rostasi

Ay! The lass does a fair bit of playin' on this here rekkid (maybe a third side to Marilyn?) This was my first introduction to her.

http://tinyurl.com/rm2em

I was just listening last week to it (and now as I type). I don't get the big wait for it, but it's a pleasant album. It's a bit on the "lite" side for me, but if you're into tastefully arranged charts, then you may like this. Rod

Yeah! ...and it's in your state too for pickup!

That Suicide - Dylan connection makes me wonder about this cover... ...oh, it's not worth it really........unless you're some kind of R 'n' R whiz kid who collects ephemeral nonsense... R~~

Found these on another website {Shit...Man!}: (with thanks to our own "Kulu Se Mama")

Understand perfectly. That's why I said some - not painting with a wide brush here. Clem's got his own words. Mine are not that nobody should listen, but that I'm a bit surprised when some musically and culturally literate folks that I know in person and some online who have great taste don't seem to have a problem with his copping more than just influence, chording, or the slyly borrowed lyric to call his own. It doesn't really matter what I think of his music, I'm just confused about the go-ahead that this guy gets. Maybe it's some strange mix of influence/sound that I'm not getting. Maybe he's kind of a Cliff Notes for the downhome blues lover or something. It's like getting your African music fix from David Byrne or Paul Simon. I like Byrne, but I'd never call him a genius of African music - yet, Dylan gets all of these accolades of being a genius lyricwriter, songwriter, instrumentalist, and probably ice cream truck driver if his fans were ever asked. I never would try to dissuade anybody from listening to the music they enjoy - it's just a strange mystery to me that I can't unscramble. That's all, really (for me). Clem will have more to say I'm sure. Rod

Didn't Tom Hanks do this?

http://www.nytimes.com/2006/09/16/arts/design/16bank.html September 16, 2006 In the Land of Beautiful People, an Artist Without a Face By EDWARD WYATT LOS ANGELES, Sept. 15 — As a metaphor for problems that people are uncomfortable talking about, “the elephant in the room” is not the most original. But then, few people actually put the elephant in the room, paint it red and adorn it with gold fleurs-de-lis to match the brocade wallpaper, and then dare viewers not to talk about it. Banksy, perhaps Britain’s most notorious graffiti artist and public prankster, has done just that with “Barely Legal,” a new show at an industrial warehouse in Los Angeles, as part of what his spokesman says is his first large-scale exhibition in the United States. Such a show — complete with advance publicity, an opening party with valet parking and Hollywood glitterati, including Jude Law and his posse, and sales of numbered prints at $500 each — would seem to go against Banksy’s rebel image. “Yes, there probably is some contradiction,” Banksy’s spokesman, Simon Munnery, said on Thursday in an interview at the warehouse in a commercial district east of downtown. (Details on the exhibition site can be found at www.banksy.co.uk.) “It depends on what he does with the money, right?” Mr. Munnery added. “Maybe he makes more art. Maybe he’s getting more ambitious.” Banksy makes a habit of not revealing himself in public, a practice that is part survival technique and part publicity ploy, but he has shown projects in the United States. Most notoriously, he carried his own artworks into four New York institutions last year — the Museum of Modern Art, the Metropolitan Museum of Art, the Brooklyn Museum and the American Museum of Natural History — and hung them on the gallery walls, next to other paintings and exhibits, without guards’ taking notice. He has performed similar stunts at museums in Britain. Earlier this month Banksy surreptitiously placed a blow-up doll dressed as a Guantánamo detainee inside the fence of the Big Thunder Mountain Railroad ride at Disneyland, where it apparently remained for more than an hour before park officials shut down the ride and removed it. Recently he also smuggled 500 altered versions of Paris Hilton’s new CD into record stores around Britain and placed them in the racks. All of those stunts are featured in a video that loops continuously at the show, which also includes two large rooms displaying stenciled images on canvas, sculptures and mixed-media productions, like the panel van with the notice on the back, “How’s My Bombing?” and an 800 number that links to a Navy recruiting office in Phoenix. All of this is arranged around a sort of mock-self-loathing, elephant-in-the-room theme, or, as Banksy puts it in a handout: “1.7 billion people have no access to clean drinking water. 20 billion people live below the poverty line. Every day hundreds of people are made to feel physically sick by morons at art shows telling them how bad the world is but never actually doing something about it. Anybody want a free glass of wine?” Many of the pieces have been seen before, either on the streets of London and other cities, in books of Banksy’s work or at his Web site. Many comment on war, like the stark image of a television camera crew filming a child amid ruins as the producer holds back aid workers to allow for just one more shot. With seemingly so much to say, and being so clearly desirous of an audience, surely Banksy would show up at his first big exhibition in the United States, then? Perhaps he’s the gaunt chap over there, with the nose ring and the “Tagger Scum” T-shirt, touching up the gold fleurs-de-lis on the elephant. Or is he Mr. Munnery, who is also a British comedian with a penchant for rhetorical questions (“Why are some people dying of obesity, and others are starving to death?”) and who, in fact, looks quite a bit like the mysterious hatted and bearded fellow who appears in Banksy’s videos? “I’m not him,” said Mr. Munnery, who is credited for “additional inspiration and assistance” in one of Banksy’s books, titled “Cut it Out,” which was distributed to journalists as part of the promotion for the new show. The Guardian, the British newspaper, has identified Banksy as Robert Banks, an artist from Bristol. Some commentators have identified him as Stephen Lazarides, a photographer who set up Banksy’s Web site and whose gallery is the sales agent for the Banksy prints at the show here. Mr. Munnery would not divulge the artist’s identity. Banksy “requests the right to remain silent,” he said. “He insists on it.” But the artworks are Banksy’s alone, he said. “And I do know that some of them took literally hours to paint.” Copyright 2006 The New York Times Company

Ha! yeah, Terry Allen from way back! Of course, I'm here in Texas you know. Remember that even the youngsters of the North Mississippi Allstars gave proper credit (i.e. not themselves) for Someday Baby.

I think that Clem means that some people could get a better perspective on Dylan and his "roots" by checking out some of the overlooked guys who haven't had the constant flashlight (not even laser pointer) directed at them. Listening to something like Nobody Knows the Trouble I've Been can give some insight. Rod

I came across that LP while looking for something for another member here. Played it and copious quantities of Blaxploitation (including Y-H Unltd) last week. Asked da Bastids® about the CD then and they said that they'd order it. I guess that it's in.

... with a bound and hooded Gitmo gulag detainee in orange jump suit, placed within a ride's landscape; removed ninety minutes later by Disney security over "fears for public safety". Pictures

Are you having that shipped in to you? I'm jealous (even tho it's not all that far from here).

A close friend in Switzerland says that he's had no probs either - his only complaint, for now, is that it's more of a CPU hog. I'm awaiting news from a Japanese friend after he gets out of bed. We both subscribe to the Last.FM service and some folks on their forums are saying that because of the removal of the silent spots between tunes, the Scrobbler can't tell when one tune ends and another begins I had a reeeeal bugaboo time with an iMovie/iDVD update a while back that made me take 9 months to finish a DVD project that should've taken 9 weeks. So, I'm a bit cautious of these things. I'll decide probably sooner rather than later.

I agree with you Lon. For the casual user, it may be OK, in most cases. I've just had a few frustrating times with some of the lifestyle-like software so I check the forums now. With the new iTunes, you come across threads like this and this. It's Bertrand's call on this of course. I want to add: I would normally just download something and check it out and if it didn't work for me, then I'd just go back to the old version, but Apple doesn't offer the older versions after the new one is available - and this has always been a real annoyance. Pretty much after you download 7, you're stuck with it. Rod

I think in this case your caution about updates is warranted. I wouldn't get the iTunes update just yet - too many glitches that I've heard about. In general, I would say that you probably want the 80GB if you're getting it for the storage capacity instead of getting it for it's ability to take out the silent spots between medley songs. On your computer, if you go to the apple in the corner left and go down to "Software Update" you can get info on new updates that you might not have downloaded yet. It also provides a way to find out more about these updates, so you can decide whether to download it or not. If you decide to update iTunes to 7, your iPod will ask you if you want to update it or not when you connect it to your computer. I always recommend that anyone wait a while after an update while checking the Apple Forums: Forums Rod

Hmmm, they say the release date is November 14. I wonder if they mean this year?

Some examples from an online forum: When The Deal Goes Down" - "More frailer than the flowers, these precious hours" Henry Timrod's poem "A Rhapsody of a Southern Winter Night" - "A round of precious hours/Oh! here, where in that summer noon I basked/And strove, with logic frailer than the flowers" ------------------------------------------------- "When The Deal Goes Down" - "In the still of the night, in the world's ancient light/Where wisdom grows up in strife" Timrod's poem "Retirement" - "There is a wisdom that grows up in strife" ------------------------------------------------- "When The Deal Goes Down" - "Well, the moon gives light and it shines by night/When I scarcely feel the glow " Timrod's "Two Portraits" - "Still stealing on with pace so slow/Yourself will scarcely feel the glow" ------------------------------------------------- "When The Deal Goes Down" - "You come to my eyes like a vision from the skies " Timrod's "A Vision of Poesy - Part 01" - "A strange far look would come into his eyes/As if he saw a vision in the skies." ------------------------------------------------- "When The Deal Goes Down" - "Things I never meant nor wished to say" Timrod's "Sonnet 13" - "Things which you neither meant nor wished to say" ------------------------------------------------- "Tweedle Dee & Tweedle Dum" - "Well a childish dream is a deathless need" Timrod's "A Vision of Poesy - Part 01" "A childish dream is now a deathless need" ------------------------------------------------- "Tweedle Dee & Tweedle Dum" - "They walk among the stately trees/They know the secrets of the breeze" Timrod's "A Vision of Poesy - Part 01" - "And high and hushed arose the stately trees, Yet shut within themselves, like dungeons, where Lay fettered all the secrets of the breeze" ------------------------------------------------- "'Cross The Green Mountain" - "Along the dim Atlantic line/The ravaged land lies for miles behind" which are similar to Timrod's "Charleston" - "But still, along yon dim Atlantic line/The only hostile smoke/Creeps like a harmless mist above the brine/From some frail, floating oak."

Timrod's been all over Dylan's work for decades now. This, just from his Red Sails... ripoff on the new CD: Henry Timrod (from the poem "Our Willie"): "Which drowned the memories of the time/In a merely mortal bliss!" Bob Dylan (from "Beyond the Horizon"): "My memories are drowning/In mortal bliss" Timrod's "Katie": "And o'er the city sinks and swells The chime of old St. Mary's bells" Dylan: "Beyond the Horizon": "The bells of St. Mary, how sweetly they chime"

If you go to the Apple site and read about the new iPods, it says that they've fixed that. It's also fixed in the latest iTunes that was released just a couple of days ago. Don't know how they managed to fix it considering the way mp3s are constructed, but they supposedly have.

Well, my stuff is all in random order anyway. I guess my question really arose when I stuck in the copy of Olio in my computer and it came up in iTunes under "Teddy Charles" - someone who's further behind on the list printed on the cover and spine of the disc, so it got me thinkin', "Who is this disc really by and how do I show that in my music playing software?" So, it's less to do, as I said, with library filing - just "who leads this date anyway?" kind of question... OK, nevermind...

How does the rekkid stay put?

I've gone thru 4 60GB iPods, so you'll probably get one of mine

YEAH, BABY!