I was poking around Napster (Macster in my world) and came across a very
cool remix of Pulp's "This is Hardcore". It was the "Swedish Erotica" mix.
I only mention it here because it was very cool and sounds more like Tipsy
than Pulp. Anybody know who mixed it?
BTW,
While on Napster, I also downloaded Michel Magne's "Petrol Pop" which was
incredibly cool. Further research showed it was from a comp by Big Cheese
Records. Definitely on my "to buy" list. I'm still looking for "Tropical
Fantasy". I'm very interested in this guy. Anybody have any
recommendations/pointers? Most info on the web seems to be in French...
Oh, and also, does anybody know how Magne was involved with the Barbarella
soundtrack? The Internet Movie Database lists him as a composer though he
is not credited in the film.
- Paul
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------------------------------
Date: Tue, 20 Jun 2000 02:01:11 -0500
From: "Paul Wages" <taterboy@mindspring.com>
Subject: (exotica) Fate Of Coco Joes?
I recently returned from a visit to The Big Island of Hawaii. On my search
for cheap tiki souvenirs, I couldn't help but notice the Coco Joe's tikis
were conspicuously missing from the souvenir shops (including all of the
many ABC Stores). A shop owner told me that the company had gone belly up.
She said it was because of the "simulated" lava. I'm not sure what she
meant. In their place were similar products by Chiefly and The KC Company.
They were still cool and cheap, but I was sad to hear that Coco Joe's was
out of business. Also, none of the Chiefly/KC stuff had Coco Joe's
trademark rhinestone eyes.
As I was leaving, I found a bunch of Coco Joe's products at the airport gift
shop (on sell nonetheless). The lady who was working there seemed to think
Coco Joe's was still in business.
Anybody have the scoop?
BTW,
Does anybody have a NTSC copy of WITHOUT WALLS: THE AIR CONDITIONED EDEN
that they would be willing to share/trade?
"Once a souvenir hunter, always a souvenir hunter"...
Paul
Souvenir Hunter
bobbyspacetroup@mindspring.com
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------------------------------
Date: Thu, 22 Jun 2000 07:06:02 EDT
From: Rcbrooksod@aol.com
Subject: Re: (exotica) Fate Of Coco Joes?
In a message dated 6/22/00 12:03:10 AM Eastern Daylight Time,
taterboy@mindspring.com writes:
<< She said it was because of the "simulated" lava. I'm not sure what she
meant. >>
she meant plastic.
<<As I was leaving, I found a bunch of Coco Joe's products at the airport gift
shop (on sell nonetheless). The lady who was working there seemed to think
Coco Joe's was still in business.>>
the original company was sold to another that is now making the fake lava
tikis from the same molds.
when i was in hawaii in january, the were all over the place.
the first lady probably lost the account when joe's closed and did not pick
it up when the new entity picked up the molds.
Tiki Trader has these at one time. a search of the web and/Hawaii addresses
should turn up something.
oh, i had someone browse some of my tiki mugs, salt shakers, etc. the other
day and she asked where they came from. is said, "hawaii and california
mostly" she said, "you could probably find more authentic tiki items in the
south sea islands instead of Hawaii and California." i told her, " i was not
looking for the true tiki experience, but more the suburban tiki experience."
she just looked at me like i was crazy. she didn't get it.
Good luck,
Tiki Bob
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------------------------------
Date: 22 Jun 2000 05:03:42 -0700
From: mkg@calle22.com
Subject: (exotica) Re: Kraftwerk and the future of music
Hi, I'm new to this list but reading this topic I just couldn't keep my lurking mode anymore.
I thought the whole discussion about 'analog' instruments vs. sequencers was something of the past. It reminded me of what happened in the mid 19th century when photography came along and all the painters and portrait makers of Paris made a strike demanding that photography shouldn't be considered an art as painting.
I think the same rhetoric underlies the assumption that acoustic instruments, that you need to master in a long time, have more 'soul' than electronic instruments, which you can play without too much prior knowledge.
But see what happened to the debate between photography vs. painting. I don't think now anyone is going to say that a bad painting is better than a good photograph. As no one is going to say that a bad photograph is better than a good painting. The quality of a work of art has nothing to do with the medium chosen by the artist.
I think this discussion of essentialisms is quite unproductive at the end of the day, because for any general truth you try to establish, there are several exceptions. And I think precisely this list is about those exceptions. Isn't it?
Anyway. For less speculative stuff, I've been listening to a french singer-songwriter called Katerine (that's his last name). His first record is called Les marriages chinois (The chinese marriages) and I've been unable to take it off my Cd player for a couple of weeks. Reminds me of some of the really simple Mano Negra songs with only a keyboard and a very primitive electronic rhythm behind. And then some mellodic singing. In a way it also reminds me of The Magnetic Fields, only that Katerine's music is more playful.
Cheers,
Manuel
"We're a long way from 'Wuthering Heights', to say the
least. The novel form is not conceived for depicting
indifference or nothingness; a flatter, more terse and
dreary discourse would need to be invented"
Whatever, Michel Houellebecq.
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------------------------------
Date: Thu, 22 Jun 2000 05:28:22 -0700 (PDT)
From: Ben Waugh <sophisticatedsavage@yahoo.com>
Subject: Re: (exotica) Fate Of Coco Joes?
Which reminds me, I have to get some super glue this
afternoon. My Coco Joe's tiki (Kanaloa, The Eternal
Tiki God)fell off its pedestal on my desk and snapped
in half. So much for eternal.
- --- Rcbrooksod@aol.com wrote:
> In a message dated 6/22/00 12:03:10 AM Eastern
> Daylight Time,
> taterboy@mindspring.com writes:
I found a bunch of Coco Joe's
> products at the airport gift
> shop (on sell nonetheless). The lady who was
> working there seemed to think
> Coco Joe's was still in business.>>
=====
"But I revolted; esteeming it apt and proper rabidly to inveigh against these heterodoxies...".
Subject: Re (exotica) Katerine. Was: Kraftwerk and the future of music
mkg@calle22.com wrote:
>
> Anyway. For less speculative stuff, I've been listening to a
> french singer-songwriter called Katerine (that's his last name).
Katerine is come up recently on the list and is it not great?
Manuel you are talking about the 1st album. The 2nd is very different? What little I've heard on internet radio it sounds like dance remix stuff and is very very well done.
Domenic Ciccone
"Martinis with Mancini" WJUL 91.5FM FridayÆs 6-9AM EST
http://www.geocities.com/martinimancini/
http://wjul.cs.uml.edu/ (On Real Audio)
P.S.
You Can Get Free Email & Homepages @ http://www.buzzlink.com
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------------------------------
Date: Thu, 22 Jun 2000 10:50:21 -0700
From: "Erik Hoel" <erik@khirqa.com>
Subject: Re: (exotica) Tikis in Hawaii?
Charlieman <crajnai@att.com> wrote in part:
> Where in Hawaii are those giant tiki carvings that we mainlanders see in
all
> those old brochures and not in the new ones? Some park? What
island/city?
>
> Are there any other neeto ancient tiki sites/museums surviving the western
> invasion?
Somewhat related - does anyone have any firsthand experience carving their
own tiki (say 3' tall)? After spending a couple weeks recently in Hawaii and
being frustrated with the rarity (and insane cost) of new wood ones, I've
come to the conclusion that I'll need to make my own. One question - what
kind of wood would be appropriate?
Erik
www.swankradio.com
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Subject: Re: (exotica) Has anyone stopped laughing at the cover long enough to listen
> What is he drinking? It looks like spagetti-o's or fruit loops or something.....
He's not drinking anything. He's blowing bubbles. The signature
sound of Shep Fields' Ripping Rhythm was some joker blowing
through a straw into a bowl of water (or maybe it was gin). Hence
the "rippling rhythm", strictly a gimmick. Sid Caesar played sax in
Fields' band for a while.
Darrell Brogdon
dbrogdon@ukans.edu
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: Thu, 22 Jun 2000 11:37:40 -0700
From: "Jazz Baby" <jazzbaby@mailcity.com>
Subject: (exotica) Bad Garage Sale Behavior
Brian Phillips wrote
"What's the worst behavior you've seen at a garage sale?"
I would highly reccomend the great garage sale scene from the seminal punk film "Suburbia" as a lesson in how not to behave. Gave me some good vicarious thrills when I was 18 though.
SEATTLE (AP) -- Alan Hovhaness, a prolific composer who melded Western and Asian musical styles, died Wednesday. He was 89 and had suffered from a severe stomach ailment for the last three years.
Hovhaness wrote more than 400 pieces, including at least nine operas, two ballets, more than 60 symphonies, and more than 100 chamber pieces.
His works include ``Lousadzak'' (1944), for piano and orchestra; ``Wind Drum'' (1962), a music-dance drama; ``And God Created the Great Whales'' (1970); and ``The Way of Jesus'' (1974), a folk mass.
His early compositions were thoroughly Western. But the influences of Eastern musical styles became more evident after he attended Bohuslav Martinu's master class in composition in 1942 at the Berkshire Music Center at Tanglewood.
Hovhaness was the first Western composer asked to write music for an orchestra comprised entirely of Indian instruments. He served for six months as composer-in-residence at the University of Hawaii and became a composer-in-residence with the Seattle Symphony in 1966.
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------------------------------
Date: Thu, 22 Jun 2000 18:01:03 -0400
From: nytab@pipeline.com
Subject: (exotica) tag salin' with Mark
http://markmartin.net/xtag/tags.html
- -ls
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------------------------------
Date: Fri, 23 Jun 2000 06:53:14 EDT
From: Rcbrooksod@aol.com
Subject: Re: (exotica) Fate Of Coco Joes?
In a message dated 6/23/00 4:45:56 AM Eastern Daylight Time,
bobbyspacetroup@mindspring.com writes:
<< Trying to follow up on this, I located the phone # for Coco Joes Products
through yellowpages.com. (WAHIAWA, HI 808-622-0481). It has been
disconnected.
I'll see if I can't turn up any more info.
I hope I'm wrong...
Paul
*Is this off-topic?* >>
i don't think this is off topic at all. why, because tiki bob said so!
good luck on your search. those interested, might run a search of the old
exotica list archives. we had a detailed discussion on this about a year ago
and someone explained the acquisition.
tb
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------------------------------
Date: Fri, 23 Jun 2000 07:37:40 EDT
From: Rcbrooksod@aol.com
Subject: Re: (exotica) Re: Kraftwerk and the future of music
In a message dated 6/22/00 8:04:17 AM Eastern Daylight Time, mkg@calle22.com
writes:
<< I thought the whole discussion about 'analog' instruments vs. sequencers
was something of the past. It reminded me of what happened in the mid 19th
century when photography came along and all the painters and portrait makers
of Paris made a strike demanding that photography shouldn't be considered an
art as painting. >>
what an excellent analogy. post more manuel!
tb
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------------------------------
Date: Fri, 23 Jun 2000 10:36:50 -0400
From: nytab@pipeline.com
Subject: (exotica) [obit] Alan Hovhaness
June 23, 2000
Alan Hovhaness, 89, Prolific American Composer
By TIM PAGE ,NYTimes
Alan Hovhaness, an original and extraordinarily prolific American composer who embraced melody in an atonal age and drew heavily on music of the East, died on Wednesday. He was 89.
Hovhaness died at the Swedish Medical Center in Seattle. He had suffered from a severe stomach ailment for the last three years, Gerard Schwarz, music director of the Seattle Symphony, told The Associated Press.
Over the course of nearly half a century, Hovhaness wrote more than 60 symphonies, an assortment of chamber music, dozens of compositions for solo piano and hundreds of songs and choral works. The composer John Cage once called Hovhaness a "music tree who, as an orange or lemon tree produces fruit, produces music."
"I like to compose," Hovhaness told The New York Times in 1986. "I think orchestrally, and hear music in my head much of the time. I spend at least an hour a day actively working, and in my free time I do counterpoint exercises to keep my mind active. I can compose with other music playing in the room, through anything. I can block everything out."
This fecundity was only one of the reasons that Hovhaness was considered something of an anomaly among his peers. He was more interested in the music of India, Korea, Japan and Armenia than that of France, Italy, Austria and Germany. He preferred the music of the Renaissance and Baroque eras to that of the Classical and Romantic periods. And he objected to atonality on the grounds that it was "against nature."
"There is a center in everything that exists," he explained. "The planets have the sun; the moon, the Earth. The reason I like Oriental music is that everything has a firm center. All music with a center is tonal. Music without a center is fine for a minute or two, but it soon sounds all the same. I've used all techniques, including the 12-tone technique, but I believe melody is the spring of music.
"The human voice was the first instrument, and I believe that all the different instruments are voices as well. So I want to give them melodies to sing. I think melodically, and without melody I don't have much interest in music."
Richard Kostelanetz wrote of Hovhaness in a 1978 article for the Times, "Essentially he is a consummate melodist who uses the modal scales and instrumental textures of Eastern music within a framework of Western counterpoint and structure.
"Though tonal music as such is scarcely unfamiliar, he has nonetheless created a musical style that is instantly recognizable, largely because of its synthesis of Oriental and Occidental characteristics. Among American tonal composers, only Aaron Copland has created so much uniquely identifiable music."
Some critics found Hovhaness rather too prolific. In 1964, reviewing the composer's Symphony No. 3 for the Times, Harold C. Schonberg said the work was "all very pretty, and 10 of its 15 minutes would have been ample." Oliver Daniel, in a 1958 article for the Saturday Review, complained of Hovhaness' "reiteration of small figures that, despite minute variations, can sound intriguing at first hearing but on a recording can become meaningless on numerous replaying."
"The repetition factor in Hovhaness is not climactic but rather mazelike and hypnotic, often ending as abruptly as a design on ribbon would be when cut at random by a pair of scissors," Daniel continued. "It is quantitative, like music by the inch, foot or yard -- or, more properly, music by the minute."
Still, few listeners would dismiss Hovhaness as a mere craftsman.
"Although most of Hovhaness' major compositions are instrumental, almost every work is religious in nature," the composer and critic Arnold Rosner wrote in the New Grove Dictionary of Music and Musicians. "This does not, however, inhibit stylistic and psychological variety: tranquillity, fear, ecstasy, mystery and epic chaos find expression in divergent and ever-changing techniques."
Hovhaness' mystical bent was apparent also in the titles he chose -- his most popular works were the "St. Vartan" Symphony, a tone poem called "Mysterious Mountain" and a Magnificat.
"I believe there is something good in all religions but that all of them are incomplete," he said in 1986. "I like the ancient philosophies of India -- the Bhagavad-Gita, for example -- and the Armenian Church, which is more mystical than most of those in the West. But I can't put my religious experience into words. Maybe a Bacon or a Shakespeare could, but I don't have that gift."
Hovhaness was born Alan Vaness Chakmakjian in Somerville, Mass., on March 8, 1911. His father, an immigrant from Turkey, was a chemistry professor at Tufts Medical School; his mother was of Scottish ancestry. He adopted the name Hovhaness, in honor of a grandfather, when he was in his early 20s.
He learned to read music when he was 7 and immediately began to write his own pieces. By the age of 13, he had written two operas, "Bluebeard" and "Daniel," as well as many smaller pieces. He studied piano with Heinrich Gebhard, and then attended the New England Conservatory of Music, studying composition with Frederick Converse. His early works are strongly influenced by Renaissance music.
Hovhaness worked with Bohuslav Martinu at Tanglewood in 1942, and the following year began the serious study of Armenian music, after which his work became more contrapuntally complex and rhythmically vital. In later years, he added various experimental and international procedures to his work -- including, on one memorable occasion, the sound of recorded whale song in "And God Created Great Whales" -- and an interest in Far Eastern music would come to predominate.
From 1948 to 1951, he was on the faculty of the Boston Conservatory of Music. He lived in New York throughout the 1950s, and moved to Seattle in 1962. In 1954, he wrote the score for the Clifford Odets play "Flowering Peach." He also provided the soundtrack for several documentary films, including "Assignment India" and "Assignment South-East Asia."
Hovhaness was a tall, gaunt man, personable but shy. He lived quietly in Seattle, where his standard procedure was to work through the night. "After feeling drowsy in the early evening, I get more and more creative as the night goes on," he said in 1978. "By dawn, I'm wildly creative; it gets stronger all the time. I don't know how to compose slowly. I correct and revise later, but composing goes in a sweep. Sometimes I just get the beginning idea, but more often the entire score complete with orchestration comes into my head at once."
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