rostasi

Bofill

No, he didn't die after his first collapse - you are correct and you're probably referring to the Ukulele Hall of Fame gig two months before, but he did die on stage at the Minneapolis gig for the Women's Club. He was just introduced to the nearly empty hall (that being a result of the arrogance of the bandleader's actions) with his wife by his side and he collapsed and died right there.

There seems to be this weird idea that when people make copies of things for other folks that that's always the end of the line and in my experience, it's been totally the opposite. People usually go buy the real thing afterwards - if it's available...and that's the crux. I can't tell you how many times people have said to me something like, "Man, this is great! Do they have this at Tower?" ...and then the discussion moves on to how they can get it (even tho, in some ways, they already have it). I have overseas friends that tell me to buy and bring (or send) stuff after they've heard something I've made for them. I'm actually helping CD sales. One CD made can provide years of musical explorations - either of the same artist's work or a boost to whole genres of music that heretofore didn't exist in that person's musical vocabulary. Is the introduction of music only supposed to be the purview of a few A&R guys at the major labels? Are we supposed to rely on the big corporate owned radio networks to tell us what's really good for us? How about critics at the identically-owned newspapers? So, that leaves out label dirtbags, radio, TV, and newspapers...so, what else is there? The obvious: I think it's up to us - the people who love and understand the music - to spread the word (and sound!) I would much rather have someone that I know and/or respect come up to me with a burned disc and introduce me to something new. It has and will always continue to be my favorite entryway into new artist territory. (I also favor the idea of everyone having their own little mini radio station, so as to share what you're not getting from the hot-shot media barons). Q: How many people here now have the Cellar Door sessions after they made or had perfectly good pre-release copies? (and we're not even talking about an up-and-coming artist!) If you're a performer, your CD is your audio business card - it makes an impression as well as encourages people to come see you perform. If they can't see you live they try to find out more about you and they spread word after they have. I can tell you stories! In an era when the "thing" is more important than the "event," it's pretty hard to shake this attachment. For myself, I try to use these "things" - CDs, scores, visuals, texts - as a way to encourage performance and the spreading of interest. I have full pieces making the rounds "out there" and've had instances where someone would like to incorporate a work of mine into their's - no prob...a mention that it was derived from a work of mine would be nice... ...and so if I can introduce someone in Sweden to my work and, in turn, he makes a copy for someone else who writes me and says, "Hey, I heard some of your work. Would you be willing to...", then I'm not only helping my career, but I'm adding something to the creative community itself (and the guy wasn't out money on someone he hadn't previously heard). When it comes to other people's work: would I buy something that I haven't heard? Would I buy something of which I've only heard a 30 second snippet? In most cases, no. This idea that artists should have exclusive rights to the distribution of their work is actually a career hampering idea that has not only financial drawbacks, but sociological ones as well - especially if you're not well-known. Arguably, one of the most important composers of our generation - Karlheinz Stockhausen - has an incredibly tight control over his CD output and because of that close-to-the-chest control, one of the most often heard complaints from potential new listeners is that they can't find any of his music except for a few second-rate recordings (which is an artistic disservice itself). So, some people are making copies and sharing the "approved" recordings. If they like what they hear, they order it from the Verlag in Kürten, but if they don't like it, they haven't felt that they've pissed their money away (and, in turn, scaring away any chances of purchasing anything else by him in the future). People who speak of the "illegality" (of which there's some grey areas that cause disagreements and uncertainties) of something as amorphous and benign as music "piracy" (gotta hand it to those corporate spinmeisters!) strike me as a gullible bunch - as if the illegality of something came from outer space or is some genetic inheritance that we, as a culture, are born with. It may be shocking to some, but we're not and as soon as we stop sniffin' RIAA butt (amongst others) and demand from our leaders (new ones that'll actually listen) forward thinking ideas that are in service of the people and not the Thuglicans that they're so wedded - ideas that can include sensible commerce - then we can kiss those slowly eroding ideals away. ...and this statement about if every owner of 10,000 copies making 10,000 copies to share is sheer lunacy - might as well ask what would happen if all of the air molecules started moving into one corner of the room - BUT if thru some cosmic warp this did happen: yes, there would be 20,000 copies in existence AND more knowledge of your work! I think smart performers who see the future of the arts already recognize this and I think that our current discussion will become pretty quaint in the years to come. The silver lining is that more artists are recognizing this (Creative Commons initiatives taking hold in over 50 countries are one alternative). Just recently, Gilberto Gil (famous singer/songwriter and Brazilian Minister of Culture) wanted to freely share some of his songs online and was promptly rebuked by his "owners" - Warner Music - so much for artistic freedom when you have corporate greed dictating your pathway. So, he (and, increasingly, others) are taking their music "back" and learning that education thru freely accessible worldwide distribution is the best method. Again, the compact disc should not to be seen as the career maker or breaker - it is a vehicle of promotion - no matter what the media conglomerates want you to believe.

Gosh, even if it helps sell more copies? (which 9 times out of 10 it does).

Well, Allen, that's not quite true. Tiny collapsed on stage and doctors spent half an hour trying to revive him while he was laying on the floor just past the stage. After the ambulance took him to Hennepin County, they worked on him for a little over an hour and they never could revive him. Sue Gardner was with him when he died on stage (and too when he was "officially" pronounced dead a couple of hours later). By the way, what does your friend have to say about the shitty way Tiny was treated by the bandleader that night? Tiny had his peculiarities, but he was always respectful to musicians.

Tiny Tim ...a fine jazz singer...

mmmmm...maybe I should start charging people when they ask me for my business card.

It's on a wonderful comp called The Voice of Langston Hughes which covers about 5 recordings from the S-F catalog. Looks to be in good shape (and a 10" too!) Rod

Yup, it sure tis! But not really a chronologically-based age thing, but, rather, we're living in a new era of scare tactics and fear mongering that now constantly bombards us. Corporate bullies have gotten away with it to an ever increasing degree. Even people who, for example, used to make music tapes for their potential sweethearts have, in recent years, gotten amnesia and have become suddenly convinced and righteous after constantly being fed specious corporate arguments concerning "loss of revenue." It's quite a sad state of affairs that we can only hope will recede after we have enough people who'll actually listen to what is being fed to them.

Well, Taiwan on for all of us will ya?

Thanks Jim for the kind words! Also, you really are missing out on some good radio thru your Last.Fm account! You haven't been connected for nearly 3 months and the features that they have now are incredible! Forget Pandora and a couple of those others (can't remember their names now). With the playlists that you've had, you can really find some fine Last.FM radio listening pleasure Thanks for the tip on the new iLife and ODEO. I'll check into that. I've only just considered doing set shows - where there's a theme and you put together a few hours of something, send people the stream link, and they listen whenever they want - it's pretty easy really and it's a bit of a precursor to Podcasting. I've been away from playing anything for a few weeks because I'm working on a bunch of audio projects, but I'll be back at it next week. Rod

Jon. It sounds like you've been listening to Aiff files on your iPod. (by the way, you can listen to a bunch of different formats on your iPod - not just mp3s) When you go to your iTunes Preferences/Advanced/Importing window what does it show that you're using to encode your iTunes music? When you drop that new CD in your iTunes, THIS is what it's encoding at and I'm guessing that you have it set to "AIFF" or something other than "mp3" Let's hope that all your files are AIFF (or uncompressed) or else when you convert them to mp3s (highlight your tunes and then: go to iTunes/Advanced/Convert Selection(s) to mp3) they'll sound like crap. Rod

Been using Nicecast for about 10 months now and it has given me (and others, I think) much joy! Remember, to create a smooth stream for listeners, you have to set your bitrate at something comparable with your UPLOAD streaming speed. In other words, if your home connection is 384 kbps DSL/Cable and you decide to stream your Nicecast at 128 kbps, then you can only have a maximum of 3 listeners at any one time. [384 ÷ 128 = 3] So, lower bit rates get you more simultaneous listeners, but you sacrifice quality.

I think he got a memo on Aug 6, 2001.

Watched the first season when it was originally broadcast. Haven't watched it since.

excerpt from "Everything You Know is Wrong" by The Firesign Theatre: The General's Comments on How To Deal With Alien Contact (The General): "Honey and men- I have something awesome to reveal to you." (The Colonel): "Well, go ahead, sir." (General's Wife): "Go ahead." (The General): "Two flying saucers have just landed on my plate." (Long moment of silence) (The Colonel): "Well, turn away sir - I'll eat them." (Nervous laughter) (Sound of a spoon repeatedly striking a water glass) (The General): "Men - our greatest fear is realized - we are under attack from superior consciousness." (The Colonel): "The eggs, sir?" (The General): "They're only the beginning." (More nervous laughter) (Another Officer): "Can I have some more of those flapjacks?" (The General): "All right, men - questions? Questions?" (The Major): "Ah, sir?" (The General): "Yes, Major?" (The Major): "Ah, pass the ah, syrup, General?" (The General): "That's a good idea, Chuck, but syrup won't stop 'em!" (Another Officer): "But, sir..." (The Colonel): "Ah, sir?" (The General): "Colonel?" (The Colonel): "Are you nuts?" (The General): "H-Hmmm! That is just exactly what they want you to believe! (chuckle)" (The Colonel): "The eggs, sir?" (The General): "Let's just call them 'the phenomena' " (The Colonel): "Well, if I may respectfully submit, sir, I think you've got your phenomena scrambled, General." (More nervous laughter) (General's Wife): "What about my eggs, dear?" (The General): "Honey - they're in everybody's eggs!"

Found a site that gives track details on this massive set. Ultimate Jazz Archive

Don't have Strawman Dance (yet), but the other's are pretty fine. Don't know much about his background, but often see his name associated with the hip NY (is it UPtown or DOWNtown these days?) scene. Poetry readings, performance art events, etc usually finds him putting together a group of musicians for a night of fun and frivolity. Soup was one of these groups, I think? A VOICE found thru the Voice for me. If Maren were around, she'd probably have something to say(?) R~

Morty and Ianni

On my desktop...

I would say that's Berlin? wer hat Geburtsort?

...so celebrate quietly please...

There were some really crappy versions from Spain that were making the rounds then. Anyone own the Rauschenberg version of Speaking In Tongues? As a big fan of RR, I used to collect as many as I could find. I think that I have 5 or 6 around here.