Selections this week come from Joe Meek, The Ventures, Mrs. Miller, Lucia
Pamela, Leonard Nimoy, The Jeff Wayne Space Shuttle, The Legendary Stardust
Cowboy, 101 Strings, The Black Motion Picture Experience, The Bonzo Dog
Band, Howard Menger, Enoch Light, National Lampoon, Buchanann and Goodman,
and more.
Friendly Persuasion airs every week in real audio format and is now the
official radio hour of Cool and Strange Music Magazine. Shows change every
Sunday, and the show is archived to listen to for the entire week.
Thank you. I hope your trip this week is an enjoyable one. Please remember
that there will no in-flight drinks for your trip will be only one hour.
Smoking is allowed in the lavatory and cockpit only.
Mr. Otis F. Odder
Communication Officer (MOFO Enterprise)
============
see what is coming up on future shows here......
http://nimenet.com/fodder/fp/index.html
============
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------------------------------
Date: Mon, 08 Nov 1999 10:04:52 -0500
From: nytab@pipeline.com
Subject: (exotica) [obits] Jerry Blake,David Schickele,James Goldstone,Albert J. Whitlock,Prince Ruzzo Reuss von Plauen
The Associated Press
Saturday, Nov. 6, 1999; 5:07 a.m. EST
MILWAUKEE ûû Swing band leader Jerry Blake, who arranged music for the dance bands of Lawrence Welk and Wayne King, died Oct. 27 of congestive heart disease, his family said. He was 80.
Blake died in Las Vegas, where he lived while leading orchestras for several years.
Born Marvin W. Voigt, his band went on to perform in Milwaukee, Chicago and New York, and with vocalists including Frank Sinatra, Tony Bennett and Fabian.
His son, Richard Voigt, said notables such as King, Welk, Guy Lombardo and Benny Goodman would pay early-morning visits to the family home for something to eat after performances in Milwaukee.
The ballroom where Blake's band was featured for 18 years closed in 1968.
By 1980, he moved to Las Vegas, leading an orchestra for 15 years at Arizona Charlie's casino and occasionally the Santa Fe. He staged a farewell performance at Arizona Charlie's last New Year's Eve.
David Schickele
SAN FRANCISCO (AP) û David Schickele, a San Francisco Bay area filmmaker, violist and composer, died Oct. 31 of cancer. He was 62.
As a film editor his work included the feature films "Crazy Quilt" and "Funnan," directed by John Korty; "Over, Under Sideways Down" for Gene Corr and Steve Wax; and "Chalk" for Rob Nilsson.
He's best known for "Bushman," a feature-length film made in 1971 about an African student at San Francisco State University who struggles to resolve tribal, personal and racial fraction. The film won numerous awards and was accepted by the Pacific Film Archive at the University of California-Berkeley, and the Museum of Modern Art in New York for their archives.
The Associated Press
Sunday, Nov. 7, 1999; 9:12 p.m. EST
SHAFTSBURY, Vt. (AP) û James Goldstone, a longtime director of feature films and television shows, including the pilot episode of "Star Trek," died of cancer Friday. He was 68.
Of his experience with the "Star Trek" pilot, Goldstone once said that he was hired not because he had any special expertise in science fiction, but because he had done a couple of episodes of "Outer Limits," and knew "Star Trek" creator Gene Roddenberry from working with him on the "Highway Patrol" series.
Goldstone said he had never bothered viewing the final version of the "Star Trek" pilot, "Where No Man Has Gone Before," because he didn't enjoy watching television. But he said he enjoyed his short experience with the show.
Goldstone also directed movies including "Red Sky at the Morning," "Winning," and "The Gang That Couldn't Shoot Straight." He won a directing Emmy in 1981 for the TV movie "Kent State," and was nominated in 1970 for "Clear and Present Danger," another TV movie.
In 1988, Goldstone and his wife, Ruth, moved to Vermont, where he was active in the arts, directing plays for the Oldcastle Theatre Company in Bennington and serving as head of the state Film Commission.
From 11/5/99 Variety --
Albert Whitlock
Albert J. Whitlock, Oscar-winning visual effects artist, died Oct. 26 in Santa Barbara following a lengthy illness. He was 84.
Born in central London in 1915, he began his career in British film studios as a young teenager. His artistic abilities brought him studio jobs in sign and title lettering, then scenic painting, and finally matte painting ù the art of seamlessly combining realistic paintings with live-action photography.
In the early 1950s, his phenomenal skills caught Walt Disney's eye while Whitlock was working on one of Disney's English productions. Disney encouraged him to move his young family to America, hinting at a job offer. After an anxious period as a billboard artist in San Francisco, Whitlock was finally hired at the Disney studio. His first assignment was lettering the titles for "20,000 Leagues Under the Sea."
In the early 1960s, Whitlock moved to Universal Studios to head its matte department. There he expanded the importance of matte painting, as it became a tool in filmic storytelling.
At Universal, Whitlock created matte effects and designs for more than 140 films, but he was best known for his close association with Alfred Hitchcock, particularly for his work in "The Birds," "Marnie," "Torn Curtain" and "Topaz." Hitchcock declared Whitlock to be "the finest artist working in films." Along the way, Whitlock won back-to-back Oscars for "Earthquake" and "The Hindenburg."
He stayed at Universal until his retirement in 1985; among his last films were "Greystoke: The Legend of Tarzan, Lord of the Apes" and "Dune."
On movies including "The Learning Tree," "Bound for Glory," "The Sting" and "History of the World Part One," Whitlock made dust storms and tornadoes operate on cue, and brought the past to life.
Whitlock was a former governor of the Academy of Motion Picture Arts & Sciences and an associate member of the American Society of Cinematographers.
He is survived by his wife, June; sons John and Mark; and two grandsons.
From the BBC Online:
Former Abba star Anni-Frid Lyngstad is mourning the death of her
husband who lost his battle against cancer in Sweden earlier this week. German Prince Ruzzo Reuss von Plauen died aged 49 with 53-year-old Anni-Frid at his side. The funeral will take place on 11 November.
The couple married in Denmark in 1992 and lived at Ruzzo's castle in
Switzerland.
Ruzzo grew up in Rome but spent the summers with his Swedish mother
Louise.
His title was inherited from his father Enzio. The family ruled the
Reuss sovereignty in the former East Germany up until 1918.
Ruzzo leaves twin daughters Henriette and Pauline from his first
marriage to a Norwegian ship-owner's daughter.
It's not the first time that Swedish pop veteran Anni-Frid's life has
been touched by tragedy.
Two years ago her daughter, Ann Lise-Lotte Casper, was killed in a
traffic accident in the US aged 30.
Anni-Frid had been married twice before - first to her childhood love
Ragnar Fredriksson and famously to her bandmate Benny Andersson in
1978.
A grandmother and staunch ecological campaigner, Anni-Frid was reported to be too busy nursing Ruzzo for the opening night of the Abba musical Mamma Mia! when opened last April at London's Prince Edward Theatre
She has, however, maintained a recording career. Recently she was back
in the Swedish charts with a duet, Wonderful World, with Marie
Frederiksson of the duo Roxette.
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------------------------------
Date: Mon, 8 Nov 1999 16:54:00 -0500
From: mimim@texas.net (Mimi Mayer)
Subject: Re: (exotica) Didn't RealAudio ask for it?
Thanks for responding, Paul. I didn't ask my question to put you on the
defensive; I thought you could provide a frank insider's point of view. I
also asked from the perspective of a working artist married to a working
artist. Both of us have realized much less economic gain from our work--and
it is work, very hard work--than those who produced the work, in our cases,
publishers.
The situation will only get worse if the means of production and
distribution come under control of a handful of immense and enormously
powerful megacorporations created by mergers. Because the operating
expenses of megacorporations are proportionately enormous, and because
megacorporations must give primacy to building stockholder value, artists
have fewer avenues for the production and distribution of their work.
>grotesque levels of music piracy... elaborating further i would not
>do in good conscience. it would only contribute to its proliferation.
I really hoped that the Net would provide artists a fairer means of
distribution than we have now--"fairer" meaning the creators get the
largest slice of the profit pie from their creations. And this is happening
on the Net, as shrewd applications of the technologies of mass
communications show--the comments about mp3 files, for instance, or artists
who sell their stuff through their own web sites. I don't think the Net is
the panacea that some yahoo-tech-boneheads think it is. The newsletter bit
you posted is right -- artists should do what they do best. But it's rotton
when artists can't make the $$ they deserve for their creative work. I view
piracy as a necessary cost or risk that artists must take to gain greater
control over the distribution their work--it's a smart way to build
audiences for those who lack or don't want corporate backing.
>the indies model is largely the same as the majors'. that is unless you
>are talking about pure one man bedroom record labels, which really in
>a business view is really just an extension of the band/artist anyway.
Yup, that's what I'm talking about--art as a cottage industry, as it were.
>the underlying principles of a contract from rykodisc, rhino, or epitaph is
>virtually identical to that you'd find from a major. i don't think i've
>heard about any 'above ground' indies giving away the masters/copyrights'
>of albums' they paid to record to the artists', simply because they may
>be more genuinely into their music.
No, that kind of thinking is naive. Of course producers are entitled to
regain their investment and make *some* profit...but it's wrong that they
take a higher share of the profits than creators, whose talent and work
make the profits possible in the first place.
>relative to the net biz 'model'; i don't know really... all i know is if
>the road we are on continues something would have to change.
>
>the economics
>of music industry don't include a provision for 10, 20, or 30 percent of
>the aggregate demand for prerecorded music in the us to be satiated
>by piracy. less choices and less chances would be taken than even now.
Agreed. And the majors, in film, television, recording, and publishing are
already becoming more selective in the products they choose to produce. But
I also think the entertainment industries must alter their business models
to provide bigger royalties to the creators. Technology demands it;
technology is moving to a place where artists can control the means of
distribution themselves--call it guerrilla distribution. Given this
situation, Paul, do you understand why I find the megacorporations' screams
of protest against piracy because it rips off artists a tad disingenuous?
I've very little sympathy for the corporados who bewail the evils of piracy
when their business models seek to build their profits without offering
decent pay and wide promotion of artists. If cottage industry web sites are
the best way for artists to build a audience that will get them make a
living wage, then man, teach me to exploit the technology.
In the meantime, let's buy music, books, video cassettes of films directly
from the creators as often as we can. Jane, if you're still onlist, I wanna
buy the AstroSlut CD from you, not a secondhand web site. You just got laid
off--where can I send my check? Nat, I wanna buy a tape of Vinyl from you:
are any available? Mo, would you please post the URL so people can buy your
book from you? ComEd folks, can I buy the vinyl of Impossible World from
you? Michael Zadoorian, please let us know how we can buy your novel about
thrifting from you when it's published. Otto and other publishers of zines:
Please post subscription info and how and where we can get back issues. Who
else has made something they have for sale? Everyone, please post to the
list addresses, pricing and shipping cost info plus anything we need to
know about international buys.
Yours in guerrilla economics,
Mimi
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------------------------------
Date: Mon, 08 Nov 1999 15:00:46 -0800
From: "Kevin C." <kevin@kevdo.com>
Subject: (exotica) Peter Bergeron related to Vic?
This is the quote from Peter Seely (Trader Vic's grandson)
"No, I dont think that he is realated in any way but its fun to see that
there
are other Bergerons around."
There you have it...
Kevin Crossman
The Search for the Ultimate Mai Tai
http://www.kevdo.com/maitai/
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