Re: Obit: Eddie Dean
On Fri, 5 Mar 1999, Jim Nelson definitely wrote: Uh, actually Cary Ginnell wrote that, Don. You can take it up with him, if you like. g Oops! Sorry for the misattribution, Jim.--don "One Has My Name (Yhe Other Has My Heart)" is credited to Eddie Dean-Dearest Dean-Hal Blair. Maybe Cary Ginnell should take it up with them.
Re: Tweedy quote /generations
Carl wrote: I think if you look at the P2 Survey you'll see the untruth of this. I'm convinced that alt-country is a (as Monsieur London puts it) "tailbust" and "gen-x" phenomenon. A glance around the audience at any alt-country show I've attended shows it skewing way to folks in their late-20s to mid-30s, with a smattering of younger and older. Hi Carl - first, let me say that I am not questioning anything which Jake posted or which you and he discussed. Interesting, well thought-out read and I can't wait for the Cliff Notes to come out on this However, I have a few comments if you will. I wouldn't at this point consider the P2 survey to be an accurate representation of the average listener and record buying/concert going public. A high percentage of listmembers are either music writers, critics, dj's, musicians, other industry personnel or those who have a deep love for and knowledge of music. It may not be fair to assume comparisons when persons involved in the industry have greater access to indie releases and a usually more saturated and comprehensive view of form and structure. So, while the P2 survey was insightful, I don't believe it should be taken as an accurate assessment as to what's going on in the minds of your average consumer. I've found most alt.country shows to be a mixed bag of patrons for the most part. I don't think I could say that one particular age group takes precedence. However, I do remember a BR5-49 show where the audience "looked" decidedly twenties to thirties and the same was true of a Freakwater and Marah show. But then, I also consider that many people of the baby boom age aren't routinely going to clubs or frequenting concerts. Most of their disposable income is outlayed elsewhere with perhaps a video rental on a Saturday night. Yet, that generation (whether first wave or second or the third wave "tailbust" as Jake referrred to it) grew up on folk, rock-n-roll, beatnik prose, protest marches, rockabilly, The Nashville Sound, traditional country, soul, motown, pop, the california sound, the philly sound, southern-rock etc; and we like those elements incorporated into the music we prefer to listen to. Alternative country seems to be "home" for many of us as opposed to new country or alt.rock. I would much rather listen to a good old Linda Ronstadt tune than suffer through the pop/country blandness which I find in recordings from say, Trisha Yearwood or JoDee Messina who have both listed Ronstadt as an influence upon their work. I do think it's correct to say that a certain percentage of the Gen X'ers are drawn to alt.country, but that may only be for the bands which evolved from the post-punk era. Even then, it seems to me that the main influence upon that group was more in the direction of radio-friendly metal (Van Halen, and its ilk), the glam-rock pop such as Duran, Duran and the emergence of hip-hop and rap. Country took a decided downturn for some time in the eighties until the "new traditionalist" style came along and took hold and for many of the Gen X era, country just wasn't "cool". So, for many of the now young to mid thirties crowd, I don't think country had much to do with their likes and dislikes, rather rock and punk was the driving influence. That group's attraction to alt.country may be in the style which uses a base of punk-rock for the body of their work. However, punk-rock is not lost on those born during the second or end wave of the baby boom generation. That generation in total experienced probably the most widely diversified stylings of popular music heretofore or since. It is only natural that we would be able to relate to the grand mixture of styles which alt.country provides. Tera The punk connection of the "insurgent" side in particular makes the demographics fairly easy to track. Refer back to the Wilson-London chronicles for various bafflingly vague descriptions of the broader implications of this general pattern. I do think it's important that alt-country has a Gen-X connection (and as Jake noted, even a few years difference in age has some important implications for where in musical-cultural history you'll stand). And I'd also assert New Country is much more boomer-oriented than is alt-country - thus HNC takes its rock influences from Billy Joel, not from the Clash. Carl W.
Re: Tweedy generations - cont'd
Carl said: Which has a lot to do, I'd reckon, with the eventual coming of punk, as well as with the interest in country as some sort of purer heritage from the antediluvian age - I don't think it's just coincidence that alt-country adores pre-seventies country (Hank, Buck, Cash, Jones, etc.) and is squeamish about almost everything thereafter. There's a generational sense that any mainstream culture made in our lifetimes must be by nature corrupt, stained by original sin. That a band as big as the Beatles could be seen as great artists and countercultural heroes by broad consensus is a basically alien concept to everyone too young to have participated, methinks. [With the possible counter-example of Star Wars, but that's total escapism. Nobody claims Star Wars galvanized the youth of America, tho in fact it did cause a huge shake-up in HOllywood and thus in the culture at large.] Alien to the cynical gen x'ers? I don't think that many growing up in the sixties waved a cautionary flag to the ever-changing musical parade ripe with social commentary. For many of the boom generation, there was complete shock, sadness and a permeating sense of disbelief that "The American Dream" as told to us by our parents as interpreted through the grand deceit of politicians was NOT infact a natural progression. It signalled a wake-up call from innocence and a pathway through which those who wished to could express their attitudes and beliefs toward the chicken-in-every-pot depression era and WWII ideals. Gen X cynicism is a hand-me-down albeit more intensified and "what about me" attitude from the Baby Boom generation. Tera I'll shut up now ... carl w.
Sunday NYTimes: Earle Willis
NYT March 7, 1999 Chroniclers of Wayward Souls By ANN POWERS Country has long been packaged as the classical music of simple American folks. The transformation of hillbilly entertainment into an official repository of our national traditions has extended from the fancy naming of the Grand Ole Opry in 1927 to the appointment of William Ivey, the director of the Country Music Hall of Fame, to the chair of the National Endowment for the Arts in 1998. Not only Nashville's music industry, but also the "alternative" country made by rock- and folk-schooled rebels can be discouragingly orthodox, its vintage trappings turning cultural preservation into historical tourism. Yet country music is also grounded in dislocation -- in the stories of people facing upheaval in their home towns, their families, their daily life. This is a modern music, tied like the blues to the journeys of working people across America and the encroachment of the city on rural life. The poor wayfaring stranger is as much a honky-tonk cliche as Mama making cornbread, and as country's patina grows ever more nostalgic, even that character's vagrancy becomes strangely fixed. Exile has become another form of home in country, invoked with a warm glow. Country music finds its power in the tension between nostalgia and the need for change, a contradiction mined on two new albums by established iconoclasts. "The Mountain," by Steve Earle with the Del McCoury Band, investigates country's most classical form, bluegrass. "What I Deserve," by Kelly Willis, is more eclectic. Both Earle and Ms. Willis succeed where many of their contemporaries fail by keeping their focus on restlessness. "The Mountain" (E Squared, CD, CD 1063-2) is an art project in denim and work boots, a self-conscious effort by Earle to pay homage to the bluegrass pantheon if not enter it. "My primary motive in writing these songs was both selfish and ambitious -- immortality," he writes in the album's liner notes, and on some songs he has achieved an almost eerie timelessness. It's hard to believe that the murder ballad "Carrie Brown" or the funeral hymn "Pilgrim" hasn't been sung by anonymous town criers for a century, but it's also easy to forget that the plaintive form of "country jazz" that Earle is reproducing emerged a mere half century ago. Working with the virtuoso ensemble the Del McCoury Band, Earle matches venerable themes of heartbreak and war, workingman's struggles and outlaw romance to his casually expert compositions. His patented rocker's snarl meshes with Del McCoury's unearthly wail to form a link across the generations of country renegades. The album's musicianship is notable; its guest roster features many of bluegrass' finest players plus the alternative-country stars Emmylou Harris, Gillian Welch and Iris DeMent. But Earle's songs make "The Mountain" more than a fine generic exercise as they trace a path of displacement throughout American history. Earle has often chronicled the violence of modernization; his early forays into country-rock updated that theme with a Southernized Springsteen sound and a countercultural attitude. Like those early albums, "The Mountain" uses its musical focus to further a strong social agenda. Earle seeks a common voice grounded not in wistful memory but in thorny reality; his ramblers are the former high school football heroes, drug dealers, gas station attendants and homeless people of the New South. "The Mountain" finds counterparts for those characters in Civil War tales and corny love songs. The album begins with "Texas Eagle," an ode to
Re: Clip: Plastic People of the Universe
Brad Bechtel wrote: Plastic People Power Czech band that helped spawn revolution comes to San Francisco URL: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/1999/03/07/PK80634.DTLtype=music which included: The tunes are hard-edged, crunching rockers with a metallic throb and pile-driving beat. The numbers are also characterized by a jamming vibe, with young guitarist Joe Kararfiat (a new Plastic member) serving up funky, fiery psychedelic riffs and Brabenec soaring into free-jazz saxophone excursions. That's a good description of what the Plastic People sounded like on Friday in Chicago, playing to a packed house at the Empty Bottle. First time I've ever been to a show where audience members called out requests in Czech. and, quoting sax player Vratislav Brabenec: ``Democracy is a long ways off. People are looking for freedom and what it means. I'm still trying to figure that out for myself.'' They did a pretty amazing show, which to me was even more amazing since I had never imagined I would see them play live. Local writer Jim DeRogatis said: Would the music be quite so gripping if you didn't know the history and the conviction behind it? I think so, but it's hard to separate these factors. Kind of like seeing a Velvet Underground reunion, if Nixon had thrown them in jail back in 1968. If you have any interest in free jazz / avant garde / progressive rock, then don't miss the remainder of this tour. 7 Winnipeg, MB; 8 Calgary, AB; 9 Vancouver, BC, at Richard's on Richards; 10 Seattle, WA. at Sit And Spin; 11 Portland, OR, at The Satyricon; 12 San Francisco, CA, at The Bottom of the Hill; 13 Los Angeles, CA, at Spaceland; 14 San Diego, CA, at The Casbah. Tickets available at Ticketmaster outlets. For more info, call (212) 780-0287, or visit: www.tamizdat.org. http://www.czech.cz/washington/cult/eventemb.htm#plastici http://www.suntimes.com/output/rock/05live1.html -- Tom Mohr at the office: [EMAIL PROTECTED] at the home: [EMAIL PROTECTED]
sxsw Under The Sun
Here is the tentative schedule of performers in the back yard area at Under The Sun, a vintage store next door to the Continental Club: THURSDAY 18th: 3PM: Teri the Tagalongs 4PM: Roger Wallace 5PM: Justin Trevino 6PM: James Hand FRIDAY 19TH: 3PM: Karen Poston theCrystal Pistols 4PM: Hot Club of Cowtown 5PM: Steve James 6PM: Dale Watson 7PM: Roy Heinrich the Pickups 8PM: Teddy Morgan SATURDAY 20th: 1PM: Kim Lenz her Jaguars 2PM: Ruthie the Wranglers 3PM: James Intveld 4PM: Neil Mooney 5PM: The Hollisters 6PM: Billy Bacon the Forbidden Pigs 7PM: Wayne "the Train" Hancock 8PM: Cornell Hurd Band 21st: 1PM: T. Jarrod Bonta 2PM: Ponty Bone the Squeezetones 3PM: Jim Stringer the AM Band 4PM: The Esquires 5PM: Herman the German Das Cowboy 6PM: The Panhandlers
Re: A Question [Extremely LONG]
Cheryl's deal on this was good. I agreed with it. And I also understand where Jim Roll was coming from, about the press and alt.country. Except one thing-- I wish the term "country rock" hadn't been ruined by the Eagles and the L.A. 70s scene. It was a very useful term. I've been writing it letters where it's been interned, on some outre gulag on the eastern edge of Siberia.Let me know when it's safe to bring it back. -- Terry Smith
Chicago Cultural Center
From their website: Freakwater Thursday, March 25, 6:30 - 8:30 p.m., Randolph Cafe Freakwater, a band comprised of two acoustic guitars, a stand-up bass and a fiddle, has a performance style which has been described as straight off the front porch, with singers voices that put the band on the hard-edged end of the country scale. and Spend your lunch hour celebrating artists, writers, dancers, musicians, and other cultural icons in Birthdays at the Cultural Center. Youll be dazzled by programs ranging from folk, blues, and classical to jazz, tap dance, and opera. Goody bags are available for all guests celebrating their birthday. Tuesday, March 16: Acoustic blues trio Devil in a Woodpile honors blues mandolin player Yank Rachell (born this day in 1908, near Brownsville, TN). Monday, March 29: Singer Jane Baxter Miller of the Texas Rubies is joined by Kent Kessler on bass in tribute to country singer Reba McIntire (born March 28, 1955, in Chockie, OK). http://www.ci.chi.il.us/Tourism/CulturalCenter/March/Programs/9903thursday.html http://www.ci.chi.il.us/Tourism/CulturalCenter/March/Programs/9903birthdays.html -- Tom Mohr at the office: [EMAIL PROTECTED] at the home: [EMAIL PROTECTED]
Willis Review (A Stinker?)
Here is another head scratching review from our local paper, The Winnipeg Free Press. At least it is short. The reviewer is Aileen Goos. You may recall an equally puzzling review I posted from her a while back on the last Dolly Parton CD. She accused Parton of having "shrieking vocals and shaky delivery" in that li'l beauty. Kelly Willis/What I Deserve Kathy Willis is not diverse, despite what publicity material may lead you to believe. A more apt description would be monotonous. Unadventurous. Or just plain boring. Now, I'm not saying that Willis's performance on her fourth disc is uninspiring, but I've heard more passion at a senior's home on talent night. In fact, Willis's "long-awaited" release so lacks excitement that it's difficult to decipher where one folky, emotionless tune ends and where the next set of droning lyrics begins. The Oklahoma native applies the same whining vocals to all 13 tracks, whether she's singing about the sheer bliss of a new relationship or the intestinal fortitude discovered in the rubble of a breakup.
3/27/99, Cincinnati area: Shameless self-promotion
3.5.1999 RETROGRADEA CONCERT SERIES TO DEBUT MARCH 27TH The old and the new - it's the interplay between them that defines the family of styles called roots music. Join four of the Cincinnati's best roots music bands at Covington's Hayes Brothers Music Center on Saturday, March 27th, 8 pm, for the debut of the RetroGradeA concert series, as they recreate the classic "package" shows of yesteryear - with a modern twist. Opening the bill with a wholehearted salute to tradition is The Comet All-Stars, a collection of some Cincinnati's most experienced and talented bluegrass pickers. With veterans of a dozen bands (including award-winners like the Ohio Valley Rounders, Katie Laur Band, and Union Springs), the All-Stars have been holding forth at Northside's Comet Bar Grill for over two years, delighting audiences with a repertoire drawn from the classics of the 1940s and 1950s, from Bill Monroe's high lonesome sound to the hardcore, Appalachian-refugee style of Dayton's late Red Allen. Next up, and cutting a broader swath through bluegrass, old-time and country styles, are the Lazy Boys. Pioneers of the booming Main Street entertainment district - they're now in their fifth year of weekly appearances at Kaldi's - the Lazy Boys are as likely to charm listeners with an acoustic version of a country-rock classic like the Byrds' "Tulsa County Blues" as they are to set toes tapping with a driving, old-time fiddle tune like "Katy Hill." Ma Crow and the Flock are familiar to Cincinnati roots music fans, thanks to two acclaimed CDs and a dozen years of frequent appearances around town. They've built a devoted following - and won Cammy nominations - by mixing blues, bluegrass, country, folk and rock influences with original songs into a sound all their own, from the wailing harmonica of Dave Gilligan to the tough and tender vocals of Ma Crow herself. Closing the show will be Prospect Hill, a band that rocks out as easily and as often as it serves up electrified versions of bluegrass classics like "Muleskinner Blues" and "I'll Just Go Away." Fronted by Ed Cunningham, Prospect Hill brings together musicians from bluegrass, country, blues and Cajun backgrounds. The band has appeared at places like the Comet and Arnold's, as well as on WNKU, featuring original songs and well-selected numbers from the blues, bluegrass and country traditions. For more information, visit the RetrogradeA website at http://www.retrogradea.com, or contact the Hayes Brothers Music Center (581-8422) or Jon Weisberger (578-8001 or [EMAIL PROTECTED]).
Re: A Question [Extremely LONG]
Cheryl Cline wrote: Bob "Ask Joe" Soron wrote: I remember the Name Problem, but I didn't much pay attention at the time. I use pretty tightly defined nomenclatures, so that no matter what people might think I'm saying, I always know. And as a non-Big Tent-er, I don't use alt.country, No Depression, Americana, and other titles synonymously. So I'm probably much less help than you'd hoped. (I haven't got a clue as to chronology, either.) Well, YOU'RE no help! I'm still curious about how far back this "we gotta get a name for this stuff" goes. Anyone else remember? Uh, Joe? g In 1971 we started looking for a name for it and the best we could do was "Progressive Country", which was decent enough but somehow unsatisfying. There was, and still is, no perfect name for something this diverse. I mean, how do you describe country music played by hippies? How about "Badly Played Country That Sounds Really Cool If You Are Stoned"? How about "Singing About Whiskey While High on LSD"? -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Re: bad news concerning George Jones
Let's hope these prayers this Sunday morning work. I love George. Nancy
Re: Tweedy generations - cont'd
I don't think that many growing up in the sixties waved a cautionary flag to the ever-changing musical parade ripe with social commentary. For many of the boom generation, there was complete shock, sadness and a permeating sense of disbelief that "The American Dream" as told to us by our parents as interpreted through the grand deceit of politicians was NOT infact a natural progression. It signalled a wake-up call from innocence and a pathway through which those who wished to could express their attitudes and beliefs toward the chicken-in-every-pot depression era and WWII ideals. Gen X cynicism is a hand-me-down albeit more intensified and "what about me" attitude from the Baby Boom generation. Tera Then why didn't the Velvet Underground sell more records?? Lance . . . np--Sunday Morning
Re: Roger Miller/hamster dance
This site - www.hamsterdance.com -is probably too fluffy (or furry) for the fluff site. I laugh just thinking about it. Twang content: I swear to God that's Roger Miller sped up or digitized or midi-ized or something. Can anybody set me straight? Kelly K Hey Kelly - If you liked that hamster thing, check this out! http://www.io.com/~ryland/jesusdance/ Tom Moran The Deliberate Strangers' Old Home Place http://members.tripod.com/~Deliberate_Strangers/index.html
Townes (answers) !
Date: Sat, 6 Mar 1999 10:19:45 -0600 From: "lance davis" [EMAIL PROTECTED] Can anyone tell me about this Charly comp? Does it have any non-LP tracks, outtakes, demos, and that sort of thing, or is it a collection of previously released material? Charly released 3 compilations : Best of TVZ, Anthology (double cd) and Masters (on sub label Eagle). Best of and Anthology contains songs from first cds (2- 7 cd not including songs from TVZ first cd For the sake of the song). Masters contains NINE POUND HAMMER which previously was released only on Live at the old quarter double LP but now Charly rereleased that cd as a double cd and there are all 27 songs from double LP. Masters contains 40 songs from 6 cds. And since I'm on the subject, does anyone know what the status is of the Townes boxed-set. Is it a career-spanner? How many CDs? Townes recorded vocals and one more instrument was recorded but Jeanene his widow don't have money to finish this project. It'll be 4 or 6 cd box with 60 of TVZ songs recorded in duet with his frineds. Charly also rereleased first 8 TVZ cds closing with Flying shoes. And does there figure to be overlap with the Charly comp? That's more than enough questions for now. Thanks. Sorry but i can't find in dictionary what overlap means. Lance . . . (I do vaguely recall friends of Mrs. Van Zandt pointing out that the family isgetting no royalties from the Charley rereleases however, . Jeanene was in London in Charly rec. and she got around 26000 $ for copyright so no problems with that. Only thing is that Live at the Old Quarter cover is awful, not even half of original (1cd - Tomato) quality. Alex Aleksandar Lazarevic p.fah 80 11400 Mladenovac Serbia Yugoslavia [EMAIL PROTECTED] tel.+381 11 8220 554
Re: Tweedy generations - cont'd again
Gen X cynicism is a hand-me-down albeit more intensified and "what about me" attitude from the Baby Boom generation. Tera Then why didn't the Velvet Underground sell more records?? Lance . . . A good and rarely made point from Tera--as far as it goes--and a reasonable question from Lance. First off-the Velvets were on a label unprepared to sell anything to anybody in the entire rock and roll arena (they couldn't sell people like the Stonemans in country either)--but also, no doubt about it, the STYLE in which the Velvets expressed the. uh, dark side, certainly was out of keeping with the moment on the broad level. A few Eastern cranks (like myself for one) might have bought those records--and even played some of 'em on the same radio programs as Gram Parsons (I'm, uh, guilty there too!)...but the style so broadly beloved later was largely against the grain. So point proven, right--the audience of 1969 were therefore all spoiled fuckin hippies obnoxious Pollyana sunshiney fake "love" promoters with irony deficiency anemia, who knew nothing about life--unlike the generation to follow who would be born with natural perspective , hard knocks realism, and louder speaker banks. But NO! You have to be able to see irony in places where it's not dog-marked with today's style, and therefore obvious in retrospect; you have to deal with a time and place that actually were different, and styles that reflected that difference--and maybe explore it as an interesting undiscovered country. We've been through this on P2 before--with post '82 hardcore punkers automatically offering the expected opinions about that awful "hippie" Jefferson Airplane, for instance--cause that's the take now, influenced by that truly awful latter-day Starship which had nothing to do with them at all. Get past the labels and listen with fresh ears--and you can rediscover that they, sticking with the example, were the dark, intellectual and cynical band of the tim, --though those attributes did NOT then prevent anybody from suggesting the possibilities of either politics or even some hard-won love. It was 1969, not 1999, and there were smart people and shallow ones afoot then too. White Rabbit is not a hippie song about bunnies, as someone here actually once called it--but one that begins "When the truth is found to be LIES..and all of the joy, inside you DIES..." And they'd really smash those chords, and the clashing harmonies that resulted --obvious on certain cuts of "After Bathing at Baxters" that followed just months later--are absolutely the pattern built on by X some years later. So the unpleasant truth for boomers and X'ers and Y'ers alike is that evolution keeps on evolving--and the radical breaks each of these groups imagine are their "accomplishment" are often not that radical in retrospect.--whether that's pleasant to swallow or not. I've come to a firm belief that Boomer Bashing is surviving now as the nostalgia of today's 30 somethings. Who are getting a little long in the tooth for it themselves! And basically--who gives a damn what they call alt.country--which I believe has been there as long as country has. Barry M.
Re: Tweedy generations - cont'd again. correction
Yeah, yeah, I know. I quoed "Somebody to Love"... Typing too fast at one point. Meant to say: White Rabbit is not "a hippie song about bunnies", as someone here actually once called it--but one by a band and author that also says "When the truth is found to be LIES..and all of the joy, inside you DIES..." Barry M.
Re: Tweedy generations - cont'd again
I've come to a firm belief that Boomer Bashing is surviving now as the
nostalgia of today's 30 somethings. Who are getting a little long in the
tooth for it themselves!
Barry M.
Yeah, it's not a good sign when your girlfriend enjoys playing with your
ever-increasing amount of white hairs ("Hey honey! I found another one.
See?").
But, anyhoo, points well taken, Barry. I feel, of course, that I should
respond for no other reason than my cheeky "fuckin hippie" comments (sorry,
Tera). And actually, I do like to think that I listen to this stuff with
fresh ears, so that if I, perchance, don't get on the Plane, it's NOT
because of their symbolic value as hippie icons. After all, my arms are sore
from taking punches for the Dead, so there is that.
And since we're on the subject--I've been wondering for awhile about the
Velvet's "Who Loves the Sun." I can't decide if this song is Lou Reed's
concession to the "peace and love" demographic, a send-up/parody of that
same demographic, or both. (I tell you what, though, whenever I happen to
have that song on around people who haven't heard it, their reaction tends
to be, "What the hell is THIS?" And not in a good way). If I say it's a
parody, am I really revealing what I want it to be. After all, the Velvet's
can't WANT TO sell records, right? Yeah, I realize that after John Cale
left, the band got suspiciously "poppy," but nevertheless, they didn't sell
records because they were SO OUT THERE. Right? Right? No? D'oh
So, I guess that dovetails back to your point about 1999 vs. 1969 ears,
doesn't it? Well, any ideas on this one are encouraged.
Lance . . .
RE: sxsw Under The Sun
Here is the tentative schedule of performers in the back yard area at Under The Sun... Maybe Smilin' Jim can tell us which of these acts are going to be solving their labels' problems. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: Chicago Cultural Center
Monday, March 29: Singer Jane Baxter Miller of the Texas Rubies is joined by Kent Kessler on bass in tribute to country singer Reba McIntire (born March 28, 1955, in Chockie, OK). See? If they'd just called her Reba, then they wouldn't have misspelled her name. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
** Geoff Muldaur Dates **
Hi everyone, Just got word from Sarah Wrightson that Geoff Muldaur will be touring (supporting his latest CD, The Secret Handshake) and is scheduled to appear in the following cities: 03/19/99Flagstaff, AZ 03/20/99Tucson, AZ 03/23/99Dallas, TX 03/25/99Austin, TX 03/26/99Houston, TX 03/29/99Auburn, AL 04/01/99Nashville, TN - The Bluebird; Vince and Sarah will be in attendance! 04/04/99Atlanta, GA 04/09/99Philadelphia, PA 04/10/99Pittsburgh, PA 04/11/99Parkersburg, WV 04/13/99Arlington, VA 04/16/99Chester, NY 04/17/99Portsmouth, RI 04/18/99Cambridge, MA - Passim's 04/22/99Pawling, NY 04/23/99Croton, NY 04/24/99Bearsville, NY 04/27/99Ann Arbor, MI 04/28/99Chicago, IL 05/01/99St. Louis, MO 05/04/99Kansas City, MO 05/06/99Oklahoma City, OK 05/25/99England, Scotland, Ireland, Germany 06/17/99Davis, CA 06/19/99Reno, NV 06/25/99San Francisco, CA Hope you can make it to some of these shows! Kate.
Re: A Question [Extremely LONG]
On Sun, 7 Mar 1999, Joe Gracey wrote: In 1971 we started looking for a name for it and the best we could do was "Progressive Country", which was decent enough but somehow unsatisfying. Gee, right around that same time people were looking for a name for the kind of overworked poppyclassicojazzrock hodgepodge played by people like Yes and ELP and they came up with the name "progressive rock." The idea of there being any link between these two, even if only by an adjective, gives me the heebie jeebies. Will Miner Denver, CO (ducking, in case Curry is anywhere nearby)
Re: Velvets and irony (was: Tweedy generations - cont'd again)
And since we're on the subject--I've been wondering for awhile about the Velvet's "Who Loves the Sun." I can't decide if this song is Lou Reed's concession to the "peace and love" demographic, a send-up/parody of that same demographic, or both. s on this one are encouraged. Lance . . . Well, the Velvets are ALSO of their time and place...IMHO, in the case of that song...remember that it's point is "Who Loves the Sun?...no, Not everyone!". (take that Paul McCartney... .The cut is deliberately ironic, exploiting uh "cheese" before we had the word. (Actually we did, we just called it "plastic".) I'd say the way to understand that song is as a send-up of the way the mainstream would attempt to TALK TO the so-called "peace and love demographic" in shampoo ads and sitcoms and soundtracks. It's no concession to anything--though they might have hoped that it could be a hit by mistake! (very Andy Warhol, all that is--was Warhol saluting the Campbell Soup demographic?) The sound of Who Loves the Sun is pure "something for the kids" Hollywood soundtrack style of that year--(references--Check out: Themes and soundtracks from, say, "Goodbye Columbus" or "I Love You Alice B Toklas ") with ultra-white "bah-bah-bahs" courtesy of the Association, Spanky and Our Gang and the Mamas and Papas. But the point of the words is how this stuff does NOT apply to the singer. Which reminds me: Another place to check out irony 60s style: much of the best writing of "Papa" John Phillips--who is talked about as a sort of ultimate mid-60s hippoid now...was in this vein. (No pun originally intended--but a song like "Straight Shooter" shows how the darker his lyrics would get, the more he'd lay on the sort of "catchy" melodies you're hearing in "Who Loves the Sun" too...That's how it would be done. Randy Newman started doing the same thing right about then--nastier the news, sweeter the sound. And John Phillips would soon write one of the first good country rock hits BTW, influenced by Creedence, "Mississippi" (As a longtime resident of the East Village who can still see Mr. Reed walk by here every now and then..I thought I'd take this argument all the way by using California examples!) Meanwhile: the Velvets simply were not a cynical band. You were supposed to be able to take all the hard news possible and STILL FUNCTION. It was not about nihilism. As best stated in that lil ditty that follows "Here Comes the Sun""there are even some evil mothers, who think that life is just dirt..."
Re: A progressive Question [Extremely LONG]
On Sun, 7 Mar 1999, Joe Gracey wrote: In 1971 we started looking for a name for it and the best we could do was "Progressive Country", which was decent enough but somehow unsatisfying. Gee, right around that same time people were looking for a name for the kind of overworked poppyclassicojazzrock hodgepodge played by people like Yes and ELP and they came up with the name "progressive rock." The idea of there being any link between these two, even if only by an adjective, gives me the heebie jeebies. Will Miner And the pre=newwgrass bands of that same time were called "Progressive Bluegrass" if that helps! Remember, "progressive jazz" was a term already over a decade old then. (In 1961, Progressive Jazz means something like, say, Maynard Fergusonand I guess they'd even used it before that for Brubeck etc...Even then it meant a well-intentioned middle class intellectual watering down of something harder!) Joe could fill in more detail, but in '71 the "progressive rock" label was not being born, but horribly transmorgified into what Will just described. It had been used since the advent of FM album-playing rock stations in '66-'67--and the stations themselves were usually called "free form" or "progressive"...so anything over 2 minutes and 8 seconds on a single was progressive rock! Part of me still feels we were better off with the 2 minutes 8 seconds, and I say this as a known Dylan fan. Barry
Re: A progressive Question [Extremely LONG]
On Sun, 7 Mar 1999, Barry Mazor wrote: Part of me still feels we were better off with the 2 minutes 8 seconds, and I say this as a known Dylan fan. Absolutely. Removing the time barrier has made people lazy. Now you get songs that start with sixteen bars of empty chord changes, extra verses that add nothing, bridges inserted just to have a bridge, endless repetitions of choruses. The good thing about music that was oriented toward quick singles was that everything had to make a difference. Too bad we've lost that ethic. (Even Dylan, when he was good and breaking the time rule, had it. I'd say there's nothing extraneous in the 7-1/2 minutes of "Visions of Johanna," whereas there's lots extraneous in the 8 minutes of "Idiot Wind," done eight years later.) Will Miner Denver, CO
**VINCE BELL** Good Things Come to Those......Who Work Their Butts Off!!
Hello everyone, Since she's too "shy" to tell you the good news herself, I'm doing the honors for my friend Sarah. Seems that Vince Bell has just inked a deal with Paladin Records (with Warner Brothers distribution), for his new CD, *** TEXAS PLATES *** The CD will be released on April 13th. WAY TO GO VINCE!! BTW - Let me say that it is absolutely gorgeous! Great writing from Vince, beautiful production from Robin Eaton and .Kami Lyle and Maura O'Connell are all over this CD, providing just the right amount of "feel" to each song, whew! What's it sound like? How's this: "NRBQ meets Townes meets Rikki Lee Jones meets John Sebastian" Get your big ol' rag top Coupe de Ville ready cause it's a cruiser!! One last thang, Vince will be playing in Austin during SXSW on: Sat, Mar 20, 1999 , Midnight Pecan Street Ale House , Austin, TX w/Robin Eaton, Mickey Grimm Friends Enjoy!! Kate.
RE: sxsw Under The Sun
Maybe Smilin' Jim can tell us which of these acts are going to be solving their labels' problems. Maybe Jon can explain how playing in a vintage clothes store during SXSW is like playing ar CRS in front of a few hundred radio programmers. Jim,yawnin'
RE: sxsw Under The Sun
Maybe Smilin' Jim can tell us which of these acts are going to be solving their labels' problems. Maybe Jon can explain how playing in a vintage clothes store during SXSW is like playing ar CRS in front of a few hundred radio programmers. Maybe Jim can explain how *any* of the gazillion showcases, concerts, etc. at SXSW is going to solve any music business's problems. Of course, the hype for SXSW doesn't claim that they will, but then, the hype for the CRS didn't, either. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: sxsw Under The Sun
Maybe Jim can explain blah blah blah CSRF blah CRS blah blah woof woof. May be I can, may be I can't may be I just don't care, today.
Re: A Question [Extremely LONG] and other stuff
Cheryl writes: Our second question is: Where can I find Merle Haggard's tribute to Jimmie Rodgers? I almost spit coffee through my nose on this one line. LOL! Ya know this name thing has really got me bugged, especially cause I need to name something centered around this"Big Tent" type of music and I can't find a one that's satisfactory. AND I've been looking for YEARS! On another note, been reading some 'zines lately and found some interesting stuff. I recommend Modern Screen Country Music (Shania Twain centerfold inside-I kid you not) for the column by Waylon Wahl that draws comparisons to the country music scene of 20 years ago (ruled by Kenny Rogers and Ann Murray) and today (ruled by G*rth and Shania)? Also, how could Michael McCall give the new Mark Chesnutt 4 stars and the Damnations 3 stars in the new Tower Pulse. Seems kinda backward to me, especially because he doesn't like the D-nations for having more "enthusiasm than expertise." I thought that was the point. I received a copy of "Country.com's Century Of Country Music: The Definitive Country Music Encyclopedia" CD-ROM. Went looking for the Derailers. Not there. Thing is fairly useless. I do understand that David Goodman has a revised copy of Modern Twang coming out. I'll wait for that one. Enough rambling... Did I say "I (heart) Cheryl Cline, today? Jim, smilin
RE: **VINCE BELL** Good Things Come to Those......Who Work Their Butts Off!!
Seems that Vince Bell has just inked a deal with Paladin Records (with Warner Brothers distribution), for his new CD, *** TEXAS PLATES *** The CD will be released on April 13th. This is very excellent news. I've been listening to Texas Plates for a month or so, enjoying it immensely, and struggling to find a way to describe it. Lots of cool textures, almost ambient, but with an underlying twang that makes it work for these ears. Bell and producer Eaton have given a huge amount of attention to detail, and it really pays off. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Clip: Plastic People of the Universe
Wow, talk about a big tent - it was kind of hilarious to see this clip pop up in the middle of the oh-so-serious deliberations on No Depression vs. Alt-Country and the sources and tributaries of each. But since there seems to be some interest... FROM INSURRECTION TO RESURRECTION by Carl Wilson The Globe and Mail (Feb. 27/99) Czechoslovakian band The Plastic People of the Universe never said they wanted a revolution. From post-Soviet-invasion 1968 to their early-1980s breakup, they sang mordant poetry about mayflies, tavern beer and constipation. Yet unlike barnburning rock rhetoricians like John Lennon, the Clash or Rage Against the Machine, the Plastic People actually helped spark an insurrection. It was the 1976 trial of Prague's beloved psychedelic band (followed by the jailing of some members and expulsion of others) that prompted playwright Vaclav Havel and others to launch Charter 77, the dissident cluster that would birth Civic Forum and lead 1989's anti-Communist velvet revolution. Havel, in turn, as eventual president of the Czech Republic, was responsible for reuniting the Plastic People two years ago for a concert commemorating Charter 77's 20th anniversary. This led to the band's current North American tour, a once-impossible dream that brought them to Montreal on Wednesday and to a full house at the El Mocambo in Toronto on Thursday night. While it was repression that forced the Plastic People to political extremes, the radicalism in their sound is supplied by sax player Vratislav Brabenec, who joined in 1973 and convinced the group to switch from western rock covers to original songs (which Milan Hlavsa delivers in a talk-sing-shout recalling 1930s Central European cabaret). Brabenec also brought jazz _ the forbidden music of the previous generation _ to the Plastic People's stew of Frank Zappa and Velvet Underground influences. He blows Albert Ayler-style free screech over the ensemble's otherwise dated Smoke on the Water blues riffs (executed on violin, keyboards, bass, guitar and drums, often in unison). The saxophonist lived in exile as a gardener in Toronto and British Columbia for 14 years before the reunion. He said the tour is an opportunity to retire the old repertoire in a new environment before moving on _ perhaps _ to another phase. "Nothing musically has changed," he said from New York before the band hit the road, "but it is refreshed _ perhaps played with a new code." Indeed, the band is something of a museum piece. But unlike taxidermized rockers like the Rolling Stones _ who were playing the Air Canada Centre the same night the Czechs took the ElMo by storm _ the Plastic People's show carried a visceral charge. It was rather like a visit from Nelson Mandela. Recalling the authorities' disproportionate reaction to the group's frankly self-indulgent jams, Brabenec explained, "It wasn't necessary to be politically organized. The threat was the influence on young people. It was a circle of friends and fans, but it became a very large circle, thousands and thousands of people." The Plastic People mostly played private concerts at friends' homes, but when the gatherings got too large, police waded in, sometimes with savage beatings. It was as if the U.S. government had classified the Grateful Dead as Public Enemy Number One. Brabinek said the band was surprised to find how far their legend has travelled. The audience in Toronto greeted them with rapture, as pink-haired young cognoscenti jostled with grey-haired Czech parents (some with young-adult kids in tow) dancing in transports to the skronky sound. A highlight was a cameo appearance by Toronto's own Paul Wilson, who as a young visiting teacher in late-sixties Prague sang English lyrics for the early Plastic People. On his return to Canada _ where he became a distinguished translator and recently a contributing editor at Saturday Night _ Wilson smuggled the band's tapes to the West and distributed vinyl copies of their debut album, Egon Bundy's Happy Heart Clubs Banned (1974). Introducing the group, Wilson recalled how he'd helped sneak the Roland keyboard on stage into Czechoslovakia decades ago. "It's great to see it's still going," he laughed, and it was clear he meant the stooped and balding noncomformists on stage with him, too. Still, Wilson pointedly declined audience shouts for him to sing a number, perhaps Sweet Jane (the band's encore). Some parts of history, he averred, were better left unrevived. Indeed, the reconstituted group finds itself in a new world. Its tour
Re: Whatever happened to Madeleine Peyroux?
At 01:40 AM 3/6/99 -0600, you wrote: Anyone got some dope? Bob Purcell probably has a bag. Has Twangfest already started? Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
Re: Tweedy generations - cont'd again
Barry wrote a bunch of smart stuff, including: You have to be able to see irony in places where it's not dog-marked with today's style, and therefore obvious in retrospect; you have to deal with a time and place that actually were different, and styles that reflected that difference--and maybe explore it as an interesting undiscovered country. and So the unpleasant truth for boomers and X'ers and Y'ers alike is that evolution keeps on evolving--and the radical breaks each of these groups imagine are their "accomplishment" are often not that radical in retrospect.--whether that's pleasant to swallow or not. I've come to a firm belief that Boomer Bashing is surviving now as the nostalgia of today's 30 somethings. Who are getting a little long in the tooth for it themselves! And basically--who gives a damn what they call alt.country--which I believe has been there as long as country has. Nothing special to add to Barry's perspective, clarity, and brevity, g but I heart Barry Mazor! b.s. "The truth ain't always what we need, sometimes we need to hear a beautiful lie." -Bill Lloyd
RE: A Question [Extremely LONG] and other stuff
On another note, been reading some 'zines lately and found some interesting stuff. I recommend Modern Screen Country Music (Shania Twain centerfold inside-I kid you not) for the column by Waylon Wahl that draws comparisons to the country music scene of 20 years ago (ruled by Kenny Rogers and Ann Murray) and today (ruled by G*rth and Shania)? It's not a bad comparison, especially if you look forward a little bit - 1979 was a low point, followed shortly by the Neo-Trads (Skaggs, early McEntire, et.al.) - but it has its limits; "rules" is a pretty slippery term. Murray and Rogers each had 3 #1s that year (one of Rogers' was with Dottie West), but Conway Twitty did, too, Waylon Jennings had 2, John Conlee had 2, Charley Pride had 2, Don Williams had 2, and Mel Tillis, Moe Joe, and Willie Nelson Leon Russell all hit that position, and when you get deeper into the charts there was plenty of good stuff around (e.g., Emmylou Harris had two Top 10s and another two that just missed). The problem, as it were, is that country music history is generally too complicated to allow for the kinds of general statements about the health of the field that folks often seem compelled to make. Also, how could Michael McCall give the new Mark Chesnutt 4 stars and the Damnations 3 stars in the new Tower Pulse. Seems kinda backward to me, especially because he doesn't like the D-nations for having more "enthusiasm than expertise." I thought that was the point. I guess McCall thought there was some other point; maybe he thought that enthusiasm is a *starting* point for making good music, not the ending point. I wouldn't give the new Chesnutt 4 stars, but I wouldn't give the Damnations TX 3, either, not on a country music scale, anyhow (meaning both albums). I received a copy of "Country.com's Century Of Country Music: The Definitive Country Music Encyclopedia" CD-ROM. Went looking for the Derailers. Not there. Thing is fairly useless. Well, like with any encyclopedia, stuff's gotta get left out. Walser's in there, and so are Dale Watson, Kelly Willis, Townes Van Zandt, BR5-49, Julie Buddy Miller, the Flatlanders and Foster Lloyd, to take a few randomly-chosen (ha) instances. Personally, I think giving as much space to Walser and Watson combined, or to Jim Jesse, as to Shania Twain isn't a half-bad approach. I'm sure someone would be happy to take that fairly useless CD off your hands. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: sxsw Under The Sun
In a message dated 3/7/99 2:05:52 PM Central Standard Time, [EMAIL PROTECTED] writes: Maybe Jim can explain blah blah blah CSRF blah CRS blah blah woof woof. If posting schedules is going to elicit these kinds of pissing contests I won't do it. Jon, you ain't coming, so what you got the redass about? Slim np - 700 horsepower stock cars "ZOOO"
Little Roy Wiggins in hospital
As reported by Stoney Stonecipher on the Steel Guitar Forum (http://www.b0.com/forum): Besides the bad news about George Jones, I got more bad news yesterday. Faye Wiggins called me yesterday, and Roy ["Little" Roy Wiggins, steel guitarist for Eddy Arnold] has been in intensive care for the last two weeks, due to kidney failure. He is now on dialysis. I was able to speak to Roy this morning for just a second by telephone, and he is very, very weak, with very little hope for much improvement. So, along with George and Nancy Jones, say a little prayer for Little Roy, an icon of the Steel Guitar world. Roy is in the Baptist Hospital in Knoxville, TN 37920. ___ Brad's Page of Steel: http://www.well.com/user/wellvis/steel.html A web site devoted to acoustic and electric lap steel guitars
Clip: Review of Wilco's new CD, from SFGate
4 stars WILCO Summer Teeth Reprise, $16.99 ``It's our beginning,'' sings Wilco vocalist Jeff Tweedy on the opening track of ``Summer Teeth.'' It's an appropriate introduction to the insurgent country band's third, most stylistically diverse album yet, in stores Tuesday. Expanding on the pop overtures of 1996's ``Being There,'' the new CD works both as a study in stylistic departure and a narrative of emotional and professional endurance. ``Summer Teeth'' marks the end of a four-year coming of age for Wilco. Since rising from the ashes of Uncle Tupelo with its 1995 debut ``A.M.,'' Wilco -- Tweedy, guitarist Jay Bennett, bassist John Stirrat, drummer Ken Coomer and fiddler- steel guitarist-multi-instrumentalist Max Johnson, who has since been replaced by Bob Egan -- has toiled to transcend its parent band's legacy. With ``Summer Teeth,'' the group proves that it can cast its own shadow. Recorded in Austin, Chicago and Champaign, Ill., the album that Tweedy has termed ``weird'' finds Wilco splashing its luxuriant, morose sensibilities onto a bright pop canvas, celebrating emotional trauma through euphoric melodies and wry (and frequently funny) narratives of woe and longing. A sense of rootless morbidity, propelled by hooky little choruses, permeates the album's 15 songs. In ``Via Chicago,'' a narrator dreams of death and freedom and finally of a homecoming; in the next track, ``ELT,'' he starts all over again, at once wishing his lover dead and bemoaning his loneliness ``so far from home.'' Against a backdrop of effervescent '60s pop, babbling water and twittering birds, the title track sinks into a reverie on isolation and suicide. And while it's hard to top a line like ``She's a jar with a heavy lid/ My pop-quiz kid'' (``She's a Jar'') for lilting insouciance, the glee is tempered by a swooning synthesized string section and images of ``skeletons with wings.'' In toto, the result is a sweet, doleful weave in which keyboards, acoustic guitars and choppy distortion merge in sonic symbiosis, from the Velvet Underground guitar riffs and nasal organ of ``I'm Always in Love'' to the British invasion-era harmonies of ``Nothing'severgonnastandinmyway(again).'' ``Pieholden Suite'' boasts a swanky brass section, and there's even a glimmer of lounge jazz -- brushed cymbals and all -- in the jaunty ``When You Wake Up Feeling Old.'' ``In a Future Age'' closes the album with the bittersweet and slightly maudlin observation that ``some trees will bend/ And some will fall/ But then again/ So will we all.'' Paired with the album's initial lines, it offers a fitting bookend for a record that counters droll fatalism with the restless spirit of a veteran group rediscovering the joy of taking baby steps into the sonic unknown. Like every other ``alternative'' music form these days, the No Depression genre is so entrenched in tradition that its wheels are spinning. Whether alt-country fans will greet Wilco's new album as a betrayal of roots or a welcome infusion of new energy remains to be seen. The band has made its choice, and like its album's many narrators, it's already on the move. -- Neva Chonin = POP CDs IN BRIEF 4 stars JOE HENRY, Fuse, Mammoth, $15.98 Joe Henry is best known to scene-makers as Madonna's brother- in-law, a fact that shouldn't be held against him. He's a quirky, world- weary singer and a songwriter with a flair for appealingly disjointed lyrics and strong (if slightly dissonant) melodies. ``Fuse'' boasts a stellar lineup, including Daniel Lanois and Jakob Dylan and his fellow Wallflowers Rami Jaffee and Greg Richling, all adding their own atmospheric touches to Henry's rueful pop miniatures. There are traces of the blues, '60s spy-movie soundtracks, hip-hoppy modern rock, Tin Pan Alley and lounge guitar. Still, Henry has put his own stamp on the proceedings, fleshing out his tales of perplexed lovers with brilliant musical and lyrical flashes that bring to mind some mutant blending of Hoagy Carmichael and Tom Waits. -- j. poet = 2 stars EMINEM, The Slim Shady LP, Aftermath/Interscope, $16.98 ``God sent me to piss the world off,'' suggests the new hottest-rapper-on-the-planet on the first track of his major-label debut. And he'll probably do just that. The latest find from Dr. Dre, Detroit-bred Eminem (real name: Marshall Mathers) is a facile freestyler who, in the guise of the title character Slim Shady, dishes a profane, violent and irreverent world view that offers hard times as a justification for his ``Just Don't Give a F--'' attitude. Some of ``Slim Shady's'' warped utterances are truly funny in a dark, ``South Park''- ``There's Something About Mary'' kind of way, but the album's length results in enough thematic repetition to blunt the attack. -- Gary Graff (personally, I thought the video was hilarious)
Clip: George Jones remains critical
George Jones remains critical after car crash March 7, 1999 Web posted at: 2:15 p.m. EST (1915 GMT) NASHVILLE, Tennessee (CNN) -- Country music legend George Jones remained in critical condition Sunday, one day after he lost control of his vehicle and crashed into a bridge abutment. Jones suffered a collapsed lung, blood in his chest and a ruptured liver in the accident, said Dr. John Morris of Vanderbilt University Hospital, where Jones is in the trauma unit. Morris said Saturday evening he expected the singer to remain in critical condition "for at least 24 to 48 hours." "The liver injury is what we're most concerned about," he said. "He's already received some blood. If he requires much in the way of additional blood, we'll have to reconsider our current approach." Jones has been unconscious, under general anesthesia, since he arrived at the hospital, Morris said. "The body responds to this kind of injury much better if we can control the pain," he explained. Jones was driving east Saturday on Highway 96 near his home south of Nashville when he lost control of his Lexus sport utility vehicle and hit a bridge abutment, according to Tennessee Department of Safety spokeswoman Dana Keeton. At the time of the crash, Jones was talking to his stepdaughter, Adina Estes, on a cellular phone, said Evelyn Shriver, head of Asylum Records, Jones' record label. Shriver talked to Estes after the accident "He was calling to say he's almost home, and she heard the crash and everything," Shriver said. It took two hours for rescuers to free him from the vehicle. A helicopter airlifted him about 20 miles from the site of the one-car accident to the hospital.
Re: RIP Stanley Kubrick
In his honor, tonite I will have a toast and recite as many lines as I can remember from "Dr. Strangelove," especially Slim Pickens famous patriotic speech to his men. Mitch Matthews Gravel Train/Sunken Road (Ice cream, Mandrake? Children's ice cream?)
Re: RIP Stanley Kubrick
In a message dated 3/7/99 7:15:50 PM Central Standard Time, [EMAIL PROTECTED] writes: In his honor, tonite I will have a toast and recite as many lines as I can remember from "Dr. Strangelove," especially Slim Pickens famous patriotic speech to his men. And I will listen to Beethoven's 9th symphony and spend a little quality time with me droogies. Slim
Re: RIP Stanley Kubrick
At 09:17 PM 3/7/1999 EST, Slim followed Mitch with: In a message dated 3/7/99 7:15:50 PM Central Standard Time, [EMAIL PROTECTED] writes: In his honor, tonite I will have a toast and recite as many lines as I can remember from "Dr. Strangelove," especially Slim Pickens famous patriotic speech to his men. And I will listen to Beethoven's 9th symphony and spend a little quality time with me droogies. Slim I'm thinking of "Paths Of Glory" with Kirk Douglas, Ralph Meeker and the wonderful Adolphe Menjou. Three P2ers, three classic films, three memorials. Who'll go for four? b.s. "The truth ain't always what we need, sometimes we need to hear a beautiful lie." -Bill Lloyd
Re: RIP Stanley Kubrick
"Wendy, gimme the bat. Wendy! I'm not gonna hurt ya . . . I'm just gonna bash your fuckin' brains in!" "Gentlemen, please! No fighting in the War Room." Lance . . . np--Singin' in the Rain
Re: RIP Stanley Kubrick
. Three P2ers, three classic films, three memorials. Who'll go for four? b.s. I'm Spartacus!... Honey, I'm home! .. h; that smarts!... Now close the pod bay doors, Hal. But you can't quote the lighting in Barry Lyndon. Barry not Lyndon. We'll meet again. Don't know where; don't know when.
Re: RIP Stanley Kubrick
My favorite Kubrick movie is "The Killing," a film noir from the late 50s, I think (pre-Lolita anyhow). The dialogue was written by Jim Thompson. It's hilarious. The heaviness of the later films would let you forget that Kubrick had a hell of a sense of humor once. Will Miner Denver, CO
Re: RIP Stanley Kubrick
Excerpts from internet.listserv.postcard2: 7-Mar-99 Re: RIP Stanley Kubrick by Will [EMAIL PROTECTED] My favorite Kubrick movie is "The Killing," a film noir from the late 50s, I think (pre-Lolita anyhow). 1956. It's Kubrick's best American film, taking place almost entirely at a racetrack and featuring a splendid performance by Sterling Hayden. It's a great crime film but I'll take Dr. Strangelove for Peter Sellers's Between George Jones's accident, Dusty Springfield succumbing to cancer, Del Close (the mind behind Second City's best improv comedy over the past 40 years) dying and now Kubrick, it's been an awful week for accomplished artists. Carl Z.
Re: RIP Stanley Kubrick
My mailer is doing strange things Excerpts from internet.listserv.postcard2: 7-Mar-99 Re: RIP Stanley Kubrick by Carl Abraham Zimring@and I'll take Dr. Strangelove for Peter Sellers's ADD: three great performances, and George C. Scott, and Slim Whitman. Carl checking for flouride in the water
Re: RIP Stanley Kubrick
In a message dated 3/8/99 3:41:46 AM !!!First Boot!!!, [EMAIL PROTECTED] writes: ADD: three great performances, and George C. Scott, and Slim Whitman. Carl Uh, Carl, that's Slim Pickens. Mitch Matthews Gravel Train/Sunken Road (as for Laurence Olivier in "Sparticus;" Come, wash my back!)
Re: RIP Stanley Kubrick
Excerpts from internet.listserv.postcard2: 7-Mar-99 Re: RIP Stanley Kubrick by [EMAIL PROTECTED] Uh, Carl, that's Slim Pickens. Damned flouride. Carl Z.
Re: RIP Stanley Kubrick
Uh, Carl, that's Slim Pickens. Damned flouride. Uh, Carl, that's "fluoride." See what it's done to you? ggg --Jamie S., who just noticed that the "more rockabilly than thou" Kim Lenz will be playing during SxSW. What with missing both her and Neko Case, my husband is beginning to *seriously* regret not coming along. [EMAIL PROTECTED] http://www.wavetech.net/~swedberg http://www.usinternet.com/users/ndteegarden/bheaters
Re: bad news concerning George Jones]
[EMAIL PROTECTED] wrote: Let's hope these prayers this Sunday morning work. I love George. Nancy This sounds mean, and I'm as big a fan of George as they come, but I'm reminded of that story of him getting preached to by a recently born-again friend of his, and George pulling out his pistol and aiming at the friend's head and shouting "Let's see if your God can save you now!" and firing (and fortunately missing). Of course, that was when he was drinking. Get well George! *** A.P. Hilliard ([EMAIL PROTECTED]) http://home.att.net/~westernelectric More than just email--Get your FREE Netscape WebMail account today at http://home.netscape.com/netcenter/mail
