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exotica-digest        Friday, February 4 2000        Volume 02 : Number 616



In This Digest:

(exotica) Benito Urgu and other Italian crap! :)
(exotica) Holy shit! We are going to sue you some more.
(exotica) cd trading?
(exotica) Fresh Sounds
(exotica) space age pop vol. 3
(exotica) Zippy
(exotica) [obit]Richard Allen ``Dick'' Dudley,Allarakha Khan,Will 'Dub' Jones
(exotica) Music Minus One
(exotica) Il Giaguaro  =?iso-8859-1?Q?N=B01?=  Out Now - IN ENGLISH & ITALIAN
Re: (exotica) Taboo This!
(exotica) Variety interactive summit
(exotica) Variety interactive summit
Re: (exotica) More copyright
(exotica) re: Copyright Myth
Re:  (exotica) Breakbeat!
Re: (exotica) More copyright
(exotica) new motion reviews ---+ date: 04.feb.00
Re: (exotica) re: Copyright Myth
Re: (exotica) Breakbeat!
Re: (exotica) re: Copyright Myth

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

Date: Fri, 04 Feb 2000 10:07:38 +0100
From: Dj Batman <[e-mail]>
Subject: (exotica) Benito Urgu and other Italian crap! :)

Hey Larry!!!
This is a job for Dj Batman... the most Ecl3ctic (and -er- trashy) dj in
the World!! !!! :)))

>Has anyone on this list heard of "Benito Urghu" and a song he did
>called "Sexy Fonni"?

I don't have it but have heard it, I know who Urgu is (euggh) and I can
tell you some stuff about all this!

>It's a Very Very Hip Cut. With Benito shouting and talking in Italian
>and a woman moaning and saying, "je t'aime...." (among other words).
>Italian meets French erotic lounge music with the kind of easy funky
>bassline you can groove to.

In Italy, circa 1975/1979 there were loads of clones/parodies of "Je
t'aime, moi non plus" by Jane Birkin/Serge Gainsbourg.
A nice article appeared on magazine "Mondo Bizzarro" (#1, annual, 1999...
and only in Italian!) tries to talk about all of them and also makes a
hilarious comparison between "Orgasmo music" as they define the genre and
"papa' song" (i.e. "daddy" songs, with a man talking to his young
son/daughter and often telling some crappy story or singing with him/her).
The author of the article says that maybe the two styles are connected
(maybe the guys who were f****n' in orgasm records then had all babies!!) ;D

Anyway it lists some of the hits in the two genres: Sexy Fonni and Mon
cheri Fonni by Benito Urgu (a regional comedian from Sardinia, lately often
seen on tv and in commercials), La Prima Volta (by Andrea & Nicole... i.e.
"The first time", a scandalous record about a young couple losing
virginity, censored by 1970's national radio), and so on. The best "papa'
song" was instead "Sei forte papa'" (sort of "daddy you're great!") by
Gianni Morandi, who still is a famous pop singer and in mid 60's used to
record for RCA with Morricone's orchestra and Alessandroni's "Cantori
Moderni" (modern singers); Morricone & Alessandroni were often seen backing
up Italian pop artists in that era.
Anyway "Sei forte papa'" is different and even has sort of electronic
keyboard sounds on it. I must have it on cd.

Going back to orgasm tracks: both the Urgu singles are Gainsbourg rip-offs
based on the contrast between the the french vocals (Urgu's "french
girlfriend") and his dialectal/regional comedy stuff.
So often when she says things like "je t'aime" he understands "io temo" (I
fear) and he replies with something like "there's nothing to fear!"; in the
sceond record (that according to the magazine article is better for all
these silly jokes, the french girl writes Benito a sexy letter and when she
says "Cheri fonni" he understand she's saying "sheriff" and comes out with
immortal lines like "I like when youi call me SHERIFF!" ;-DDDDDDD
Oh, I was almost forgetting: as Urgu is often represented as a sardinian
shepherd, at the end of this record, excited by the erotic letter he will
end up making love -er- a sheep. (argh)

I have recently seen Urgy singles and even a LP in a flea market but had no
money to burn on that day; I hope I can add it to my collection sooner or
later.
I also remember it was reprinted a couple of times on cd/LP compilations in
the last 10 yrs or so... and of course those were collection of weird
tracks, comedy/parodies etc.

Benito Urgu's site (apparently from the agency who represents him) is here:
http://www.applausi.com/benito_u.htm
Check out the pics from yesterday (ieri) and today (oggi... including some
Urgu's cuban dancers pics...) :))))

Finally, a few months ago I mentioned here Brigitte's translation "Ti amo e
io di piu'" (practically literal translation with writing credit to
Gainsbourg, and Daiano for Italian text).
I first thought to make a mp3 out of it; I am now thinking of a legal
reprint but I've encountered lots of troubles (the original disc came out
with a men's magazine from 1970's, "King" and no one seems to hold the
rights to this stuff; Daiano is a pseudonym but Italian author society SIAE
is not helping me in contacting him or whoever represents him (even if I
think I've discovered who the guy was); the b-side is an instrumental
called "Incontro" (meeting) written by Lumni (another 1970's pseudoym
author I think I have located).

Mondo Bizzarro also mentions a weirder version, "Motel" by popular comedian
Gino Bramieri (who died a few years ago).
In it, Bramieri is a waiter in a motel; when he enters a dark room he hears
a woman moaning... at the end of the song, he will turn on the lights and
discover that there was no one else in the room, and the voice came from...
an erotic 7" playing on the turntable!!! :)

Ahem. I hope this was enough (eugggh).

bye,
Nicola (Dj Batman) Battista

"Every artist is a cannibal, every poet is a thief"
(Bono)




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

Date: Fri, 04 Feb 2000 10:31:11 +0100
From: Ton Rueckert <[e-mail]>
Subject: (exotica) Holy shit! We are going to sue you some more.

A little MP3 file-sharing program outlines the shape of things to come
in the music industry -- and it's not what the big labels think.


The music industry and its trade organizations, like the Recording
Industry Association of America (RIAA), are circling the wagons:
Copying music files can be a copyright violation, and so they are
turning the MP3 movement and innovators like Napster into the Enemy.


Who is the music industry going to sue? When it gets mad at companies
that provide warehouse-like servers, like MP3.com, it can sue (and has)
- -- and if it wins, it can shut those servers down. The brilliance of
Napster is that, like the Internet itself, it lacks any center: It's
just you and me, acting as individuals, sending files across the Net.
The RIAA could try to shut down the central Napster directory, which
lets users locate other users and their files; you can bet, though,
that sooner or later someone would then come up with a more legally
bulletproof version of the same service. And if the RIAA goes after
the entire Napster user base, the music industry will find itself in
the awkward position of suing a whole lot of its best customers.
Which doesn't sound like smart business.


Whatever happens to Napster, what's inevitable is that the existing
physical model of the music industry -- the shrinkwrapped CD in the
clumsy jewel case with the stupid plastic tabs that always break off
- -- is going to vanish, as surely as the vinyl LP and the shellac 78s
before it. And however loud the RIAA screams, the new online
distribution model is never going to be as tightly controllable, or
as profitable, as the old physical approach. We'll all pay for our
music one way or another, but we'll probably pay less, and we'll
have many more opportunities to preview it and share it and adapt
it to our own ends.


http://www.salon.com/tech/col/rose/2000/02/04/napster_swap/index.html


PS

There's an article about the Stockhausen Helicopter String Quartet at
http://www.salon.com/ent/music/review/2000/02/04/stockhausen/index.html

The composition, originally executed in 1995, recorded the members of
the Arditti String Quartet playing inside four Royal Dutch Air Force
Helicopters. The choppers, meanwhile, flew patterns charted in the
composer's score. Both the helicopters and the string players were
miked for sound, broadcasting in real time to a console on the ground
where Stockhausen mixed them together.


 *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ***
 *** 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: Fri, 4 Feb 2000 13:20:41 +0000
From: "Giovanni Berti" <[e-mail]>
Subject: (exotica) cd trading?

Hi there,
I have some multiple copies of Plastic releases.
If someone's interested, please write me off-list and we can
arrange a trade for some cd's from my wantlist or for CD-R's
from your record collection. Tracklistings and details on
single releases available on request.
Here they go:

- - Burlesque - The Striptease Music In Action (on pre-Plastic, Glab
  recs.);

- - Stroboscopica - sonorizzazioni psycho beat - Italian 70's
  psychedelic b-movies soundtracks and sonoritations (PL003);

- - I Gres: Exotic Themes For Films, Radio & TV (PL004);

- - Spectrum - Thrilling 60's Film Noir Themes (PL006);

- - Phase 6 Super Stereo - Introducing The Alternative Italian B-Movies
  Soundtrack (PL 005);

- - Piombo Rovente - A Journey Into the 70's Italian Police O.S.T. (PL
  012);

Also have for trading:
- - The Masquers Club salutes Mae West - feat. Mae West and a host of
   celebrities (Dionysus/Bacchus Archives BA1124).

Tell me.
Ciao
Gionni


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

Date: Fri, 4 Feb 2000 08:46:09 -0600
From: "Darrell Brogdon" <[e-mail]>
Subject: (exotica) Fresh Sounds

Does anybody on the list have contact information or a web
address for Fresh Sounds Records in Spain?  Thankyaverymuch.


Darrell Brogdon
[e-mail]
The Retro Cocktail Hour
KANU FM 91.5
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/retro/retrolisten.htm


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

Date: Fri, 04 Feb 2000 07:39:58 PST
From: "w m" <[e-mail]>
Subject: (exotica) space age pop vol. 3

hi all,

  i've been meaning to ask this for awhile but haven't had the chance. back
in dec. when i was in victoria b.c. i picked up a used copy of some rca
comp. called "space age pop vol. 3 the stereo action dimension" i'd never
seen it before and nearly passed on it as the artwork was so bland(i know
that's terrible but it's the truth...) what convinced me to buy it was the
magic word esquivel. i'm really glad i did too as i like the disc a lot. i
don't recall who else is on it(the booklet is still packed away) but does
anyone have any comments on this series? this was the first time i had even
seen it or heard anything about it. were they discontinued? are the rest as
good?

  also has the ring started yet? i hadn't heard anything about it and nat's
mentioning having his tape made me wonder if it has started yet or not...

       william in taipei.

ps. what does the list think of the japanese group united future
organization? their often called "acid jazz" but i have found them in the
jazz section soul r& b etc...i really like them though they could be heavily
sampling jazz records and i wouldn't know what is them and what is a sample.
any thoughts?


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

Date: Fri, 04 Feb 2000 11:14:57 -0500
From: "m.ace" <[e-mail]>
Subject: (exotica) Zippy

I think you'll want to eyeball today's Zippy strip:

http://www.sfgate.com/sf/zippy/5.gif



m.ace  [e-mail]
OOK   http://www.voicenet.com/~ecam/


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

Date: Fri, 04 Feb 2000 11:35:23 -0500
From: [e-mail]
Subject: (exotica) [obit]Richard Allen ``Dick'' Dudley,Allarakha Khan,Will 'Dub' Jones

                        *Richard Allen Dudley
    LANCASTER, Pa. (AP) -- Richard Allen ``Dick'' Dudley, an NBC
radio and television announcer who was among the first to broadcast
news of the Pearl Harbor attack, has died from a brain tumor. He
was 84.
    Dudley, whose career as ``The Voice of NBC'' spanned 60 years,
died Wednesday at the Essa Flory Hospice Center.
    Born Casper Bernard Kuhn Jr. in Louisville, Ky., Dudley began in
the entertainment business in 1925 as an 11-year-old on a kids'
show on WTNT radio in Nashville, Tenn.
    He began doing voices and commercials on WSM radio. The summer
after graduating from high school, he started a small theater
company in a renovated barn, where his plays became a springboard
for entertainer Dinah Shore.
    In 1938, he moved to New York City and held numerous jobs before
becoming a pageboy at NBC.
    He moved up the ranks and became an NBC staff announcer in 1940.
On Dec. 7, 1941, he was one of the first announcers to broadcast
the report of the attack on Pearl Harbor. He was drafted in 1943
and rose to become program director of the Armed Forces Radio
Network in London, where he put on shows with bands entertaining
the troops.
    After the war, he returned to NBC in New York where he worked as
an announcer and performer for 40 years until his retirement.
    He was one of the original emcees of ``Ripley's Believe It or
Not'' and announced the Toscanini Television Concerts,'' as well as
``The Price is Right,'' ``Not for Women Only'' and ``The Today
Show.''
    Dudley is survived by two sons and three grandchildren.
- --------------
                          *Allarakha Khan
BOMBAY, India (AP) -- Allarakha Khan, the best-known player of
the tabla, or Indian drum, died early Thursday, his family said. He
was 81.

His family said the musician, who used only the name Allarakha,
died shortly after learning of his daughter's death. Family members
said he was shocked by the news and suffered a heart attack at his
home.

He and his daughter Razia, 51, who had suffered from a heart
ailment, will be buried Friday.

Allarakha made his international debut in Japan in 1964, playing
with Indian sitar maestro Ravi Shankar. The duo helped popularize
Indian music abroad and sold out concerts both in India and
elsewhere.
[I am very saddened by this news -- Ustad Allarakha Khan Qureshi was
one of the most amazing musicians I've ever heard/seen. --Lou]
http://www.timesofindia.com/today/04home8.htm
http://www.friendsworld.com/allarakha.html
http://indiatimes.com/culture/music/shikhar.html
http://allmusic.com/cg/x.dll?UID=11:06:51|AM&p=amg&sql=B172410
http://www-personal.umich.edu/%7Eapa/zhussain.html
- --------------
L.A. Times -- Thursday, February 3, 2000
Will 'Dub' Jones; Sang Bass in the Coasters

Will "Dub" Jones, 71, the bass vocalist for the Coasters who delivered
signature lines in rollicking rock 'n' roll hits such as "Yakety Yak,"
"Charlie Brown" and "Along Came Jones." The longtime Long Beach resident and
native of Shreveport, La., sang the familiar deep-voiced hook line "Don't
talk back" in the 1958 No. 1 hit "Yakety Yak" and the playfully forlorn line
"Why's everybody always picking on me?" in the 1959 tune "Charlie Brown,"
which reached No. 2 on the U.S. pop charts.

Jones, an Army veteran, came to prominence in another Los Angeles-based
R&B vocal group, the Cadets, which began in the late 1940s as a gospel act
and scored a hit with "Stranded in the Jungle" in 1956. The Coasters, who
first assembled in 1955 and had already scored hits such as "Searchin' " and
"Young Blood," selected Jones to replace original bass singer Bobby Nunn in
their lineup in 1958. The Coasters' series of sly, upbeat Top 10 hits--all
written by seminal songwriting duo Jerry Leiber and Mike Stoller--ended with
"Poison Ivy" in 1959, but their influence landed them in the Rock and Roll
Hall of Fame in 1987, the hall's second year of inductions. Jones turned his
career back to gospel in the 1970s and performed with groups such as the
Mighty Travelers.

On Jan. 16 in Long Beach after a prolonged battle with diabetes.
- ----
February 4, 2000
A. E. van Vogt, 87, Forceful Science-Fiction Voice
By GERALD JONAS,NYTimes
A. E. van Vogt, a writer who smuggled raw emotion into modern
science fiction, died on Wednesday at a hospital in Los Angeles. He
was 87 and lived in Los Angeles.
Rest of obit at:
http://nytimes.com/yr/mo/day/news/national/obit-a-vogt.html






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

Date: Fri, 04 Feb 2000 11:39:12 -0500
From: [e-mail]
Subject: (exotica) Music Minus One

Check out this short piece on the 50th birthday of Music Minus One:
http://wnyc.org/newsinfo/arts/FISHKO012800.html

Anyone collect MMO LPs? I've got a nice Bacharach one, myself.

- -Lou



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

Date: Fri, 04 Feb 2000 18:03:45 +0100
From: Maurizio Mansueti <[e-mail]>
Subject: (exotica) Il Giaguaro  =?iso-8859-1?Q?N=B01?=  Out Now - IN ENGLISH & ITALIAN

Il Giaguaro  N=B01  Out Now    IN ENGLISH & ITALIAN

     "Il Giaguaro" leaps into the new Century with a  glorious first
issue,
brilliant and full of  appealing articles!
     "Il Giaguaro" has become bi-lingual, English and Italian, moving
into
an International habitat much more suitable for magazine of this
nature.  We
are also announcing the beginning of a new series of articles dedicated
to
preserving and enhancing the "Cult" T.V. series of the the 60's & 70's.
We
will start the always witty and cunning duo of  John Steed and Emma Peel
in
"The Avengers".
     There is also an exclusive interview with the ever popular Jazz
musician, Amedeo Tommasi  who will tell about his musical adventures
with
legend, Chet Baker!
     PLUS,  Journalist Michael Pergolani=B9s 1974 London interview talkin=
g

with the unique artist, Francis Bacon.
     Movie Director Luigi Cozzi introduces a very young Dario Argento
with
an interview in 1970.
Concrete Music: "A Trip into the Music of the Fixed Sound" ,  the birth
of
the Italian Fashion,  and a bit of The Evergreen Porsche cars are just
some
of the fascinating articles in this issue.
     As a finale we conclude this issue of with a 7=B2 vinyl release of
the
1966 film, "Fume di Londre" (Smoke of London).
The first movie of  Italian comedian Alberto Sordi and music composed by
the
World famous, Piero Piccioni!  An exclusive listening pleasure to the
readers of "Il Giaguaro" are previously unreleased versions of  "Mr:
Dante
Fontana"  and "Richmond Bridge",  featuring  the chrous group, " I
Cantori
Moderni di Alessandro Alessandroni".
     We are sure that readers everywhere  will devour this magazine to
it=B9s
delicious end!
 And remember!  This is the year of the Jaguar!

Black Cat Records News

The Psych Jazzy Beat of  "I Marc 4" BCR 0101 DLP / CD rom  out now
The Marc 4 was responsible for having the greatest, most incredible
Italian
soundtrack style. This jazz-beat combo were known to play and record
with
some of the best known and most admired composers of this genre; from
Ennio
Morricone to Piero Umiliani. The Marc 4, for the most part, were the
band
who recorded 99% of Armando Travajoli's compositions.
The Marc 4 recorded serveral albums as "I Marc 4" on their label
"Nelson"
from 1970-1976, in this unique compilation you can find their best
recordings that captures their innovative sound; their diversity shines
with
styles ranging from Jimmy Smith to Italian Bossa-nova to experimental
tunes
with strange special effects.
The unique sound of "I Marc 4" comes from omnipresent Hammond C3 of
Antonello Vannucchi with the rhythm section of Roberto Podio on drums
and
Maurizio Majorana on bass, not to forget the real soul of the band,
Carlo
Pes on guitar. On this album you can catch the pure spirit of genius
with
these masterpieces from the Italian film music files.
In 1971 the composer Romolo Frano was working on the soundtrack of a TV
serial "Il Segno del Comando" (a real "cult" TV serial for today's
B-movie
lovers), he chose 5 tracks from the Marc 4 library music album on
'Nelson'
records, two of the five tracks are in this compilation; Distortion Mind
is
a beat song with wild fuzz guitar and groovy bass and Key Board has a
dreaming flute with the soft Hammond sounds of Mr. Vannucchi. These two
tracks are not to be missed on this compilation, as is the case for the
rest
of the album.

ITALIAN LOUNGE-BEAT PARTY BCR 0100 DLP / CD rom  out now
 ITALIAN LOUNGE-BEAT PARTY is a compilation of Italian soundtracks from
the
mid 60's to the early 70's. In those years the Italian film music
produced
the best sound ever and had superior quality productions. Thanks to
composers like Armando Trovajoli, Piero Piccioni, Alessandro
Alessandroni,
all selected in this compilation, the Italian film music found itself in

living a second youth, in the scene of Lounge and Easy Listening music.
More and more DJ's and bands are inspired by this rich discography to
make
their sound more creative and different from the rest. In this
compilation
ensemble by the 'never stopping' Claudio Fuiano (compiler and executive
producer of a dozen lounge-beat compilations around the globe) and Al
Casey
(DJ and editor of the magazine "Il Giaguaro"), nobody will be
disappointed.
Previously unreleased tracks like Humanity and Il Giovane Normale by
Armando
Trovajoli, the first one is a real shaker and the second is a pop-beat
track
with singing in English. These tracks will take you straight to the 'Red

Carpet' nightclub beneath the ruins of the magic city called ROMA. It's
an
album to listen, to dance and to dream to.

Coming Soon
"Fumo di Londra" OST music by Piero Piccioni CD and DLP
"Sonorissima Vol.1 The Italian Library Music Party"

Il Giaguaro & Black Cat Rec.
Alessandro Casella
Via Castruccio Castracane 3
00176 Roma, Italy
Tel [phone]
Fax [phone]
e-mail [e-mail]



____________________________
E-mail: [e-mail]
The Transistors Space Station (best viewed with Explorer 4)
http://members.xoom.com/Lounge_Italy/the_transistors.htm





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

Date: Fri, 04 Feb 2000 12:57:16 -0500
From: Brian Phillips <[e-mail]>
Subject: Re: (exotica) Taboo This!

>wa wait a minute... we're Taboo Records! we only 2
>releases out now... Don
>Tiki and Duke Kahanamoku Presents. Please tell me more
>about this release...

And even though I am not affiliated with Taboo Records, imagine my surprise
at the Sundance Film Festival (more on that soon) when one of the festival
trailers featured "Close Your Eyes" by Don Tiki!

Brian Phillips (whose Mom's maiden name is Floyd, Monsieur Fluid)



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

Date: Fri, 04 Feb 2000 14:00:59 -0500
From: [e-mail]
Subject: (exotica) Variety interactive summit

http://www.variety.com/article.asp?articleID=1117776138
Zelnick: Digital good music biz
BMG topper predicts an end to CDs
By MARC GRASER, February 4, 2000

SAN DIEGO ù While Hollywood worries that
the Internet may shrink its coffers, Bertelsmann
Music Group prexy and CEO Strauss Zelnick
told a high-tech summit Thursday that the digital
downloading of music and films will only expand
the markets for entertainment content.

Go to URL for full story.

- -Lou



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Date: Fri, 04 Feb 2000 14:00:59 -0500
From: [e-mail]
Subject: (exotica) Variety interactive summit

http://www.variety.com/article.asp?articleID=1117776138
Zelnick: Digital good music biz
BMG topper predicts an end to CDs
By MARC GRASER, February 4, 2000

SAN DIEGO ù While Hollywood worries that
the Internet may shrink its coffers, Bertelsmann
Music Group prexy and CEO Strauss Zelnick
told a high-tech summit Thursday that the digital
downloading of music and films will only expand
the markets for entertainment content.

Go to URL for full story.

- -Lou



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

Date: Fri, 04 Feb 2000 20:00:21 +0100
From: Dj Batman <[e-mail]>
Subject: Re: (exotica) More copyright

>There are no moral rights in US copyright (this was from a Hong Kong
website).

I have heard that generally in the Common Law system (UK/US and all
anglo-saxon inspired law systems) there is "no" moral right.
Hmmm.
Yet in the past few years I've seen a lot of examples of artists/composers
sotpping a certain release because they didn't like a particular cover
version, too different from the original (even if *legal*).
That is purely moral right because the economic rights would have been
regularly paid through labels and royalty collection agencies.
I remember those stupid Oasis blocking the release a of a reggae cover of
one of their songs (but luckily they never stopped Mike Flowers
Pops'"Wonderwall") and I have a 1990 vinyl 12" from New Beat Less which was
an Italian trio of producers making a medley of Beatles hits in dance/house
style with loads of samples from other artists (Tom Jones, Technotronic etc.).
Particularly, this version was stopped by the Beatles plus Yoko Ono and
publisher Northern Songs i.e. Michael Jackson (hmmm maybe I already
mentioned all this in here... sorry if I did!).
This version was even supported by EMI UK (mentioned in the credits on the
12"); so obviously there's no problem with economic rights.


bye,
Nicola (Dj Batman) Battista

"Every artist is a cannibal, every poet is a thief"
(Bono)




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Date: Fri, 4 Feb 2000 11:45:25 -0800 (PST)
From: Peter Risser <[e-mail]>
Subject: (exotica) re: Copyright Myth

I said:

>Money has nothing to do with copyright violation.
>It's a violation of copyright to distribute things,
>even if no money changes hands.
>I don't know how much protection you have for home
>taping, but I'm pretty sure that making tapes of
>albums for people is illegal. Mixes, maybe not, but I
>wouldn't count on it. > >Your only saving grace right
now is your relative >anonymity.
[snip]
>I only hope they don't get wind of our little tape
>ring thing and close us down for trading copies of
>forty year old albums that may never see the light of
>day.

Then BJ said:
So, by your own message, it's not ok for others
(including myself) to  trade tapes because we're
violating copyright, but it's ok for you to do  so
because you're part of this "ring"? If so, I'd like to
plead the same  case for myself then, because there
are no differences in circumstance.  You can't condemn
something that others do and then make a hypocritic
case for yourself to be involved in the same exact
thing! Many tapes and  CD-Rs I trade with others are
LP material that have never been released  on CD
format in any country.

Now I say:

Nuh-uh.  That's not it at all.  I never said it was
okay for me.  It's not "ok" in terms of the law for
anybody.  It's a flagrant violation of copyright.  I
only said, I hope I don't get caught.  I choose to
violate this law because I don't really believe in it
and I don't think people are being hurt by my
violation.  While that's not exactly the best way to
run a democracy, I also know that I have little chance
and little motivation to change the law, as I am a
single man and they are big corporations, plus my risk
is small and the reward is great.  Feel free to
disrespect my morality on the issue, but that's where
I'm at.

Yes, I personally think it's okay for everyone to
trade music.  I think it's important in the spread of
music in general, and natural for a human being to
want to share they joy they feel.  It is however
against the law, and I do hope I don't get caught.  I
also hope the proverbial "they" don't close down our
proposed ring.

So, to reiterate, I'm not condemning anybody, but I do
think it's important to understand the law as best as
possible before you decide to break it.  All I'm
saying is, if you think you are protected under law
for trading tapes with someone, you're not.  Or at
least, I wouldn't be too sure.

As far as taping old records or stuff that hasn't been
released on CD, well, as far as I know there's no
loophole regarding format.  Whether it's been released
on CD or not, SOMEONE holds the copyright to all that
Brazilian music you love and they have the option to
decide not to release it.  That doesn't give you the
right to distribute it in your own format, ie, by
taping.

Again, I think it SHOULD somehow, so don't think I'm
condemning you.  But I do think people should know
what the rules are.  Especially when they don't seem
to see how some simple thing they take for granted is
actually breaking the law.

Did you know leaving your keys in your car on a
Cincinnati street in order to warm it up is against
the law, even in front of your own house?  Stupid law?
 Yes.  But that doesn't mean anything when you get a
ticket.  It's still the law.

It's just good to be aware.
That's all.

Peter
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com


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

Date: Fri, 4 Feb 2000 14:55:19 EST
From: [e-mail]
Subject: Re:  (exotica) Breakbeat!

In a message dated 2/4/0 12:38:36 AM, [e-mail] wrote:

>I played Ursula 1000 (still one of my favourites)

where can I get this??

>Still reeling from this new discovery...

After giving Br Cleve a lot of lip over new material he's been discovering
and what it doesn't have for elements, I am slowly discovering some new
material that does have good elements included with the modern sounds. I
mentioned Yoshinori Sunahara and the Bungalow label in general earlier which
is selectively satisfying for me. Any other labels or artists that yank
anyone's chain? JB/still amazed though by my "Music From Outer Space" by
Frank Comstock score


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

Date: Fri, 04 Feb 2000 20:00:21 +0100
From: Dj Batman <[e-mail]>
Subject: Re: (exotica) More copyright

>There are no moral rights in US copyright (this was from a Hong Kong
website).

I have heard that generally in the Common Law system (UK/US and all
anglo-saxon inspired law systems) there is "no" moral right.
Hmmm.
Yet in the past few years I've seen a lot of examples of artists/composers
sotpping a certain release because they didn't like a particular cover
version, too different from the original (even if *legal*).
That is purely moral right because the economic rights would have been
regularly paid through labels and royalty collection agencies.
I remember those stupid Oasis blocking the release a of a reggae cover of
one of their songs (but luckily they never stopped Mike Flowers
Pops'"Wonderwall") and I have a 1990 vinyl 12" from New Beat Less which was
an Italian trio of producers making a medley of Beatles hits in dance/house
style with loads of samples from other artists (Tom Jones, Technotronic etc.).
Particularly, this version was stopped by the Beatles plus Yoko Ono and
publisher Northern Songs i.e. Michael Jackson (hmmm maybe I already
mentioned all this in here... sorry if I did!).
This version was even supported by EMI UK (mentioned in the credits on the
12"); so obviously there's no problem with economic rights.


bye,
Nicola (Dj Batman) Battista

"Every artist is a cannibal, every poet is a thief"
(Bono)




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

Date: Fri, 4 Feb 2000 22:14:58 +0000
From: dan hill <[e-mail]>
Subject: (exotica) new motion reviews ---+ date: 04.feb.00

- ---+ new reviews ---+ http://motion.state51.co.uk/reviews/

      David Toop - Hot Pants Idol (Barooni)
      Henry Cowell - New Music: Piano Compositions by Henry Cowell (New
       Albion)

thanks, and apologies for cross-postings

the motion team

- ---+ motion
http://motion.state51.co.uk/


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

Date: Fri, 04 Feb 2000 17:24:50 -0500
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) re: Copyright Myth

At 11:45 AM 2/4/00 -0800, Peter Risser wrote:
>
>Yes, I personally think it's okay for everyone to
>trade music.  I think it's important in the spread of
>music in general, and natural for a human being to
>want to share they joy they feel.  It is however
>against the law, and I do hope I don't get caught.  I
>also hope the proverbial "they" don't close down our
>proposed ring.

Up here where the government is in the pockets of Celine Dion and the
Musicians Association (which used to be run by Bryan Adams' manager) they
tried to slap a huge levee on all blank recording media.  If they'd gotten
their way, the price of a 90 minute tape would have gone from two bucks to
seven bucks!
But as it turns out, the "tax" is about twenty five cents.
The purpose of the levee was to try and offset profit loss resulting from
home taping.  Profit from the tax will be doled out proportionately to
recording artists, based on sales.
If it went the opposite way, I might almost endorse the tax.  But who's
making a tape for their friend, going "Hey you just have to hear this
Titanic song!"

I've never given a moment's thought to the "illegality" of making tapes or
trading music.  Then again, I've never profited financially from making a
tape.  I think that would change things.

Nat



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

Date: Fri, 04 Feb 2000 17:42:38 -0500
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) Breakbeat!

At 12:29 AM 2/4/00 -0500, [e-mail] wrote:
>
>
>I don't know though, I hear more of this Pop Nouveau which much
>of the list is moving toward and sure I like it, but it sounds like an
>extension of the late new wave period sound to me.  Maybe it's
>because I know this sound so well, but it doesn't grab me quite so
>much.... Unlike the breakbeat stuff... which itself isn't radically
>new, sampling and remixing having been around a while. All I can
>say is if I start liking dance music, it must really be good!  I think
>Nat and Allan can relate to this feeling.

I'm not sure I know which feeling you're referring to here.  But if you're
talking about being surprised you like something you thought you'd never
like, yeah I can relate.  But the truth is, I think I've stopped being
surprised.  I worked out a philosophy/rationalization/justification and now
everything kinda makes sense.

I'm sure I'd like the breakbeat stuff you're talking about.  I liked almost
everything in your end/beginning of the millenium radio shows, although you
guys seem to like that Electro Lounge thing way way more than I did.

I like everything that takes samples or inspiration from sixties pop,
seventies jazz funk, Mancini soundtracks, lounge etc.  I like all the
Italian soundtracks, easy pop, all the Crippled Vampiros Dickbos kinda
stuff I hear.

But the problem is that it all kinda melts together for me.

And sometimes it just seems a bit too DE-contextualized.

I like it when I hear it.  I liked knowing that it exists.  I like hearing
about it.  But I'm almost never driven to buy it.

I don't know if I love the (first?) Tipsy thing because it was the first
such thing I heard or because it's better than other things or because I
actually found one of the samples on an Enoch Light LP or what... but I
don't know how much more of that stuff I could take.

And what do you mean by pop nouveau?

I've been buying sixties/seventies records from a guy who's selling his
seven thousand records collection.  Catching up on stuff I was vaguely
aware of, used to have, always wanted etc.
And I've been having a good time in the "B's"
Box Tops, Big Star, Badfinger, Buckinghams
And I love the Strawberry Alarm Clock record.  All that weird organ and vibes.

I don't know what that has to do with anything.  But sometimes the old
stuff sounds exactly like the new stuff but somehow it "makes more sense".

Nat




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

Date: Fri, 4 Feb 00 14:46:54 -0800
From: "B.J. Major" <[e-mail]>
Subject: Re: (exotica) re: Copyright Myth

>Up here where the government is in the pockets of Celine Dion and the
>Musicians Association (which used to be run by Bryan Adams' manager) they
>tried to slap a huge levee on all blank recording media.  If they'd gotten
>their way, the price of a 90 minute tape would have gone from two bucks to
>seven bucks!

I don't know where you are, but here in the U.S., the industry was
successful in raising the price of blank audio-only CD-R media (the kind
you use in home stereo CD-R and CD-RW recorders (not computer
recorders)).  The reason why they cost anywhere from $2.00 to $7.00 more
a piece over computer CD-Rs is because the music industry wanted to
offset the supposed hordes of teenagers making copies of music CDs in
their bedrooms.  Some entity *is* collecting and getting those extra fees
on the audio-only CD-Rs.

Regards,
- --bj
The Walter Wanderley Pictorial Discography
http://bjbear3.freeservers.com/Wanderley/main.html


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

End of exotica-digest V2 #616
*****************************