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Date: Wed, 13 Jun 2001 13:25:43 -0400
From: nytab@pipeline.com
Subject: (exotica) [obit] Amalia Mendoza
MEXICO CITY (AP) -- Amalia Mendoza, one of Mexico's most famous singers of mariachi and ranchera music, died Monday after suffering from a progressive paralysis of the lungs. She was 78.
Mendoza was famous for songs such as ``Echame a mi la Culpa'' (``Put the Blame on Me'') and ``Amarga Navidad'' (``Bitter Christmas'').
Born in the town of San Juan Huetamo in 1923, she was part of a family of noted musicians.
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Date: Wed, 13 Jun 2001 14:14:03 -0400
From: "Nathan Miner" <nminer@jhmi.edu>
Subject: (exotica) re: favorite cocktail?
Well, I'm on the suffering bastard in my ongoing repertoire of mixed =
drinks, so will throw in this recipe:
4 oz. ginger ale
1 oz. whiskey
1 oz. gin
1 oz. lime juice
dash of bitters
(Hint: for lime juice you can use canned lime concentrate right outta the =
can).
Stir all together and add ice - serve in large old-fashioned glass.
This isn't as sickeningly sweet as some mixed drinks.
- - Nate
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------------------------------
Date: Wed, 13 Jun 2001 14:18:46 -0400
From: "R. Schultz" <randy.schultz@juno.com>
Subject: Re: (exotica) re: favorite cocktail?
That's a good one. One of the problems I find is that a lot of people
don't like the taste of alcohol, so alot of the cocktails are filled
with sweets and fruit juices that mask the taste of the alcohol. And
that bugs me. I like a really crisp tasting drink and this sounds
right up my alley. Thanks for the tip...
Randy
>
> On Wed, 13 Jun 2001 14:14:03 -0400 "Nathan Miner" <nminer@jhmi.edu>
> writes:
> >
> > Well, I'm on the suffering bastard in my ongoing repertoire of
> mixed
> > drinks, so will throw in this recipe:
> >
> > 4 oz. ginger ale
> > 1 oz. whiskey
> > 1 oz. gin
> > 1 oz. lime juice
> > dash of bitters
> >
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------------------------------
Date: Wed, 13 Jun 2001 14:32:36 EDT
From: DJJimmyBee@aol.com
Subject: Re: (exotica) favorite cocktail?
In a message dated 6/13/1 12:04:06 PM, sophisticatedsavage@yahoo.com wrote:
>Hands down, it's the mai tai for me
I have to admit a fondness for The Stardust, but I have to get Br Cleve over
to make them.......Perhaps he'll share the recipe
JB/They always question my drinking, but never ask of my thirst
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------------------------------
Date: Wed, 13 Jun 2001 14:40:32 -0400
From: nytab@pipeline.com
Subject: (exotica) Perry Como article from today's NYTimes
June 13, 2001
CRITIC'S NOTEBOOK
A Posthumous Hit Parade for Ever-Serene Perry Como
By STEPHEN HOLDEN
Tranquillity is one musical quality that has earned scant critical respect in the annals of American pop. For decades, terms like Muzak and elevator music have been affixed contemptuously to sounds deemed too soft and complacent to be taken seriously in a culture obsessed with upward mobility and the grinding friction it produces.
When the fledgling record industry nearly collapsed during the Depression, it wasn't the soothing voices of crooners like Rudy Vallee and Russ Columbo that revived it but the jittery pulse of swing. The behemoth of today's multibillion-dollar record industry didn't evolve from the chirpy, smiley pop of the Mitch Miller era but from the upstart rock 'n' roll that overran it.
Musical calm prevailed only during the decade that began with the end of World War II and faded with the wake-up call of "Rock Around the Clock." Those years, during which millions of Americans settled in suburbs to nest, coincided with Miller's ascendancy as the creative head of Columbia Records and with the reign of Perry Como at the rival RCA Victor as American pop's soft-spoken Mr. Nice Guy.
No one before or since the heyday of Como, whose death in May at 88 deprived American pop of its last genuinely serene voice, made an easygoing contentment appear to be everyone's natural birthright. The vocal embodiment of carefree fairway Saturdays in the stretched-out sleepy summer of Eisenhower's America, the singer and television personality whose theme song gently invited the world to "Dream along with me," Como distilled the sunny side of those not-so- fabulous 1950's.
To commemorate his death, Collectables Records, one of the country's largest independent reissue companies with a catalog of more than 1,500 titles, recently released 10 of Como's RCA Victor albums and one extended-play compilation for the first time on CD. They can be ordered online at www.oldies.com. Como was not quite a great singer. His crooning lacked the jazz underpinnings and richness of his principal role model, Bing Crosby. He conveyed none of Frank Sinatra's volatile sexuality, swinging adventurousness or complicated personal involvement with his material. The reptilian and insinuating Dean Martin exuded far more personality than Como.
But at the peak of his popularity in the mid-1950's, Como was a cultural deity, trusted by millions, and radiated the same quiet dignity as that other Italian-American symbol of heroic achievement ennobled by modesty, Joe DiMaggio. Strolling out onto the television soundstage on a Saturday night, clad in a sport shirt and sweater vest, this onetime barber conveyed the even-tempered affability of a man utterly secure in his identity and talent and remarkably unspoiled by fame. Como's aura of being completely at home in the world was leavened with a playful, easily tickled sense of humor. Detached but not cold, he suggested that the difference between being a small-town barber and a wealthy pop star was simply a matter of luck and that he would be equally happy in either role.
Much like Crosby, Como was neither a connoisseur of great songs nor a psychologically probing interpreter of lyrics. Although he could push his smooth baritone voice up to medium volume, his crooning never aspired toward the operatic. In the same way that he stood back and took an amused pleasure in his celebrity, Como seemed never to question that a song needed only his appealingly mild-mannered vocal signature to put it over. If his phrasing was actually quite formal, his understatement made him seem the king of casual.
Like most pop stars of that era, Como recorded the catchy commercial fluff chosen by his label. His first No. 1 hit, "Till the End of Time," in 1945, was a bland pop adaptation of Chopin's Polonaise in A flat major. His second, the next year, was a tortured stentorian ballad, "Prisoner of Love" (originally a hit for Columbo), whose masochism Como undercut by softening its confession of romantic enslavement into a declaration of dignified, unshakable devotion.
No matter what the ballad, the common denominator of Como's crooning was his quietly authoritative assertion of this devotion, the seemingly matter-of-fact commitment of an eternally and happily married man. When a lyric like that for his 1953 Rodgers and Hammerstein-penned hit, "No Other Love," happened to match his vocal personality, the result could be quite eloquent.
When novelties regularly topped the pop charts, Como recorded more than his share, beginning with the faintly racy "Dig You Later (A Hubba-Hubba-Hubba)" and continuing with "Chi-Baba, Chi-Baba (My Bambina Go to Sleep)," "Bibbidi-Bobbidi- Boo" and "Hoop-De-Doo." The silliness culminated in the mid-1950's with "Papa Loves Mambo," "Ko Ko Mo" and "Hot Diggity." Many of Como's biggest 50's hits, including "Wanted," "Round and Round" and "Catch a Falling Star," were childlike ditties that didn't really qualify as outright novelties. In his respectful, irony-free embrace of a playful pop simplicity, Como anticipated pop's ultimate nice guy of the rock era, Paul McCartney.
Content to ride a stream of hit singles up the pop charts, Como never aspired to be a serious album artist. Although he recorded numerous LP's, they generally lacked the cohesiveness, sophistication and brilliant arrangements of Sinatra's and Nat (King) Cole's finest work.
Like Patti Page, his female counterpart in the 50's pop pantheon, Como stood for cultural homogenization. In much the same way that Ms. Page, who was born in Oklahoma, all but erased the regional twang from country music and helped make country a national style, Como played down the ethnic attributes of Italian ballad singing, replacing a Mediterranean passion with a neighborly all-American bonhomie. Like his Italian-American pop peers, however, from time to time he would acknowledge his roots by recording an Italian song.
It is easy enough in today's climate of strident identity politics and niche markets to condemn as na∩ve and even vaguely fascistic the bland assimilative pop culture that Como, Ms. Page and other mainstream pop singers symbolized. But in the 1950's, the promulgation of such a culture seemed like the most natural and practical way to heal the wounds of war, embrace the returning armed forces, welcome immigrants and create a proudly unified front against the threat of Communism.
As that artificial cultural ideal crumbled in the 60's and a do-your-own-thing ethos refuted the previous decade's conformist values, tranquillity was out and speed was in. Rock's highly amplified technology quickly rendered Como's brand of crooning obsolete. American pop's last truly calm voice found himself shouted out of the arena.
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------------------------------
Date: Wed, 13 Jun 2001 12:23:31 -0700 (PDT)
From: Ben Waugh <sophisticatedsavage@yahoo.com>
Subject: (exotica) Canadians are foreigners?
Here's the page you locals (?) will wish to check
whenever they get around to updating it:
http://www.nga.gov/programs/film.htm
- --- alan zweig <azed@pathcom.com> wrote:
> I don't know the times or the exact circumstances.
> I guess you'll have to
> do a little phoning or maybe it's on a website
> but...
> The film "Vinyl" will be screening at the National
> Gallery of Art in
> Washington D.C. on July 21.
=====
"What I need is a shot of Drambuie and some clean sheets."
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Date: Wed, 13 Jun 2001 17:57:58 -0400
From: nytab@pipeline.com
Subject: (exotica) cool is better than numb
Did anyone happen to read or, better yet, save this recent article from the NYTimes. It discussed the use of herbs in refreshing alcoholic beverages suitable for the summer season. Unfortunately the article is no longer available for free at the NYTimes website. I'd like to concoct some of the recommended libations, but don't have the recipes.
Cheers,
lousmith@pipeline.com
May 23, 2001, Wednesday
SIPS; Cool Is Better Than Numb
By AMANDA HESSER
Source: The New York Times
Section: Dining In, Dining Out/Style Desk
Lead Paragraph:
IT was a mildly warm afternoon, one of the last before we drop off into the three-month inferno. I was sitting at the bar at Pastis, and ordered a Sazerac. The barman muddled wedges of lemon with pink Peychaud bitters and sugar.
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------------------------------
Date: Wed, 13 Jun 2001 18:26:47 -0400
From: "Br. Cleve" <brcleve@mindspring.com>
Subject: Re: (exotica) favorite cocktail?
on 6/13/01 2:32 PM, DJJimmyBee@aol.com at DJJimmyBee@aol.com wrote:
> I have to admit a fondness for The Stardust, but I have to get Br Cleve over
> to make them.......Perhaps he'll share the recipe
2 parts light rum
1 part lemon juice
1 part Parfair Amour
shake with ice and strain into cocktail glass. garnish with a lemon twist.
sadly, Parfait Amour is very very difficult to find (unless you live in
France). It is made by Marie Brizzard. Beg at your local packy.
br cleve
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------------------------------
Date: Wed, 13 Jun 2001 18:29:03 -0400
From: "Br. Cleve" <brcleve@mindspring.com>
Subject: Re: (exotica) favorite cocktail?
on 6/13/01 6:26 PM, Br. Cleve at brcleve@mindspring.com wrote:
The Stardust
> 2 parts light rum
> 1 part lemon juice
> 1 part Parfair Amour
that should read Parfait Amour
so much for proofreading, eh
bc
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------------------------------
Date: Wed, 13 Jun 2001 19:25:56 -0400
From: nytab@pipeline.com
Subject: Re: Re: (exotica) parfait amor
I found this recipe for do-it-yourself Parfait Amor. It won't be the same as Bols or Marie Brizzard, but what are you gonna do? This recipe doesn't mention the purple vegetable dye - for the proper effect I think you'd want to mix some in. The recipe also doesn't seem "citrusy" enough - if I tried doing this, I'd add a bit more.
lousmith@pipeline.com
Parfait Amour
A French Aphrodisiac Liqueur
Ingredients
6 in. cinnamon stick
1 tbsp. fresh thyme
1/4 vanilla bean
1 tsp coriander seed
1/2 tsp mace, powdered or crushed
dehydrated peel of 1 small lemon
2 1/4 cups of vodka, or your favourite spirit
225g good honey (heather, acacia or 'mountain')
1 1/4 cups water
Crush the dry ingredients in a mortar and pestle or a spice grinder as finely as possible and add to the vodka. Leave for 15 days (you might wanna shake it now and then) and filter. Dissolve the honey in the water over gentle heat. Allow to cool and mix with the spiced spirits. Bottle and label.
Recommended dose : 2 fl. oz. before bed
"Br. Cleve" <brcleve@mindspring.com> wrote:
> sadly, Parfait Amour is very very difficult to find (unless you live in
France). It is made by Marie Brizzard. Beg at your local packy.
br cleve
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------------------------------
Date: Wed, 13 Jun 2001 19:28:43 -0400
From: itsvern@attglobal.net
Subject: (exotica) $140,000 stereo systems
A rather interesting article was in today's Washington Post, about the
high end audiphile lovers - the type of people who spend $140,000 on
