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Date: Tue, 19 Oct 99 09:40:06 -0500
From: Michael Toth <mtoth@neo.lrun.com>
Subject: Re: (exotica) Mad Magazine LP?
SLarry3595@aol.com
>Musically Mad by *somebody* and the stereo mad men.
Wasn't Bernie Green ("Futura" fame) associated with this, or some other
MAD LP? I believe Rhino recently issued some sort of MAD-related CD(s). I
never paid enough attention to see if this LP was reissued as part of it
though.
Michael David Toth
mtoth@neo.lrun.com
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Date: Tue, 19 Oct 1999 10:13:15 -0400
From: <nytab@pipeline.com>
Subject: (exotica) [obits] Hamilton H. "Terry" Gilkyson III,Irene Heskes,Christine Mason,Jim Moran,Pierre Moulin,
Hamilton H. Gilkyson III
AUSTIN, Texas (AP) û Singer-songwriter Hamilton H. "Terry" Gilkyson III, who wrote an eclectic range of music spanning folk to calypso to Disney animation, died Friday. He was 83.
Gilkyson's 1968 song, "The Bare Necessities," for Disney's "Jungle Book," was nominated for an Academy Award.
During the 1960s, he wrote a song a week for "The Wonderful World of Disney" television show and later wrote theme songs for Disney movies including "The Swiss Family Robinson," "Thomasina" and "The Aristocats."
Gilkyson songs were recorded by Johnny Cash, Tony Bennett, The Kingston Trio, Mitch Miller, Spike Jones, Marlene Dietrich, Doris Day, Harry Connick Jr. and Louis Armstrong.
He also co-wrote with his group, Terry Gilkyson and the Easy Riders, such classics as "Everybody Loves Saturday Night," "Marianne," "The Sea is Green" and "Memories are Made of This," the hit recorded by Dean Martin. "Greenfield," recorded by The Brothers Four, was a Top 10 hit in 1960.
Born in Mont Clare, Pa., Gilkyson served in the Army Air Corps during World War II and broadcast for Armed Forces Radio as a folk singer.
After the war, Gilkyson moved to Los Angeles to pursue a songwriting career. His first hit was the 1950 "Cry of the Wild Goose," recorded by Frankie Laine.
NEW YORK (AP) û Irene Heskes, a historian and author who specialized in Jewish music died Thursday of aplastic anemia. She was 76.
Ms. Heskes worked as a researcher, writer and lecturer for the Theodor Herzl Institute of the Jewish Agency from 1964 to 1976. She also was the director of the National Jewish Music Council from 1968 to 1980 and was a consultant to the American Jewish Historical Society and to libraries and academic institutions.
In 1980, she founded the American Yiddish Theater Music Restoration and Revival Project, which assembled, catalogued and microfilmed a comprehensive collection of Yiddish theater music. The collection is now available for study at the Library of Congress.
Christine Mason
BALTIMORE (AP) û Christine Mason, a hairstylist whose behemoth beehives and other outrageous coiffeurs were comic highlights in five of Baltimore director John Waters' most popular films, died Sunday of cervical cancer. She was 49.
Her best-known works were those she created as hairstylist and wigmaker for a series of Waters' films, including "Female Trouble," "Desperate Living," "Polyester," "Cry Baby" and "Hairspray."
Among the performers for whom Mason created hairstyles were the late Divine, a female impersonator who starred in Waters' early films, Ricki Lake, Deborah Harry and Patricia Hearst.
Jim Moran
NEWARK, N.J. (AP) û Jim Moran, known for outrageous publicity stunts in the 1940s and '50s to promote products, Hollywood films û and himself û died Monday, He was 91.
Sell an icebox to an Eskimo? Moran traveled to Alaska and did just that, at the behest of a refrigerator company.
Change horses in midstream? Moran performed the feat during the 1944 presidential election, in the Truckee River at Reno, Nev. To bring attention to a property for sale, Moran spent 10 days finding a needle in a haystack.
"He was maybe the last of the great, flamboyant press agents," said Bob Thomas, who has covered Hollywood for the past 55 years for The Associated Press. "He loved publicity himself, as well as making it."
Before entering the publicity business, Moran had been an airline executive in Washington, D.C., and operated a studio where congressmen recorded speeches for their local radio stations.
NEW YORK (AP) û Pierre Moulin, who with his business partner, Pierre LeVec, created the Pierre Deux fabric shops and the mix of colorful cotton, glazed tile and antique armoires known as the Pierre Deux look, died Sunday of prostate cancer. He was 73.
Moulin's father owned a rug factory and his grandmother was friends with designer Coco Chanel.
In 1949, he met LeVec. Later, when LeVec worked in Washington, Moulin set up a farm in Winchester, Va., where he raised 25,000 broiling chickens û and won prizes for doing so.
In 1970, Moulin had some pillows made from decorated French peasant fabrics and scattered them around their upholstered furniture. The partners began importing the fabric and customers came in droves. Before long, there were 22 Pierre Deux shops around the world.
The men retired in 1989, selling all but one of the shops. LeVec died a year and a half ago.
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Date: Tue, 19 Oct 1999 07:28:54 -0700 (PDT)
From: chuck <chuckmk@yahoo.com>
Subject: (exotica) The Big TNT Show
Bo Diddley and especially the three girls with him were truly as you say "farging
monumental". I was really enthralled with their style of dance: arms down, palms up
and fingers curled towards their bodies. The girl on the right was also the coolest
looking guitar player though not as cool as Bo Diddley.
Joan Biaz was lame. It was amazing seeing her sitting next to Phil Spector who was
actually playing the piano.
Pet Clark always seems to have a bit of now sound even on her pop hits.
I did not see the MFQ in the body of the film. I know the T.A.M.I. Show had different
versions with some of the acts cut out. I saw the TNT Show a long time ago and can't
remember the MFQ in it back then either. From what I understand the sunshine pop
"This Could Be the Night" is much different than their earlier folk releases.
Easy listening in the Big Easy
Chuck
- --- "m.ace" <ecam@voicenet.com> wrote:
>
> I'm a bit confused about the Modern Folk Quartet. They were listed in the
> opening credits, complete with an onstage shot, but (unless I really spaced
> out) they didn't appear in the body of the film.
>
> Petula Clark was a lot cooler than Joan Baez (give the vibrato a break
> already, Joan), but Bo Diddley was farging monumental!
