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exotica-digest         Friday, March 16 2001         Volume 02 : Number 925



In This Digest:

(exotica) The Problem with mechanical vampirism as a career choice
Re: (exotica) Fabricated Music
Re: (exotica) freaks and geeks (not the TV show)
Re: (exotica) Film recommendation
RE: (exotica) freaks and geeks (not the TV show)
(exotica) (Exotica) Brother Theodore
(exotica) Tipsy review from Aquarius records
(exotica) Sampling / Originals
(exotica) Freak Casting
(exotica) [obits] Joe Chisholm,Glenn Hughes,Benny Martin,Richard Stone
(exotica) Giulietta and Livia Soprano
Re: (exotica) Sampling / Originals
Re: (exotica) Lest we forget!.......
Re: (exotica) Fabricated Music
Re: (exotica) Sampling / Originals / Poetic Justice
(exotica) fellini again - Intervista
(exotica) KPM - list
(exotica) Re: nancy's narrative
Re: (exotica) Film recommendation
(exotica) Lee and Nancy films
(exotica) nancy and lee again again
(exotica) Mary Mayo
(exotica) Re: Sampling (again)
Re: (exotica) Sampling / Filmmaking / Fellini

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

Date: Thu, 15 Mar 2001 20:03:17 EST
From: [e-mail]
Subject: (exotica) The Problem with mechanical vampirism as a career choice

In a message dated 3/14/01 3:34:48 PM, [e-mail] writes:

<< >When I hear a song based on a sampled riff, it only makes me want
>to hear the source material. The creativity of chopping up someone
>else's work and slapping your own name on it is lost on me. It's
>musical vampirism as far as I'm concerned.

A few weeks ago, a friend of mine played me some tune, I think it was by
Tony Mottola.  ...  The reason he was playing it was because the
opening riff of the tune was "sampled" and used as the opening riff of a
very familiar tune by, I think, Tipsy.
(If you know what i'm talking about here, please reply)

I know what you're talking about.
We're a little embarrassed about that one, ourselves. I have to admit that
there are a couple numbers on our first lp that are a
bit...ummm...derivative. However, I think we, and the musicians we work with,
do our best to create something that's different enough from our (many)
collage-sources that it can now stand on its own. It does take a lot more
effort than some people might think to make it all fit together.
Also, I have to agree with the luddite faction about most "techno beats".
They usually leave me cold, too.
Personally, I'm just trying to make music that I like, that the general
public can enjoy as well, using the tools available to me now. I'd like an
orchestra but I don't have access to one right now, and I'm a little clumsy,
myself.

<<Myself I just like what I like and I really could not give a rat's ass HOW
it was made.  >>

That's what matters, isn't it?
- -dave


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

Date: Thu, 15 Mar 2001 20:22:55 -0500
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) Fabricated Music

At 09:50 PM 3/15/01 +0100, Magnus Sandberg wrote:
>
>Who is brother Theodore?

Somebody find a Brother Theodore website for Magnus.

There must be a better one than this one.

http://www.jewishworldreview.com/0499/brother.theodore1.asp

Or if you had $100 you could buy this on ebay:

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1415950137

AZ




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

Date: Thu, 15 Mar 2001 20:25:11 -0500
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) freaks and geeks (not the TV show)

At 12:05 PM 3/15/01 -0800, Ron Grandia wrote:
>
>I know you are the people who can help me in this regard:
>
>I need to contact talent agencies that specialize in human oddity. To whom
>does one turn

Have you actually contacted talent agencies?
There's no doubt that some freaks have agents.
And almost any theatrical CASTING agent would know how to find them.

AZ



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

Date: Thu, 15 Mar 2001 19:35:49 -0600
From: Paul Dean <[e-mail]>
Subject: Re: (exotica) Film recommendation

>  Paul Dean <[e-mail]>:
>
> > I quite agree.  Juliet of the Spirits is a *great* movie; I watch it

> > regularly.  It's available on DVD, and the OST is one of my all time

> > faves!
> >
> > paul dean
> >
>
> Do you have the dvd? I read soemwhere that it was not up to the
quality
> one would want? Or??? Should I buy it? I have not seen the film.
>
> Magnus

Yes, I have it .  Actually . . . it's out on loan, so I can't check at
the
moment, but the quality has never bothered me.

It's a gorgeous technicolor fantasy, the world and Juliet's imagination
are constantly intermingled.  Amazing sets and clothes and music . . .
one
of my favorite Fellinis.  Critics seem to have dismissed it as being too

overboard, but that's what makes it for me.

You should definitely see it.  Yes, you should buy it!


paul





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

Date: Thu, 15 Mar 2001 17:44:23 -0800
From: "Ron Grandia" <[e-mail]>
Subject: RE: (exotica) freaks and geeks (not the TV show)

>>Have you actually contacted talent agencies?
There's no doubt that some freaks have agents.
And almost any theatrical CASTING agent would know how to find them.<<

I thought of this, too - but I had assumed casting agents might be a little
tight with info.  No harm in trying, I s'pose.

Thanks.

Ron




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

Date: Thu, 15 Mar 2001 20:50:31 EST
From: [e-mail]
Subject: (exotica) (Exotica) Brother Theodore

In a message dated 3/15/01 5:21:14 PM, [e-mail] writes:
<< At 09:50 PM 3/15/01 +0100, Magnus Sandberg wrote:
>Who is brother Theodore?
Somebody find a Brother Theodore website for Magnus.
There must be a better one than this one.
http://www.jewishworldreview.com/0499/brother.theodore1.asp
Or if you had $100 you could buy this on ebay:
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1415950137 >>

How about this one?
http://www.geocities.com/Hollywood/Academy/8135/

- -dave


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

Date: Thu, 15 Mar 2001 22:55:57 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) Tipsy review from Aquarius records

TIPSY  "Uh-Oh!"  (Asphodel)  cd  14.98
       It would be easy to dismiss this record as more nostalgic
"space age bachelor pad" music tailor-made for today's
Cosmopolitan-imbibing yuppies, but Tipsy deserve more than that.
Sure, they're obviously huge fans of such acknowledged geniuses as
early synth experimentalists / producers Raymond Scott, Joe Meek, and
Perrey & Kingsley, as well as exotica pros Arthur Lyman, Martin
Denny, and Les Baxter. All of those folks made their mark in the
sixties or prior, but the smartasses in Tipsy know that while
imitation is the sincerest flattery, it don't get you much street
cred. So their weirdly successful millenial take on that music is to
mix it up, layering genre upon genre, psychedelic synthesizer
alongside birdcalls, squeaky toys, vintage organs, and inspired
percussion. They do it pretty damn well. The sound is sometimes a
little too exotica-"on-acid", and one occasionally feels the need to
be more aurally challenged, as if they're some Holiday Inn bar band
wasting their lives playing the tongue-in-cheek theme to I Dream of
Jeannie when they're obviously capable of much more. (With esteemed
Willie Winant,  Joe Gore, and Ralph Carney guesting -- all of whom
have turned in more challenging music than this -- you KNOW Tipsy is
capable of more.) Nonetheless, you'd probably be better off listening
to this than most of the other dreck that passes for "lounge music"
these days. Fans of Cornelius and most of the artists mentioned above
will likely appreciate this record.
       RealAudio: http://aquariusrecordsSF.com/audio/tipsysweet.rm




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

Date: Thu, 15 Mar 2001 20:44:02 -0800
From: bigshot <[e-mail]>
Subject: (exotica) Sampling / Originals

exotica-digest wrote:

>Date: Thu, 15 Mar 2001 20:04:24 -0500
>From: alan  zweig <[e-mail]>
>Subject: Re: (exotica) Sampling Vampirism
>
>At 03:35 PM 3/15/01 -0800, bigshot wrote:
>>
>>>a lot of this sample-based music uses music that a lot of us
>>>would actually hate if we were to listen to the originals.
>>
>>I suspect that says a lot more about you than it does the original
>>music.
>
>What the fuck do you mean by that?

I meant that if you can say that you "probably hate" the music
used as samples, it means you are judging the music based by
something other than the quality of the music itself. A sample
is *by definition* taken out of context... There's no way of
telling whether the original context was valid or not. All of
the original meaning has been stripped away. The only way you
could possibly say that you hate something without hearing it
in its original context is if you are talking about your own
personal musical tastes. (ie: I don't like orchestral music,
or I don't like black funk from the 70's.) That says more
about you and your tastes than it does about the quality
of the music being sampled. I didn't intend that as an
insult or value judgement. I have personal tastes too, but
that isn't what I am talking about when I say that most
older music is better than most new music.

>Something can make a good sample and not be "good" in any
>other way. I would assume that to be obvious but apparently not.

I'm afraid I don't understand that at all. If something is good
enough to steal to use in ones' own song, it must have some sort
of value. I've heard songs using sampled elements from everything
from Prez Prado to James Brown. None of them do anything remotely
as good with it as Prez Prado or James Brown did when they created
the original music. Even the late 70's funk groove samples in
hip-hop and dance music are better in their original Funkadelic
or Rick James versions than they are in the meandering, loopy,
structureless, sampled versions.

>Are you telling me that no matter what, you're sure that you'd
>prefer the original?

Every time I've heard a sample of music that I am familiar
with in its original context, I've found that I get more
out of it in its original context than in it's chopped and
minced form. Based on that, I guess the answer to your
question would be yes.

Filmmaking is no different. I can't tell you how many
documentaries and "creative montages" I've turned the channel
on because I would rather see the source material in its
original form than have to sit through flashy videos with a
"head cheese" approach to editing. Documentaries about film
and music are the worst in this regard. It's astounding to
me that someone could do a documentary on... say for instance
Orson Welles... and then proceed to chop up and re-edit Welles's
work to make it fit some synthesizer score they made up for it.
Ken Burns should have presented full performances of great
Jazz songs. Even without comment, 4 hours of straightforward
music would have said more about the importance of Jazz in
America than the 17 hours of blather and bleeding chunks of
performances he did present.

The problem is, no one believes in letting the original creator
have control of the context that his work is seen in any more.
If you're dead and gone, some "director" or "musician" is
going to come along and "express his own creativity" all over
your work. I think that sampling is at its core disrespectful,
and a distortion of the original artist's intention.

I think this is all going to change when copyright laws
finally allow anyone to release works from the thirties
and forties in their original context without paying ransom
to MCA, Time-Warner and Viacom. The current corporate
owners of classic music and films know that they can never
compete with the standards of quality of the past. That's why
they under-exploit old music and film or only release them
in castrated slice and dice form. CDs of Furtwangler in the
40's or videos of Fats Waller's Soundies are head and
shoulders above Andrew Lloyd Weber or rock videos on VH1,
but the corporations will never give them the same marketing
push. In the few exceptions to this, (ie: the Wizard of Oz,
Gone With the Wind, Disney animated features) huge franchises
have been built on the presentation of older works. There's no
reason why this couldn't be done on a wider scale... except
that it would make the new cranked out crap look bad by
comparison.

As a culture, we only remember what they let us remember.

See ya
Steve


      Stephen Worth
      [e-mail]

      The Web: http://www.spumco.com
      Usenet:  alt.animation.spumco
      Palace:  cartoonsforum.com:9994

      Spumco International
      1021 Grandview, 2nd Floor
      Glendale, CA 91201



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

Date: Thu, 15 Mar 2001 20:44:01 -0800
From: bigshot <[e-mail]>
Subject: (exotica) Freak Casting

exotica-digest wrote:

>Date: Thu, 15 Mar 2001 12:05:21 -0800
>From: "Ron Grandia" <[e-mail]>
>Subject: (exotica) freaks and geeks (not the TV show)
>
>I know you are the people who can help me in this regard:
>
>I need to contact talent agencies that specialize in human oddity. To whom
>does one turn when one needs to hire an army of little people, or needs the
>world's skinniest character actor, or an elderly trapeze artist?

There is an agency that specializes in that. I can't remember the
name of the lady who operates it, but she should be easy to find.
Just check the casting section of the Hollywood Reporter Bluebook,
or the LA Work Book.

See ya
Steve

      Stephen Worth
      [e-mail]

      The Web: http://www.spumco.com
      Usenet:  alt.animation.spumco
      Palace:  cartoonsforum.com:9994

      Spumco International
      1021 Grandview, 2nd Floor
      Glendale, CA 91201



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

Date: Fri, 16 Mar 2001 00:12:48 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) [obits] Joe Chisholm,Glenn Hughes,Benny Martin,Richard Stone

Joe Chisholm

Jazz dancer and acrobat who combined speed with elegance

Terry Monaghan
Monday March 12, 2001
The Guardian

The career of the American jazz dancer and acrobat, Joe Chisholm, who has
died of cancer aged 75, began in 40s Harlem, took in many of the great swing
bands, and flourished in Britain in the late 60s and 70s. Chisholm could
bring an audience to him through jokes, impossibly fast cane moves, and
elegant tap dance, all used in rapid succession, and influenced by his
experience with the Crackerjacks black acrobatic act during the second world
war.
Hip hop's roots can be traced back to the likes of the Crackerjacks. They
incorporated different strands of European and Arabic tumbling traditions
into jazz dance, astonishing their original mentors and audiences when they
toured Europe with their ability to always hit the beat while executing and
completing somersaults.

Born in Brooklyn, the teenage Chisholm made weekly treks on the A-train to
Harlem's Savoy Ballroom, where he imbibed the litany of swing through
evenings of hard lindy-hopping. In 1942, he formed an act with Jimmie
"Tricky" Field and, in keeping with the then new cool ethos, they left
behind the boisterous acrobatics and adopted a studied, nonchalant style.
The new act lasted only a short while - Field was drafted - but a booking at
Harlem's Apollo brought Chisholm to the notice of the Crackerjacks, who were
looking for a new cane exponent, and Chisholm spent four years with the
group. His baton-whirling provided another dimension to the group
performance.

He then turned solo and and had no problem finding work with some of the top
bands of the time. From the mid-1950s he toured America, Europe and the
Pacific Rim. His reputation led him to a revival of the Cotton Club Revue,
featuring the Cab Calloway Orchestra.

In 1968, Chisholm joined the musical, Lady Be Good, with Lionel Blair at
London's Saville Theatre. He later appeared in the royal variety show,
Bubbling Brown Sugar, the Al Jolson Story - and on the northern club
circuit.

Chisholm briefly returned to the US in 1972 but, back in Britain, joined an
American expatriate jazz dance group. Later, a small-scale revival of the
Cotton Club Revue enabled him to exert his charm on larger audiences again.

By the mid-1980s, arthritis forced him to give up cane whirling, but he
continued performing, even when it was only lunchtime spots in senior
citizens' day centres.

Joe Chisholm, dancer and acrobat, born April 25 1925; died January 30 2001
- -------
Glenn Hughes, the leather-clad biker from campy 70's disco sensations 'The
Village People', died March 4th at age 50.

A performer to the end, Mr. Hughes reportedly requested to be buried in the
leather and chain biker garb that he made famous as a member of the most
flamboyant band of the disco era.

http://dailynews.yahoo.com/h/ws/20010312/en/village_people_s_leatherman_dies
_1.html
- ----------
Bluegrass master fiddler Benny Martin died  3/13/01, of congestive
heart failure at age 72. He was a veteran who had played with many seminal
groups, including Bill Monroe's Blue Grass Boys and Flatt & Scruggs. He also
fiddled on country records by Roy Acuff, Kitty Wells and others.
- -------
Thursday, March 15, 2001

Richard Stone; Won Emmys as Composer of Cartoon Music

By ELAINE WOO, L.A. Times Staff Writer

    Richard Stone, an Emmy-winning composer of cartoon music for such Warner
Bros. series as "Animaniacs" and "Pinky & the Brain," died of pancreatic
cancer Friday at his West Hills home. He was 47.
     Stone was widely considered the modern-day successor of Carl Stalling,
the legendary composer who wrote hundreds of wacky musical scores for such
Warner Bros. classics as "Looney Tunes" and "Merrie Melodies" from the late
1930s to the 1950s. Stone helped to revive the Stalling tradition of using a
full orchestra, synchronizing the music to characters' movements and
employing musical effects to convey the Warner brand of cartoon humor--witty
without being cute.
     He even composed on the same studio Steinway and conducted on the same
stage that Stalling used.
     "I always try to keep the Stalling language going," he once told Daily
Variety. "If something falls without a piano glissando, it doesn't fall.
     "We still use the xylophone for an eye blink and we still play 'The
Lady in Red' when a character wears a red dress. We do this to honor Carl
Stalling, but also to keep conversant with the Warner Bros. tradition."
     Stone grew up in Philadelphia watching "Looney Tunes" cartoons. He was
exposed to music through his father, who played the piano, and his maternal
grandfather, a music critic for the Philadelphia Inquirer.
     Stone studied cello and music theory at the Curtis Institute and
Indiana University. After moving to California in 1980, he worked as a music
editor for Maurice Jarre and other composers, then scored several movies,
including the cult classics "Sundown: The Vampire in Retreat" and
"Pumpkinhead."
     Although faithful to the Stalling legacy, Stone's cartoon music
incorporated other styles, including rock 'n' roll, jazz, country and show
tunes. Since 1994, he had won seven Emmys: two for the theme songs of
"Animaniacs" and "Freakazoid," and five for music direction and composition
on "Animaniacs" and "Histeria!"
     He also wrote the themes for "Pinky & the Brain," "Taz-Mania," "Road
Rovers" and "The Sylvester & Tweety Mysteries."
     He is survived by two sons, Richard and Michael; a brother, David, of
Burbank; a sister, Bonnie Sunstein, of Iowa City, Iowa; and his mother,
Janet, of Jenkintown, Pa.
     Donations may be made to the Pancreatic Cancer Action Network, P.O. Box
1010, Torrance, CA 90505.




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

Date: Thu, 15 Mar 2001 21:36:04 -0800
From: "jim gerwitz" <[e-mail]>
Subject: (exotica) Giulietta and Livia Soprano

The DVD of Fellini's Juliet of the Spirits is beautiful eye and ear candy.
I've seen it on the shelves in Border's B&M for $13, Amazon says its
unavailable, who knows? Unfortunately the sound is in occasionally harsh
mono instead of stereo, but if you like hats, this is the movie to see.
Fellini's Roma and Satyricon are scheduled for release on April 10, $14 at
Amazon pre-order. Slept through Satyricon years ago and have never seen Roma
so I have no opinion, you decide. The unreleased Fellini movie I REALLY want
to see is "The Temptation of Dr. Antonio" segment of Boccacio '70, where a
billboard with Anita Ekberg (advertising milk)comes to life - the attack of
the 50-foot bombshell! Since it was condemned by the Catholic Legion of
Decency, it was a must-see for this lad of 15. So I'm older than Colleen and
younger than Larry.

And how about that Russian housekeeper making off with dead Livia Soprano's
huge record collection? Janice Soprano got very upset, because they were all
in "mint" condition. Svetlana wouldn't give em back (cuz they were probably
on eBay),so Janice swiped her artificial leg.

Which reminds me and I'll recommend it here for about the 4th time, James
Gandolfini has a funny supporting role in Perdita Durango aka Dance with the
Devil, one of my favorite DVD's with Oscar-nominee Javier Bardem, Rosie
Perez, and Screamin Jay Hawkins passing the hat at the Santeria services.
They blast Tijuana Taxi on the radio while low-riding through, where else,
Tijuana.
A review:
  http://www.dvdtalk.com/reviews/read.php?id=525

Screamin J Psychotronic, off to watch Flash Gordon who is on his way to the
planet Mongo. Man, two exotica digests a day, it's never been this busy in
the 5 years I've been around.







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

Date: Fri, 16 Mar 2001 01:16:06 -0500
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) Sampling / Originals

At 08:44 PM 3/15/01 -0800, bigshot wrote:
>
>I'm afraid I don't understand that at all. If something is good
>enough to steal to use in ones' own song, it must have some sort
>of value.

Yes it has value.  Being "good" and having value are not the same thing.
If I take a record and melt it and make it into an ashtray, it had value.
That doesn't mean I would have enjoyed listening to it.  In fact, obviously
I didn't.

I can't believe I'm still arguing with you.

I guess I have nothing better to do than to let your black and white
pronouncements push my buttons.

Here's a classic:

>Filmmaking is no different.  I would rather see the source material in its
>original form than have to sit through flashy videos with a
>"head cheese" approach to editing. Documentaries about film
>and music are the worst in this regard. It's astounding to
>me that someone could do a documentary on... say for instance
>Orson Welles... and then proceed to chop up and re-edit Welles's
>work to make it fit some synthesizer score they made up for it.

So I guess your approach would be:
1) Don't make a film about the "artist" at all.
OR
2) Everytime you refer to one of their films/musical performances, you
don't show anything or play anything.  You simply tell the viewer where
they can rent the video/buy the record you're referring to.
or
3) The only good biography of Orson Welles would be about 50 hours long
because it would have to include every film he directed or acted in, in its
entirety.

If you want to say "I don't like seeing excerpts", that's fine.  But to say
that the excerpt is inherently superior is... what's a nice way of saying
"retarded".  Mentally challenged.
Have you ever seen a movie where IN the movie, they watch TV?  I guess
you're the guy saying "Hey wait a second.  Don't cut away to the next
scene.  I want to see the rest of that TV show".

I just keep thinking "The guy's kidding".
Or some friend of mine has hired you to push my buttons.
Or maybe BJ has come back as a man.

Let me see if you've got this straight.  You never like to see "clips".
You never like to hear "excerpts".  When you go to the theatre and they
show previews, you're thinking "Either show us the whole damn movie or
nothing at all".

Maybe you've painted yourself into a corner with this position you're
trying to defend.  If you were to say that there's a kind of music that
often uses "samples" and generally you don't like that kind of music,
nobody could argue with that.
But to say that the original is always superior to the thing which samples
it, is just stubborn and unsupportable.
What about spoken word samples?
If you listen to a lot of these musical pieces which sample bits and pieces
off records, you will come across a lot of bits of spoken word, originating
in many cases from old instructional records, stereo test records,
self-help, motivational, Christian records etc.
Just imagine such a piece of music.  Then imagine one of the stereo test
records.  "This should be coming from your left speaker".

Which do you think you'd rather listen to?

If your answer is "the stereo test record" then I promise you, I won't
argue with you ever again.

AZ




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

Date: Thu, 15 Mar 2001 23:10:02 -0800
From: Christine Karkow <[e-mail]>
Subject: Re: (exotica) Lest we forget!.......

> If Lenny Dee works well for washing dishes and paying bills, I wonder
> how he'll be for grading papers--guess I'll give it a try.
>
> Clayton
   Yes, he is good for grading papers too...

Christine



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

Date: Fri, 16 Mar 2001 09:44:42 +0100 (CET)
From: "Magnus Sandberg" <[e-mail]>
Subject: Re: (exotica) Fabricated Music

citerar alan  zweig <[e-mail]>:

>
> At 09:50 PM 3/15/01 +0100, Magnus Sandberg wrote:
> >
> >Who is brother Theodore?
>
> Somebody find a Brother Theodore website for Magnus.

Theodore, whose grisly humor starts out where Charles Addams' leaves
off, refuses to be labeled monologist, raconteur, actor, pantomimist,
Grand Guignol, or any specific type of entertainer. Actually, he's a
combination of all, and his macabre and disconcerting humor has had
audiences from California to New York alternately shuddering and
rolling in the aisles.

Theodore describes himself modestly as a "genius of the sinister."
Others have tried to define his one-man show as "a combination of S.J.
Perelman and Boris Karloff or Peter Lorre and the four Marx Brothers."
In fact, no definition can be quite accurate.


I am quite pleased Alan :)
tank yo

M



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Date: Fri, 16 Mar 2001 10:22:37 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Sampling / Originals / Poetic Justice

bigshot schrieb:

> >Something can make a good sample and not be "good" in any
> >other way. I would assume that to be obvious but apparently not.
>
> I'm afraid I don't understand that at all. If something is good
> enough to steal to use in ones' own song, it must have some sort
> of value.

yes, but only because it gets a value in the new context as a sample. your answer only shows that you simply don't know how (electronic) musicians work today: I would guess that most samples come out of really obscure sources that you wouldn't want to listen to entirely. all they have is a weird little phrase that some musician believes to be valuable for a track s/he's working on. Of course one could try to rerecord that exact sound or phrase, but it would be a senseless effort, just as if you'd want to paint something, when a photo would serve the same needs. Sometimes, according to Dave, musicians just can't afford an entire orchestra, so sampling can also be seen as a form of poetic justice.

Mo

- --
studio R
senses for a senseless world
http://moritzR.de
.........................................................................
n.e.u.
Thierschstrasse 43
D 80538 Munchen
Germany





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Date: Fri, 16 Mar 2001 09:41:04 -0000
From: [e-mail]
Subject: (exotica) fellini again - Intervista

Is this the one where they're making a film with Mastrionni, and decide to
go and visit Anita Ekberg up in her hideaway in the hills?  That scene is so
beautiful,  they're all in their fifties, dissipated, sitting around, and
someone throws a sheet up into the air and it hangs there while the fountain
scene from La Dolce Vita is projected onto it,  with everyone young and
beautiful,  and then the sheet is whipped away again.
Absolutely magical,  one of my favourite pieces of film, and my first
Fellini moment.

Apologies for my poor spelling of Italian names..
El Maestro Con Queso

[e-mail]
[e-mail]
http://www.shitola.freeserve.co.uk/cheese/cheese.htm
http://www.geocities.com/djcheesemaster/
The Stare

mace say:
Intervista (1987)
A fanciful look back at his film career. Some may find it a bit too dewy
eyed.




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

Date: Fri, 16 Mar 2001 08:54:51 -0000
From: "Paul Hodge" <[e-mail]>
Subject: (exotica) KPM - list

Does anyone know where I can find a definitive (or a close to) list of the
very collectable
KPM releases from the late 60s/early 70s?

De Wolfe, Amphonic & Telemusic would also be good.

Thanks

Paul



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Date: Fri, 16 Mar 2001 11:15:35 +0100
From: Moritz R <[e-mail]>
Subject: (exotica) Re: nancy's narrative

"m.ace" schrieb:

>
> Just wondering... in Nancy Sinatra's narrative on that DVD, does she sa=
y
> anything about her short haircut on a couple of the songs? It makes me
> wonder if her long hair was a wig. Or if those songs were shot later th=
an
> the rest of the songs.

I can't remember hearing anything about that. She does mention her "stupi=
d hair" a couple of times though; I guess she takes for granted that peop=
le can tell when it's a wig, although I must say, her own hair does prett=
y much look like a wig most of the time. The short hair is definitely a w=
ig and that glam hair-do in the scenes with Deano too. You can best see w=
hat's her own hair in that sequence with Sammy Davis in the photo studio.=
 She's mentioning how much trouble in public they got for the little kiss=
 you can see at the end of the photo shooting. Hard to belive today... On=
e of the things mentioned in the narrative is that they burnt 475.000 Roy=
al Crown Cola $$ for the entire show, that's an incredible amout of money=
 for '67. Still they often state, they couldn't afford this, couldn't aff=
ord that - shooting 35 mm f.i. The film looks pretty damn well for 16 mm,=
 I must say, incredible material. And Nancy says that Friday's Child is h=
er favorite Lee song.

Mo



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

Date: Fri, 16 Mar 2001 11:11:19 +0100
From: Piero Cavina <[e-mail]>
Subject: Re: (exotica) Film recommendation

At 17.21 15/03/01 +0100, Magnus Sandberg wrote:

>It is of significance also for us exoticats since the music is really good,
>there are even some true "exotica" performances and mambo in it.

(...)

>Any other Fellini recommendations?

I think that many Nino Rota soundtracks for Fellini would be of interest to
the members of this list. Cam Original Soundtracks
(http://www.camoriginalsoundtracks.com/) has reissued most of them is a
series of excellent (and affordable) CDs.

Besides the well-known works like "La dolce vita" and "Amarcord", I would
recommend "Casanova", one of Fellini's most underrated movies from the 70s,
which is instead an incredible visual experience, and has one of the best
Rota's scores ever. I can't wait for a DVD of it.




- --
Ciao, \
  P.    \ PGP public key available.



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

Date: Fri, 16 Mar 2001 11:33:30 +0100 (CET)
From: "Magnus Sandberg" <[e-mail]>
Subject: (exotica) Lee and Nancy films

Some Lee Hazelwood videos has been released in Sweden:
Cowboy in Sweden, =95 Lee & Nancy in Las Vegas =95 M=E5 v=E5rt hus f=F6rs=
konas=20
fr=E5n tigrar (in eng. May our house be safe fom Tigers)

They can probably be purchased from www.klubbsuper8.com, write them a=20
mail, they are passionate about these things.=20

Its PAL

Magnus



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Date: Fri, 16 Mar 2001 10:34:26 -0000
From: [e-mail]
Subject: (exotica) nancy and lee again again

I have an LP called 'Did you ever' (white cover), by Nancy and Lee that has
Lee mocking his own guitar playing and ending with him saying 'can I go back
to Sweden now?',  scrambling footsteps and a door (or was that my
imagination?).  Apart from 'Did you ever?', which is an OK double entendre
hit from my childhood,  it has 'Down from Dover', and 'Red balloon' which I
really rate.
Its funny but I now have a few of Hazlewoods solo LP's and the LP's with
Nancy, and I find  the Lee and Nancy LP's tend to have darker stuff.  As
well as the really light pop music.  A contrast which I don't find in his
own records.  Not to the same extent.
I'm garbling, better go do some work.
Mo,  most of Lees LP's have been re-issued (legitimately!) on Sounds Like
Records in the last couple of years.  Vinyl and CD.  And a new LP last year
(I'm not even going to think about the title without it in front of me).


El Maestro Con Queso

[e-mail]
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http://www.geocities.com/djcheesemaster/
The Stare


mo said

No, it's great. Not AS great as No.1, but if you're at least slightly a fan,
you gotta have this. It has this little talk between Nancy and Lee, where he
says, he's now going to Sweden etc. All Lee Hazlewood albums are kind of
obscure, has any of them been reissued at all? I guess the most
underestimated singer/songwriter of the 20th century HAS to be obscure.





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

Date: Fri, 16 Mar 2001 13:51:58 +0100 (CET)
From: "Magnus Sandberg" <[e-mail]>
Subject: (exotica) Mary Mayo

This is how Mary Mayo looked in 1951:
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1416406751



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

Date: Fri, 16 Mar 2001 08:52:54 -0500
From: Ross Orr <[e-mail]>
Subject: (exotica) Re: Sampling (again)

Alan wrote:
>Something can make a good sample and not be "good" in any other way.  I
>would assume that to be obvious but apparently not.
>There's three piano notes at the beginning of some generic cha cha tune.
>Someone takes that and repeats them and mixes in rhythm and gives it a
>groove

Excellent point!

This is a tangent, but I can't help thinking about the struggle
photography had when it was young, to be accepted as a true art form.
Compared to painting & drawing, some critics thought it was just
cheating, because photographers weren't doing any "real" work--they
were just mechanically recording something Out There.

Of course today I think people recognize that photographers actually
go through an *enormous* process of searching, selecting, framing,
contextualizing, finding the "decisive moment," bending the technical
rules to heighten emotional impact, etc.

In the end photography is hardly any "easier" than sitting down with
a blank piece of paper and drawing something. It's interesting to
think about how many of those points translate directly to the art of
sampling.

Mo and Magnus will also point out that photography certainly did not
kill off drawing and painting! We have both. And we can appreciate
both, each on their own terms. . .

Peace, man,
  --Ross

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


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

Date: Fri, 16 Mar 2001 09:21:13 -0500
From: Peter Gingerich <[e-mail]>
Subject: Re: (exotica) Sampling / Filmmaking / Fellini

Okay yet another thread that won't die.

As for sampling in filmmaking, I LOVE found film and collage stuff, ie what
Bruce Conner does with old softcore, industrial films, atomic bomb footage-
like in the classic 'America is Waiting' (music by Byrne/Eno) piece, or
stuff in the Devo vid for 'Beautiful World' or whatever.

Or for that matter art age from the early 20th century- Max Ernst
deconstructions of old novels, Picasso with newspaper, any of the german
stuff critical of WW1 and industrialism blah blah

I have more of a problem when the references are hidden or cloaked-
ie, Tarantino referencing all sorts of early movies (like 'Point Blank in
'Pulp Fiction')- do you have to get the references to enjoy the movie?
Is it a sign of noncreativity? or an ironic creativity?

Oh yeah, Fellini- I recommend 'Spirits of the Dead' a trilogy of 3 directors
(Vadim, watch the lovely B. Bardot get her back whipped; Malle, a ho-hummer
featuring Alain Delon, and finally with Terence Stamp (ugh) toodling around
in a red ferrari, but there is a great surreal middle part involving an
awards ceremony and awesome organ music from master Rota.....you wont even
need the bong hits for this one....see below for a little snippet revies
from imdb)

thanx for reading
pg

Which is as anyone approaching the final story should be. This is dystopic,
nihilist theatre at its best. While certainly some of Fellini's traditional
themes/images are evident (paparazzi, tragically and _almost_ unbelievably
unfulfilled people, and gaudy overpainted women) this segment is an
orgiastic zero which filled me with disgust and awe. In some ways, this is
the section that is both the most cinematically impressive and the most
repugnantly ego-centric. Poe did not live in the time of Ferrari's,
airports, televisions and escalators, and yet this 'videodromesque' segment
is squarely set in the 1970s. On the other hand, the Ferrari substitutes
nicely for a horse, and melting TV screens will work as substitutes for
Poe's affected prose. Since Poe was, after all, a drunk who was received
much better in Europe than in the U.S. (believe it or not), I think Fellini
remains largely on target.



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

End of exotica-digest V2 #925
*****************************