rostasi

Also, sometimes it's good to occasionally check where you have spam rerouted. I've found that the sifting isn't always perfect and I'll find a PayPal notice in the trash. R~~

Thanks again guys! Birthdays are invigorating! Kind of a reminder of what you've done (or not ) during the past year. As usual, it's a pleasure to take a break and see what's happening here. (tho it does cost some big bucks some time).

Thanks all! Moving on up the ladder of time... Busy day, but the highlight, so far, was delivered thru the miracle of webcasting. I "attended" an hommage to Nam June Paik with a friend of mine in the audience (within camera range!) who alerted me earlier to the webcast. A tribute program with some wonderful interviews, personal accounts, and lots of rare footage that was presented at the Pompidou. Three plus hours long! Also, loaded up some Braxton to fill most of the rest of the day. After dinner, it'll be time to hook up the new harddrive for the big audio/video dump (500 gigs!), but I think I'm gonna need a nap (pushin' 50, you know... ). Thanks again, Rod

That Bo-Keys is great! You can get a copy SS1 for 89 cents(!) or 2 bucks on Amazon.

When it comes to their radio broadcasts, it's finally great to hear a new generation that doesn't drench all of their commercials in excessive reverb like in the "old" days (70's/80's).

They have 29 wonderful releases to date... Sublime ...filled with humor, mystery, amazing saturated colors (both on the DVDs and CDs). Listening to your recommendation (Radio Soleil) now. MG might like this! Rod

Cockrell Hill would make sense 'cause lots of stations broadcast from there - tall towers and such. From that Hum Tum link you sent, their corporate offices are in your neighborhood. Amazing that Bhangra is still big! When I had the store in the early 90's, I tried to introduce some of this stuff to the dance crowd that'd come in, but I could only get a rep from WEA (Warners/Elektra/Atlantic) to listen, buy and spread the word. One of the funniest songs at that time (and there were many mix-versions) was a variation on the "Patel Rap" - which was about how the US motels were being taken over by "Mr. Patel"s - so the "Patel-motel" rhyme was everywhere in these songs. Pretty funny and funky! Clem: I LOVE Sublime Frequencies - I have all of those including the DVDs and I eagerly await every new batch of about 4 that come out. The Bishop's have a wonderful collection of obscurities. They don't mess with the DVDs - they just shoot 'em straight with the minimum of editing - glorious stuff! R~~

My brother-in-law went to see Bad Company just a few weeks ago. I'll have to ask him how many of the original members were there and whether Boz was one of them. More tributes/info here: http://www.dgmlive.com/news.htm?entry=566 and here: http://sidsmith.blogspot.com/2006/09/boz-b...-1946-21st.html

It's way up at the top of the AM dial I think - Bhangra heaven! It's out of Carrollton or Farmers Branch (Texas). R~~

Ha! Funny that MHS would've re-released this. Originally on Labor records - German bandleader and composer. Outside jazz charts with hints of classical avant-garde is probably the best way to describe it. I think it's one of his best, if not, the best recording of his. Rod

Boz Burrell

It even features Bing's heavier set brother Big Crosby!

Yup! Glorious they are! About 100 pages each - packed with info.

Thanks! Good to hear that you've had no breakdowns or clogging. OK, great! I've got to have a Cyan right away, but I'll order the others online. thanks again, Rod

Hey Jim, Are you still having good luck with your non-OEM ink? I'm thinking of making the switch for my Epson R800. Still using the eBay source? Thanks, Rod

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.