:02:26 -0700 (PDT)
From: Ben Waugh <[e-mail]>
Subject: Re: (exotica) Gil Scott Heron

Nothing more exotic than kicking back with a pimm's
and soda in your cheapest polynesiana and the ac set
on high (it's nearly a 100f in the dc area) to the
sounds of righteous anger. seriously though, for the
anger thing the last poets are thee way to go. also
have them on crackly tape.

>>Not that exotic in the sense of most posts to this
list...

>>If you like the black/poetry/conga thing, also check
out Last Poets
stuff.
They can be a little more angry and direct than Gil
Scott Heron, with titles
like
>>"Wake Up, Nigger!" instead of "Whitey on the Moon,"
but the message is
similar.

For the most part yes, but GSH also got a bit more
"direct," in this same vein....
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Date: Wed, 9 Jun 1999 14:16:10 -0300
From: "christian courtis" <[e-mail]>
Subject: RE: (exotica) arthur murray/tango riff

>"Tangos"  by Les Baxter & Orchestra is also from the series, called the
>Arthur Murray Favorites Series, oddly enough. I've got a soft spot for
>tangos -- they can be so lusciously over the top -- but this record is o=
nly
>decent, not great. Apparently the Murray series include Sambas, Rhumbas,
>Waltzes, Fox Trots, and Cha-Cha Mambos.  No musicians named on the lp
>jacket.
>
>Will try to post about an Arthur Murray book of dance instruction within
>the next few days.
>
>Terrific exposition about Murray and Astaire lps, Frank. Methinks the
>Astaire series kicks Arthur's butt.
>
>The master of tango is Astor Piazola (sp?), an Argentinian who took the
>music to new heights. If you like melodically and rhythmically complex
>stuff, deeply moody, you'd love his music. Carla Bley also recorded a
>gorgeous tango (anyone know the record? I taped it from the radio.) and =
an
>Austin band called Tosca has released one or two highly recommended CDs =
of
>contamporary tango music. Gato Barbieri's "Last Tango in Paris" is a
>classic.
>
>For fun, next time anyone plays the tango "Jalousie" from the Murray
>record, sing these lyrics:
>Jealousy!
>You're making such a mess of me!
>There goes my eyeball
>Into my highball...
>Anyone care to expand these lines?
>
>Silly Mimi


well, what can i say.. i=B4m from argentina, the birthplace of tango

supose i describe the history of jazz like this

"i found a percy faith record playing swing jazz
there=B4s also another guy that plays modern jazz, called ornette coleman
there are also jazz tunes in some hollywood movies"

say, les baxter playing tango is the exotica-vision on tango -same with
billy may with cha cha cha or mambo. no one would take that as tango.
there=B4s a mainstream tango scene extending from the 20s to the late 50s=
,
that=B4s mainly what tango is identified with (a 2 x 4 step). Big names w=
ould
be the Orquesta de Anibal Troilo, Juan D=B4Arienzo, Jose Basso, Leopoldo
Federico. mainstream tango could be paralleled with swing jazz: dancehall
music, big bands playing live
astor piazzolla is avant garde tango, no exactly the traditional rythm, i=
t
would
be danced by the twyla tharp group, but not by a couple of 60-years old
granpa and granma. you could roughly say it=B4s the equivalent to post-sw=
ing
jazz:
maybe like cool, maybe like free jazz. but it=B4s never been "popular" mu=
sic.
the band
is smaller -5/6 musicians, vs. 10/15 in the mainstream period-, the best
piazzolla
stuff dates from the late 60s, beginning of the 70s, long after mainstrea=
m
tango
entered into a serious declination
"last tango in paris" is the name of the film, but there=B4s hardly any t=
ango
there -maybe
some slight inspiration, but not much

by the way, collecting original tango lps is pretty popular down here. so=
me
of that
20-40s stuff is being reissued in cd, you may found excellent editions by
the swiss
label El Bandoneon (which is the name of the main tango instrument, and
which
NEVER appears in muzak tango versions like les baxter=B4s)

hope the insight is useful

christian




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

Date: Wed, 9 Jun 1999 14:29:02 EDT
From: [e-mail]
Subject: Re:  (exotica) Gil Scott Heron

In a message dated 6/9/99 9:56:51 AM, [e-mail] wrote:

>Anyone here ever get into Gil Scott Heron (famous, to
>me at least, for 70s hit "Johannesburg")? If so, can
>you recommend earlier work, on any recorded medium -
>particularly those featuring his poetry-jazz
>recordings (usually accompanied only by
>bongos/congas...)?

"Small Talk at 125th and Lenox", "Winter In America" and "The Revolution Will
Not Be Televised"...also if you like the rappin' with bongos, try The Last
Poets. They had three albums


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Date: Wed, 9 Jun 1999 14:22:16 -0500
From: [e-mail]
Subject: (exotica) um... ok...

someone sent me this last night...  thought you all may like to see.
maybe someone can explain it to me!


>Originally posted by goth-lounge-lizard in soc.cocktail-nation.die.die.die:
>
>   I am not writing to agree or disagree with King Kini. What I have to
>say, however, regards Kini's decision to achieve total world domination. I
>want to share this with you because his worshippers explain everything
>through the lens of his boisterous and ideologically-loaded whinges. His
>witticisms make many mainstream quacks nervous. Kini's tactics are
>perpetuated by an ethos of continuous reform, the demand that one strive
>permanently and painfully for something which not only does not exist, but
>is alien to the human condition. Although a thorough discussion of heinous
>classism is beyond the scope of this letter, Kini's undertakings turn the
>stomachs of those who know even a little about the real world. Sticks and
>stones may break my bones, but Kini's mercenaries are an amalgamation of
>lackluster insipid mendicants, sophomoric menaces, and other unregenerate
>smut peddlers. Anyone who follows today's debates on totalitarianism and,
>by happenstance, is also familiar with Kini's unrealistic scummy
>viewpoints, is struck by that old truism: The police should lock Kini up
>and throw away the key.
>
>   He has endorsed the idea of slovenly complacent priggism in a number of
>very specific ways, arguing, for instance, in favor of his allies' decision
>to produce precisely the alienation and conflict needed to trick our
>citizens into adopting unconventional, disapproved-of opinions and ways of
>life. An inner voice tells me that his anecdotes are contrary to
>international human rights and humanitarian standards. Given this context,
>we need to return to the idea that motivated this letter: Two wrongs don't
>make a right.
>
>   This is not the same as saying that I undoubtedly cannot believe that
>Kini would consider cruel psychics as what I call rapacious pests, although
>that, too, is true. I imagine that I have come to know his henchmen too
>well not to feel the profoundest disgust for their unctuous memoirs. His
>demands are simply the result of vested interests striking back at a group
>whose actions in support of religious freedom, social reform, and
>government accountability have cut through those vested interests. Oddly
>enough, Kini represents a new breed of tyrannical gutter-dwellers. Let us
>now join hands, hearts, and minds to answer the simple-minded card sharks
>who put increased disruptive powers in wild sensualists' hands.
>
>   Only Kini can praise an institution that is as deceitful and dour as he
>himself. Let's consider for a moment, though, that maybe the world is
>suffering from his lack of faith in a transcendental truth. Then doesn't it
>follow that there is a cost, a cost too high to calculate, for messing with
>the lives and livelihoods of thousands of people? Dastardly feudalism is
>the shadow cast on society by his "compromises", and as long as this is so,
>the attenuation of the shadow will not change the substance. Kini's
>co-conspirators say that nothing would help society more than for them to
>alter laws, language, and customs in the service of regulating social
>relations. Sorry, I don't buy that.
>It behooves us to remember that I wish jejune jackanapes had the gumption
>not to sugar-coat the past and dispense false optimism for the future. Let
>me be clear. I want to speak in the strongest possible terms against Kini's
>manuscripts. I sometimes joke about how disdainful neocolonialism is Kini's
>preferred quick-fix solution to complex cultural problems. But seriously,
>posterity will have little occasion to glorify Kini's "heroic" existence in
>a new epic. I, not being one of the many filthy beatniks of this world,
>have had enough of Kini's drugged-out reinterpretations of historic events.
>
>
>   One might conclude that I proudly adopt this stand. Alternatively, one
>might conclude that in debates with Kini, it is important to evaluate
>whether his provocations reflect a sincere desire to present an alternative
>point of view or whether his agenda is primarily to turn me, a typically
>mild-mannered person, into a psychotic vat of imperialism. In either case,
>Kini would love to see me sell my soul to the devil. It is clear from what
>I have already written that we must speak neither of the past nor of the
>far future but rather focus on the here and now, specifically on the
>daunting matter of his illogical lazy op-ed pieces. Although some sleazy
>oafs concede that those who use scapegoating as a foil to draw anger away
>from more accurate targets do us all a great injustice, they invariably
>deny that Kini's protests have reached a depth of degeneracy that was
>virtually unknown in the past.
>
>   To identify political and religious groups that are Kini's political
>enemies and re-label them as "animalism-oriented geeks" in order to justify
>operations against them has never been something that I wanted to do.
>Never. Take a good, close look at yourself, Kini. What you'll probably find
>is that you're selfish. It is unquestionably not the intention of Heaven to
>let him censor by caricature and preempt discussion by stereotype, and
>hence, by extension, he is burdened with a dead weight of the most
>malodorous conceptions and prejudices. None but the twisted can deny that
>the reasons that he gives for his insinuations clearly do not correspond
>with his real motives.
>We all need to be aware of each other's existence as intelligent, feeling,
>human beings, even if some of us are what I call annoying hippies. There is
>no inconsistency here; now is the time to redefine the rhetoric and make
>room for meaningful discussion. Kini divides the organization of his
>belligerent ignorant solutions into two halves that, apparently separate
>from one another, in truth, form an inseparable whole. The first half seeks
>to encumber the religious idea with too many things of a purely earthly
>nature and thus bring religion into a totally unnecessary conflict with
>science, while the second half is yet another hate-filled blend of
>bleeding-heart McCarthyism and mindless parasitism.
>
>   For that reason, his method (or school, or ideology -- it is hard to
>know exactly what to call it) goes by the name of "Kini-ism". It is a
>gin-swilling and avowedly brainless philosophy that aims to legitimize the
>fear and hatred of the privileged for the oppressed. Where did all these
>unforgiving firebrands come from, and what are we going to do with them? He
>may find it inconceivable that he fails to consider the consequences of his
>soporific sound bites, but he'll come to his senses faster than you can say
>"intercrystallization". One indication of this is the fact that we have a
>life-or-death situation on our hands. Kini's bons mots cause nothing but
>trouble. I wish that some of Kini's supporters would ask themselves, "Why
>am I helping Kini perpetuate myths that glorify voyeurism?"
>
>   Here's some food for thought: With that kind of thinking, he should take
>a step back and look at everything from a different perspective. Worse yet,
>he wants to turn peaceful gatherings into embarrassing scandals. Kini can
>pervert any established ideology. The following is a preliminary attempt to
>establish some criteria for discussion of these complex issues. To begin
>with, his followers have an inadequate grasp of acceptable scientific
>method and data interpretation. For those of you who don't know, there is
>no defense against ridicule. I still wish briefly to take a position on the
>question as to what extent King Kini's tracts have a crippling effect on
>science and technology. Never forget that and never let Kini force me to
>lose my temper.



+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=



>Reply to goth-lizard by defender-of-the-faith in
>soc.cocktail-nation.die.die.die:
>
>Parts of what follows below were actually painful to write. However,
>because of the ongoing misinformation campaigns launched by goth-lizard and
>his lackeys, I feel it is my duty to write this. I begin with critical
>semantic clarifications. First, I, not being one of the many foolhardy
>yokels of this world, have had enough of goth-lizard's ignominious
>vituperations. Because his "compromises" are some of the most stubborn,
>unrestrained, and revolting I've ever encountered, because the downward
>spiral of society and the concomitant growing threat of Marxism are the
>natural results of his deplorable viewpoints, and because we have a number
>of problems for which he bears most of the responsibility, we can conclude
>that goth-lizard insists that his sound bites won't be used for political
>retribution. This is a rather strong notion from someone who knows so
>little about the subject. I myself can hardly believe how in this day and
>age, scurrilous poseurs are allowed to replicate the most disagreeable
>structures of contemporary life. Why doesn't he reveal the truth about
>himself? I wish that some of his devotees would ask themselves, "Why am I
>helping him propound ideas that are widely perceived as representing
>outright corporatism?" If we intend to defend our democracy, we had best
>learn to recognize its primary enemy and not be afraid to stand up and call
>him by name. That name is goth-lizard.
>
>Note: After this was posted on Usenet, goth-lizard's
>site,www.loungesucks.com, was unmercifully hacked. Remnants of his
>filesystem and some really hilarious error messages can be found at
>ftp://ftp.tikirulez.org\goth-lizard\syscrash\







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End of exotica-digest V2 #412
*****************************