From: owner-exotica-digest@lists.xmission.com (exotica-digest) To: exotica-digest@lists.xmission.com Subject: exotica-digest V2 #336 Reply-To: exotica-digest Sender: owner-exotica-digest@lists.xmission.com Errors-To: owner-exotica-digest@lists.xmission.com Precedence: bulk X-No-Archive: yes exotica-digest Tuesday, March 2 1999 Volume 02 : Number 336 In This Digest: (exotica) Re: Stereo Action Re: (exotica) Tech: I Have Seen The Future (exotica) Tell me about the, PLEASE! (exotica) you rang? Re: (exotica) The People's Court Re: (exotica) General Cinema (exotica) More good Stereo Action titles (exotica) Leeteg documentary (exotica) New MP3 search engine (exotica) Mirium Burton-African Lament (exotica) Martin Denny articles (exotica) "Tiki" vs. "Jungle" exotica Re: (exotica) Martin Denny articles Re: (exotica) The People's Court Re: (exotica) Ye-Ye/Schlager Re: (exotica) Re: Stereo Action Re: (exotica) "Tiki" vs. "Jungle" exotica Re: (exotica) Ye-Ye/Schlager & XoTiCa Re: (exotica) film music (exotica) Stereo Action discography (exotica) Ma(i)s Que Nada Re: (exotica) Stereo Action discography Re: (exotica) Ma(i)s Que Nada Re: (exotica) Ma(i)s Que Nada (exotica) Sound Gallery vol. 1 (exotica) Wives and Lovers (exotica) Crosthwaite, Partridge, Goldwater obits ---------------------------------------------------------------------- Date: Mon, 01 Mar 1999 14:35:27 -0500 From: Peter Risser Subject: (exotica) Re: Stereo Action Dick Schory is alright. It has some great tracks, but others are sorta lame. Lest we not forget: Three Suns Movin' and Groovin was Stereo Action. Fever and Smoke may have been also, but I don't know. And apparently Esquivel had at least one Stereo Action release. If you are interested in knowing a few RCA Artists up close and personal, you can pick up the RCA Space Age Pop series of CDs, which include cuts from many of those albums. They are all great. BTW, I haven't heard the whole Leo Addeo album, but I *love* the ocarina cuts on this comp. They rule, especially Stumbling. So there. A different 2 pence. Peter # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 1 Mar 1999 15:26:21 -0500 From: Ross Orr Subject: Re: (exotica) Tech: I Have Seen The Future >> . . . The old concept that you are >>going to pay to own the object looks to be in real trouble here. . . > >I think the object will always be important to me and to others as crazy as >me. I think I'd make a distinction between new and old music here. When you spend months going through spore-infested record bins, unearthing music that has nearly vanished into oblivion, then finally come upon some surprise killer track that just tickles you to death--Well, then I think you can't help wanting the object. It becomes a kind of talisman embodying that sucessful hunt. That's how I see it, anyway--anyway I'm sure not giving up any of *my* LPs. But I was talking more about NEW music--where often I might not particularly care about getting the packaging or a complete album as a unit. Basically my problem is that I don't have the time or income to sift through all the hundreds of new groups and find ones I like. So what I do end up buying is a very skewed and random selection of what my friends are listening to (particularly if something turns up as a used CD). So I actually might be interested in a kind of personalized "subscription" service, where you could download compilations of different artists. (Particularly if they could ever figure out a reliable "if you liked THAT you'll probably like THIS" algorithm, which would still periodically send you a wild card or two.) Also, perhaps the definition of "the object" that you feel you need to possess might evolve slightly in the digital world. I was thinking about this when I found out about those maniacs who have lovingly archived the ROM images of all the classic arcade videogames from the late 70s and early 80s. I generally don't care about games at all--but when I tried out the "genuine" Asteroids on my mac, even I had to laugh at the audacity of the Trinitron going black and perfectly displaying all those goofy wireframe graphics-- right down to the "Copyright 1977 Atari" across the bottom of the screen. So in that case what they're "collecting" isn't a physical thing anymore--but it still has some of those same elements of searching out and rediscovering something from the past, that was apparently going to be lost. Maybe when we all have fiber-optic lines coming into our houses and MP3 data compression is unnecessary, there will be collectors who ransack old backup archives for MP3's of obscure bands. . . the ones who never got a recording contract, who bravely put their songs on the web and then sank into oblivion. . . cheers, --Ross || Ross "Mambo Frenzy" Orr || Ann Arbor, Michigan USA # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 12:30:16 -0800 From: Jack Subject: (exotica) Tell me about the, PLEASE! Dusty Groove says: Johan agrees I reviewed that Black Emmanuelle's Groove for KFJC and though I didn't say it in my review, it did nothing for me at all. So, different strokes fo' diffowent fokes JD # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 12:14:09 -0500 From: Subject: (exotica) you rang? Date: Sun, 28 Feb 1999 14:04:48 +0000 From: Hugh Petfield <> Subject: (exotica) Re: Boston Hello, Hugh and the rest of the world! Boston is woefully lame when it comes to great places just to "hang out," especially for free! >JAKE IVORY'S 1 Landsdowne Street: Karaoke with live pianists to belt out songs from the Fifties to the 80's. Loud, brash and raucous. Never been, probably stoopit college students spending their parents money on karaoke to the strains of Billy Joel. >HIBERNIA, 25 Kingston Street: Boston's trendiest small night club is tucked away on the edges of the Financial District. Most of Boston's bars tend to embrace the Cheers look with a tad too much enthusiasm, but Hibernia bucks the tweed and pine trend. Cool, with loud, loud music. But the "loud,loud music" is probably nothing this list wants to hear, EVER! >THE GOOD LIFE, 28 Kingston Street: No compost but plenty of crooning in a trashy but trendy bar. Live music Wednesday to Saturday tends towards mellow jazz. Exudes a sense of Sinatra-esque sleeze, red leatherette walls, chrome chairs and an impressive cocktail menu. >The lastmentioned sounds wonderful, but might it warrant the Lounge Laura stamp of approval? Hugh. I have never been, but all of my friends have here. Yes, there is a good jazz trio on Thursdays, who play with a singer of standards on Saturdays. The drinks are suppossedly expensive. This means: BRING YOUR OWN FLASK! post script: Ain't been to the new place where our Brother Cleve bartends, but it's on my "to do" list! The best things in Boston are our THREE (or more) Tiki Restaurants, and the glorious record stores... Jane Fondle, the artiste formerly known as Lounge Laura, or something - ---------------------------------------------------------------- The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 10:39:45 -0800 From: Jeff Phillips Subject: Re: (exotica) The People's Court Br. Cleve wrote: > for those of you who don't have any idea what we're talking about: this= was > a 30 second clip of the General Cinema Corp logo (GCC), which looked li= ke a > movie projector. As the reels moved, it was accompanied by a trade off > between electric harpsichord and snare drum played with brushes, that > followed the animation. The harpsichord dropped out after 12 measures, > leaving the snare to finish the last 4. When it ended, either the words > "Coming Attractions" or "Feature Presentation" appeared on the screen. And I miss the old Loew's intro theme (before Sony bought 'em out), with a peppy vixen singing, "Thank you for coming to Loew's / Sit back and relax / Enjoy the show!" EZ does it, Jeff Phillips - --=20 Director of Concert Production |=AF( http://www.philharmonia.org Philharmonia Baroque Orchestra | \ jphillips@philharmonia.org 333 Market Street, Plaza Suite | =BA \ phone (415) 495-7445 San Francisco, California 94105 |=86=86=86=86| fax (415) 495-747= 3 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 18:11:28 -0500 From: Bump Subject: Re: (exotica) General Cinema >>One, does anyone remember the intro music for General Cinema's? >>I'd love a copy of that. > ME TOO!!!! good call. i loved that, luckily almost every movie i went to see as a kid was at a general cinema...i would play air drums to it while bopping around in my seat! it still plays in my head to this day... i believe i have it on a trailer tape somewhere????? >oh yeah, I always loved that. In fact, I just wrote a homage/take off of it >for the Cinemax cable channel (for their "Friday Premiere" trailers; I >think it starts airing today). I haven't been to a General Cinema in years; >I wonder if they still use it? they still use the "tune" but it is so washed out and made ultra mellow by cheesy/spacey keyboards and it just plain souless. they used the one we are talking about well into the 70's. wish i had cable, i would love to hear your homage! bump out =A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9= =A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9=A9 Bump Universal DJ Defective Records bumpy@megsinet.net http://www.defectiverecords.com "...there's a whole lots of times i wish i could say i'm not white." --FZ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 1 Mar 1999 18:16:12 EST From: Pearmania@aol.com Subject: (exotica) More good Stereo Action titles >DJJimmyBee@aol.com wrote: >Can anyone furnish a list of "good" RCA Stereo Action LP's? I have four. Three >are excellent and one disappointing. The excellent ones are: > "Dynamica" Ray Martin Orchestra > "It's Magic" Marty Gold Orchestra > "Futura" Bernie Green Orchestra >Anyone have others to recommend? Thanks. The following additional Stereo Action titles get my personal thumbs up: Guitars Unlimited + 7 -- Crazy Rhythm The Three Suns -- Movin' and Groovin' (strong contender for their best) Dick Schory -- Runnin' Wild Like Nat Kone, I'm not wild about Leo Addeo's Stereo Action records. I don't care much for Marty Gold's Stereo Action Goes Hollywood, either. It's Magic is better, but even it is not one of the best in the Stereo Action series (IMHO). While we're on the subject, anyone who has a lead on a copy of Bernie Green's Futura (CDR o.k. too) for less than $30, please let me know. I'd love to follow the sound of it around my living room. Sean # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 18:18:59 -0600 From: Lou Smith Subject: (exotica) Leeteg documentary At 04:43 AM 2/27/99 EST, you wrote: >For those of you who missed the opening of the Tiki art show and Leeteg >exhibit at the Huntington Beach Art Center There's a RealAudio story on Leeteg from last Saturday's NPR Weekend= Edition: http://programs.npr.org/archives/WESAT/Day.cfm?Date=3D02/27/99&Program_ID=3D= WESA T&FileName=3DWESAT022799 Scroll down to: =A0 Black Velvet -- An art exhibit at the Huntington Beach Art Center honors the originator of black velvet painting. Scott talks to curator Greg Escalante about the fine line between kitsch and art. (2:45)=20 - -Lou =A0=20 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 19:19:51 -0600 From: Lou Smith Subject: (exotica) New MP3 search engine SAN FRANCISCO, CALIFORNIA, U.S.A., 1999 MAR 1 (NB) -- By Matt Hines, Newsbytes. A new search engine has been launched to help Internet users find links to music downloads utilizing the controversial MP3 format. Dubbed MP3meta, the site was created by SavvySearch Inc. which operates a multi-engine Internet search by the same name. The tool searches across a number of different Web engines and returns links to sites which carry MP3 files. MP3 allows computer users to download and distribute songs over the Web but is attracting criticism from recording companies which claim there are insufficient parameters in place to protect their copyrights. Last Friday, a standards group, which includes major players from the recording and computer industries, met to discuss guidelines for secure online music applications including MP3.com, the leading online source for MP3 files. MP3.com claims that it successfully bought advertising time during the television broadcast of last week's Grammy Awards, but that its spots were canceled leading up to the event as a result of the recording industry's distaste for the MP3 format. The recording industry has become increasingly concerned as new modes for copying and distributing music over the Internet have popped up. The Secure Digital Music Initiative (SDMI) was established at the end of last year in order to protect the record companies' copyrights on the Web. The initiative was founded by the Recording Industry Association of America (RIAA) and includes support from major labels such as Universal, EMI, Sony, and Time Warner. SDMI was created partly in reaction to the high-profile court battle ongoing between a number of record companies and Diamond Multimedia. Diamond was brought to court over its Rio device which uses the MP3 platform. The goal issued by SDMI is to provide a forum where technology companies can work together to create an open architecture and specification for digital music security. The group wants to insure interoperability among digital products as well as protect copyrighted music in existing and emerging digital formats, according to SDMI spokesmen. The MP3meta search engine is located at http://www.mp3meta.com MP3.com is located online at MP3.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 16:47:46 -0800 From: Jack Subject: (exotica) Mirium Burton-African Lament Anyone have this LP who would care to elaborate ? I know it's a super dooper rare 1, I do know that JD # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 17:42:38 -0800 From: "Kevin C." Subject: (exotica) Martin Denny articles I finally obtained issue #7 of Cool and Strange Music, featuring the excellent interview with Martin Denny. Besides the article on Denny in "Incredibly Strange Music", or things on the net, are there any other good articles on Denny that anyone can point me towards. I've got a lead on an Utne Reader article. If you've seen this, please comment (to see if my pursuit is worth it). Thanks, Kevin Crossman The Search for the Ulimate Mai Tai http://www.kevdo.com/maitai/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 17:47:21 -0800 From: "Kevin C." Subject: (exotica) "Tiki" vs. "Jungle" exotica http://home.earthlink.net/~spaceagepop/whatis.htm#exotica They ID two strains of Exotica music: "Jungle"- Les Baxter and hollywood creations "Tiki"- Denny and Lyman, et. al. "The strictest definition limits exotica to the imitations of Polynesian, Afro-Caribbean, and Hawaiian music that were produced by Les Baxter and others from the mid-1950s to the very early 1960s. This music blended the elements of Afro-Cuban rhythms, unusual instrumentations, environmental sounds, and lush romantic themes from Hollywood movies, topped off with evocative titles like "Jaguar God," into a cultural hybrid native to no place outside the San Fernando Valley. There were two primary strains of this kind of exotica: Jungle and Tiki. Jungle was definitely a Hollywood creation, with its roots in Tarzan movies (and further back, to W.H. Hudson's novel, Green Mansions. Les Baxter was the king of jungle exotica, and spawned a host of imitators while opening the doors for a few more genuine articles such as Chaino, Thurston Knudson, and Guy Warren. Tiki was introduced with Martin Denny's Waikiki nightclub combo cum jungle noises cover of Baxter's "Quiet Village," although Denny's vibe player, Arthur Lyman, soon became the style's most representative artist. Tiki rode a wave of popularity in the late 1950s and early 1960s marked by the entrance of Hawaii as the 50th state in 1959 and the introduction of Tiki hut cocktail bars and restaurants around the continental United States. Tiki exotica is now enjoying a resurgence in popularity, and Tiki mugs and torches that once collected dust in thrift stores are now hot items." Do others concur with this? Thanks, Kevin Crossman The Search for the Ulimate Mai Tai http://www.kevdo.com/maitai/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Mon, 01 Mar 1999 23:01:27 -0500 From: cheryl Subject: Re: (exotica) Martin Denny articles The Utne Reader (Sept/Oct 1994) article (slightly under one page on Martin Denny, actually) doesn't really tell you anything you probably don't already know. Don't bother searching too hard for it, if that's all you're interested in. The Cocktail Nation article in the same issue is a lot of fun, however - lots of info on ComEd, cocktail recipes, etc. Both are excerpted from "Cake", a journal from Minneapolis. cheryl Kevin C. wrote: > > I finally obtained issue #7 of Cool and Strange Music, featuring the excellent > interview with Martin Denny. > > I've got a lead on an Utne Reader article. If you've seen this, please comment > (to see if my pursuit is worth it). # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 2 Mar 1999 00:29:09 EST From: LTepedino@aol.com Subject: Re: (exotica) The People's Court In a message dated 3/1/99 9:58:55 AM EST, risser@goodnews.net writes: << Apparently Alan Tew wrote "The Big One" which was used as production music for the People's Court. Didn't someone here say that a long version existed on some comp somewhere? I'd love to know what that was. >> It is available on "The Hanged Man" soundtrack CD/LP Ashley # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 02 Mar 1999 00:53:39 -0500 From: Nat Kone Subject: Re: (exotica) Ye-Ye/Schlager At 07:10 PM 3/1/99 +0100, Marco \"Kallie\" Kalnenek wrote: > >Brian Karasick wrote: > >> The question then is, can some Schlager also be the >> equivalent of ye-ye ? > > Schlager refers to a very broad range of music, but at one time >it certainly included things that could be the equivalent of what the >French were doing. I'm way out of my element here but I'd say Brian, that it's wishful thinking on your part that "Schlager" and "ye ye" be the same thing. I believe that the "ye ye" style of Schlager is the style of Schlager that you overwhelmingly prefer. If Schlager and ye ye were the same thing, you wouldn't have to dread this "Lolita sings in German" record that I'm thinking of bringing you when I come to Montreal next week. You wouldn't have to worry about all your friends buying you yodelling polka records and expecting you to be thrilled. You could just wholeheartedly declare yourself a Schlager fan and not fear the flood of crap that might come your way as a result of the declaration. But life's not that easy, is it, my poor record-collecting colleague? Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 02 Mar 1999 00:53:41 -0500 From: Nat Kone Subject: Re: (exotica) Re: Stereo Action At 02:35 PM 3/1/99 -0500, Peter Risser wrote: > >BTW, I haven't heard the whole Leo Addeo album, but I *love* the ocarina >cuts on this comp. They rule, especially Stumbling. So there. A >different 2 pence. Not so fast pardner. There's more than one Leo Addeo record on Stereo Action. There's no cut called "Stumbling" on "Paradise Regained" which means it's probably on the record called "The music goes round and round", I think. I was only referring to Paradise which is essentially a Hawaiian record. I've heard a lot of great, wildly-over-the-top Leo Addeo. At his best, his use of extraneous touches is rivalled only by Esquivel. But that usually doesn't happen on his Hawaiian records. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 2 Mar 1999 00:55:36 EST From: LTepedino@aol.com Subject: Re: (exotica) "Tiki" vs. "Jungle" exotica In a message dated 3/1/99 8:46:47 PM EST, kevin@kevdo.com writes: << There were two primary strains of this kind of exotica: Jungle and Tiki. Jungle was definitely a Hollywood creation, with its roots in Tarzan movies (and further back, to W.H. Hudson's novel, Green Mansions. Les Baxter was the king of jungle exotica, and spawned a host of imitators while opening the doors for a few more genuine articles such as Chaino, Thurston Knudson, and Guy Warren. Tiki was introduced with Martin Denny's Waikiki nightclub combo cum jungle noises cover of Baxter's "Quiet Village," although Denny's vibe player, Arthur Lyman, soon became the style's most representative artist. Tiki rode a wave of popularity in the late 1950s and early 1960s marked by the entrance of Hawaii as the 50th state in 1959 and the introduction of Tiki hut cocktail bars and restaurants around the continental United States. Tiki exotica is now enjoying a resurgence in popularity, and Tiki mugs and torches that once collected dust in thrift stores are now hot items." Do others concur with this? >> Actually the whole Tiki thing started much earlier. It was a result of GI's whio fought in the Pacific during WW2 and bringing back mementos to the mainland. Remember a big influence on exotica music was the musical "South Pacific" which I believe hit Broadway around the mid-50s (based on James Michener's book "Tales Of The Souuth Pacific" which was a best seller was published in 1947). The whole thing really got big when "South Pacific" was made into a movie (1958) and given further ammo with the Hawaiian statehood in 1959. By that time, establishments that had been around since the '40s like Don The Beachcomber's and Trader Vic's really started to rake it in. That's when the tiki bars/restaurants aping the style of these entrereneurs started to crop up. I have to disagree with the statement about Arthur Lyman being exotica's "most representative artist." Lyman only left Denny's band because he was offered a lucrative deal by Henry J. Kaiser to replicate Denny's style so Kaiser could continue to get the crowds who wanted to hear "exotica" music at his Hawaiian Village. The reason Denny left the Hawaiian Village was beacuse Kaiser wanted him and his band exclusively, including for recording contracts. Denny baulked at this deal and jumped ship, while Henry J. Kaiser nearly broke up the band - -- gaining Lyman and one other member of his original band. Denny was the arranger who came up with the idea of having his band do the jungle noises. Lyman was primarily a jazz vibist, a damn good one mind you, but his arrangements were really not in the same league as Denny. Also Martin Denny insists that his music was more of an "exotica" rather than "tiki" sound as you mentioned. "Exotica" has always been a mixture of world musics from the far east, middle east, Africa, Latin America and Polyenisia. Denny denies having any real knowledge of "tiki" culture, rather it was an adaptation of these worl d musical elements into what were standards, jazz and easly listening music of the time. Ashley # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 02 Mar 1999 11:28:38 +0100 From: Moritz R Subject: Re: (exotica) Ye-Ye/Schlager & XoTiCa The term "Schlager" seems to come up in 1880 in Vienna, describing the success of a popular song comparing it to the hit of a flash. The German word "Schlag" means "hit" or "beat" as in "Blitzschlag", the hit of a flashlight. Popular music was always considered as a lower form of music, but you could say that Schlager is the German word for Pop. Today by the mention of "the German Schlager" most people would probably think of it as in his "great old days", i.e. in the 1960s. It was often pointed out in this list that the German pop music at that time was heavily influenced by Rock'n'Roll, so the term seems to refer most to a time when the music lost most of its own unique character. Which has been mostly a development of the "Operette" mixed with mild Jazz elements up to those days. The performers of the Schlager in post-war Germany draw a line between them and the ever popular "Volksmusik", which was considered as old-fashioned and provincial, if not Nazi. Today they often go together, at least in TV shows, a combination that Heino had sort of invented. To many this had made him a dangerous right-winger and the most hated singer in Germany. As English music gained more and more popularity since the 50s the term Schlager was more and more used mainly for music of German language; but you could read sentences like "Paul Anka, Canadian Schlager-singer...." as well, showing the universal meaning of the term. The word is also used for popular products in general, "the new VW became a huge Verkaufsschlager", ie. sales hit... Exotic influences were early: In the 1920s the "Comedian Harmonists" let all kinds of foreign musical influences slip into their repertoire ("Onkel Bumba aus Kalumba tanzte Rumba", "Mein lieber Schatz, bist du aus Spanien" etc.). They sang in at least five different languages and were incredibly successful even in the States at that time. As most of their 6 members were Jews you guess what happened to them after 1933... The Schlager of the 50s and 60s was full of escapist ideas, the lyrics were dreaming of the "white sands of Athens", as well as of a "fiesta Mexicana", they wished to recieve a "telegram from Tennessee" or expressed their "desire for Samoa"... The exotic element became a cornerstone for the Schlager, unfortunately rather in its lyrics than in the music. Today's Schlager revival a la Guildo Horn also refers mainly to the 60s and is all about singing in German and having fun at the same time, an attempt that seems to have a rebellious character to many people, yet cannot quite hide its ironical character. - -Mo - ------------------------------------ #Exotica mailing list frequently asked questions at: http://home.munich.netsurf.de/Moritz.Reichelt/exofaq.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 02 Mar 1999 12:28:05 +0100 From: Moritz R Subject: Re: (exotica) film music Nat Kone wrote: >I don't really like to talk about how music complements a film I still think film music is something interesting to talk about, but you're right, when you say there isn't *one* way of making film music. Sometimes the music is like "the sound of the situation" sometimes it is "the sound of the state of mind of the main figure". As a film maker you probably have to make clear where you are, especially when you mix these different perspectives in one film. >it's kind of silly to separate the music from the film Nobody did that. A statement like "you can't separate the music from the soundtrack of a film" would make more sense to me. >And yet even when they fail, they seldom ruin the film. I can't agree with you here. For me the soundtrack is not more and not less than half of the truth of a movie. But I'm too lazy now to prove this with a number of examples. Just try to look at a film without the sound and compare the experience to listening to a film from the TV in the next room without seeing it. >From my knowledge and experience of how the process works, I think that a >true symbiosis is usually a happy accident. When you leave behind the >tried-and-true, it's a shot in the dark. Sometimes you're lucky and >sometimes you're not but you get away with it anyway.Hm. Of course you can work like that, try and error, in a more unconcious way, and it's probably much more creative; intuition is the strong side of the artist. But it doesn't mean you can't tell what happened when you look at the results afterwards. It's still an interesting point to analyze how soundtrack and music work.... >I also think that some of your examples of perfectly chosen scores are more >examples of things that you can't imagine any other way because that's how >you're used to seeing them. >Everybody now knows the story of how Bogart wasn't the actor originally >cast in Casablanca.but before that, it was a story of perfect casting.I didn't know the story, but I think Bogart was a perfect cast. So what? >I understand that you're a musician. Maybe this is just a classic case of >musician versus filmmaker.I made music, I made films, but in this case the misunderstanding apparently was about the perspective of what we were talking about: The motives of the artists (you), the way film music works (me). Actually I like to discuss this in free creative way, I don't state I know the truth, esp. not at such an early point of discussion, I'd rather collect ideas and come closer to a subject slowly. It's really not about being right or wrong. >Sometimes I subscribe to the theory that the score shouldn't even be >noticed. But I must admit I'm not consistent. Still, though I own a few >soundtrack records that I enjoy, I seldom walk out of a film commenting >about the music beyond acknowledging that it worked.I often do, especially when it didn't work. :) - -Mo - ------------------------------------ #Exotica mailing list frequently asked questions at: http://home.munich.netsurf.de/Moritz.Reichelt/exofaq.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 2 Mar 1999 04:54:32 PST From: studio@wayno.com Subject: (exotica) Stereo Action discography At 02:58 PM 2/28/99 EST, DJJimmyBee@aol.com wrote: > >Can anyone furnish a list of "good" RCA Stereo Action LP's? I have four. Three >are excellent and one disappointing. The excellent ones are: > > "Dynamica" Ray Martin Orchestra > "It's Magic" Marty Gold Orchestra > "Futura" Bernie Green Orchestra *************************************************** Here's a Stereo Action discography I assembled about three years ago, which I believe to be complete: LSA2287 Ray Martin and his Orchestra - Dynamica (1961) LSA2290 Marty Gold and his Orchestra - It’s Magic (1961) LSA2306 Dick Schory’s Percussion and Brass Ensemble - Runnin’ Wild (1961) LSA2344 Vic Schoen and his Orchestra - Brass Laced with Strings (1961) LSA2353 Leo Addeo and his Orchestra - The Music Goes ‘Round and ‘Round (1961) LSA2365 The Chorus and Percussion of Keith Textor - Sounds Terrific! (1961) LSA2371 The Guitars Unlimited Plus 7 - Crazy Rhythm (1961) LSA2376 Bernie Green and his Orchestra - Futura (1961) LSA2381 Marty Gold and his Orchestra - Stereo Action Goes Hollywood (1961) LSA2382 Dick Schory’s Percussion and Brass Ensemble - Stereo Action Goes Broadway (1961) LSA2396 Henri Rene and his Orchestra - Dynamic Dimensions (1961) LSA2414 Leo Addeo and his Orchestra - Paradise Regained (The Exotic Music of the Pacific) (1961) LSA2418 Esquivel and his Orchestra - Latin-Esque (1962) LSA2422 Ray Martin and his Orchestra - Excitement, Incorporated (1962) LSA2425 The Chorus and Percussion of Keith Textor - Sounds Sensational! (1962) LSA2432 Manny Albam and his Orchestra - More Double Exposure (Twenty Tunes - Two at a Time) (1962) LSA2485 Dick Schory’s Percussion and Brass Ensemble - Holiday for Percussion (1962) LSA2489 Various Artists - Stereo Action Unlimited! (1961) LSA2532 The Three Suns - Movin’’n’ Groovin’ (1962) LSA2508 Manny Albam and his Orchestra - I Had The Craziest Dream (1962) *************************************************** The Keith Textor LPs are among my favorites in the series. Textor added sound effects and vocal choruses, resulting in a sort of souped-up children's record sound. Other highly recommended Stereo Action titles are Guitars Unlimited Plus 7, Henri Rene, Esquivel (natch), and the Three Suns. I find most of the Marty Gold and Ray Martin material to be boring, but every Stereo Action LP has its interesting moments. Wayno - ----- Sent using MailStart.com ( http://MailStart.Com/welcome.html ) The FREE way to access your mailbox via any web browser, anywhere! # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 02 Mar 1999 08:52:01 -0500 From: Peter Risser Subject: (exotica) Ma(i)s Que Nada I've seen it both ways, Mais Que Nada and Mas Que Nada. What does it mean, and which way is correct? Thanks, Peter # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 02 Mar 1999 08:39:06 -0500 From: pmazz@cysource.com (Paul Mazzucca) Subject: Re: (exotica) Stereo Action discography I think the manny albam ' i had the craziest dream ' is awesome. marty gold i've actually passed up on and the 'stereo action unlimited'. isn't that good i have: latin- esque runnin' wild sounds terrific, (least favorite) the music goes round and round craziest dream movin' n' groovin i never paid more than a $1.50 for any of these gems. ( the guy in an old junk shop thought he better up to $1.50 instead of his usual $1.00) it is possible. carrie # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 2 Mar 1999 15:03:41 +0000 From: "Charles Moseley" Subject: Re: (exotica) Ma(i)s Que Nada Mas - more # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 2 Mar 1999 15:03:12 +0000 From: "Charles Moseley" Subject: Re: (exotica) Ma(i)s Que Nada More than nothing? # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 02 Mar 1999 10:22:02 -0500 From: cheryl Subject: (exotica) Sound Gallery vol. 1 I'm wondering if anyone can tell me more about this one - I'm assuming it would be a worthy addition to my collection? (I found a copy used, but haven't bought it yet). Ashley? Johan? cheryl # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 02 Mar 1999 10:26:28 -0500 From: Subject: (exotica) Wives and Lovers 1. Are Burt Bacharach and Angie Dickinson still married? That's a perfect pairing, if you ask me! I bet they went to a lot of ski lodges together.... 2. YEESH! I found out this weekend that Mamie VanDoren and __Ray Anthony__ were married...It's a puzzling a mix as Julie London and Jack Webb! Hot dames and SQUARESVILLE hubbies.... Hmph!- Jane Fondle - ---------------------------------------------------------------- The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Tue, 02 Mar 1999 10:28:29 -0600 From: Lou Smith Subject: (exotica) Crosthwaite, Partridge, Goldwater obits *Donald F. Crosthwaite PADUCAH, Ky. (AP) -- Donald F. Crosthwaite, a broadcaster and entertainer, died Saturday from complications of a stroke. He was 72. Crosthwaite, known professionally as Don Cross, was the co-host of Paducah television station WPSD's ``Lions Club Telethon of Stars'' each year from 1968 until 1991. During a 30-year recording career, he released several pop, country, gospel and nostalgia albums. He later managed and owned two radio stations before selling them and returning to Paducah in 1985. Survivors include his wife, Virginia; a daughter, two brothers, a sister, and a granddaughter. *Cora Cheney Partridge TACOMA PARK, Md. (AP) -- Cora Cheney Partridge, a writer of children's books and one of the oldest women to be ordained an Episcopal priest, died Feb. 21 of complications from a stroke. She was 82. Partridge wrote more than 20 books of fiction, history and folklore. Her first book was ``Skeleton Cave,'' in 1954 describes a boy who finds American Indian relics near his home. She went on to write as many as 15 children's novels, among them ``The Pegged Leg Pirate of Sulu,'' `The Girl at Jungle's Edge,'' ``Tales from a Taiwan Kitchen'' and ``The Case of the Iceland Dogs.'' She was ordained an Episcopalian priest at age 65 and helped establish rural church missions in Vermont, Delaware and Florida. She worked with shut-ins and the elderly, often using a portable altar made from an ironing board. In 1989, Partridge helped organize an abortion rights march of ``the matriarchs,'' a group of women in their 60s and 70s, in Tallahassee, Fla. March 2, 1999 John Goldwater, Creator of Archie and Pals, Dies at 83 By RALPH BLUMENTHAL,NYTimes NEW YORK -- He is survived by Archie, Jughead, Betty and Veronica in Riverdale, U.S.A. Their creator, John L. Goldwater, an orphan from East Harlem who hitchhiked his way west in the Depression and invented prototypical teen-age America in the comics, died of a heart attack on Friday at his home in Manhattan. He was 83. Archie Andrews and his pals remain forever 16 going on 17. In 1941 Goldwater, a struggling writer distantly related to the late Sen. Barry M. Goldwater, dreamed up the carrot-topped, freckle-faced character perpetually torn between two loves, one blond, one dark-haired. He was a hapless teen-age Everyman counterpoised to the hyperpotent Superman, who had made his debut just a few years earlier. Naming his creation Archie, after a school chum, Goldwater surrounded him with other characters patterned after teen-agers he had met in the Midwest, gave them jalopies and typical teen-age problems, placed them in the mythical and idyllic town of Riverdale, and found a young artist, Bob Montana, who provided what became indelible faces. Millions worldwide came to chuckle over Archie's misadventures at school with his spinster teacher, Miss Grundy, and the fussy principal, Mr. Wetherbee; his intractable romantic triangle with the sweet Betty and spoiled, rich Veronica; the hamburger obsession of the nerdy Jughead; the rivalry with the handsome, conceited Reggie. In time, the supporting cast members grew to star in their own comic books. Over the years the settings have been updated -- Archie and his friends now exchange e-mail and go in-line skating -- but the problems have not changed. The guiding idea, Goldwater always said, was simple. It came down to Archie. "He's basically a square, but in my opinion the squares are the backbone of America," he told The New York Times in 1973. "If we didn't have squares we wouldn't have strong families." The formula clearly hit a responsive nerve. The comic strip once ran in 750 newspapers. Comic book sales sometimes reached 50 million a year, though they have leveled off at about 15 million a year. Goldwater's touch catapulted him to the pinnacle of the comics world, with a multimillion-dollar fortune and publishing empire, Archie Comic Publications Inc. of Mamaroneck, N.Y., one of the industry's big three, along with Marvel and D.C. Comics. Archie was on the radio, on television and in the movies. There was even a short-lived chain of Archie restaurants. Goldwater was also instrumental in creating the Comics Code Authority, which was formed in 1954 to self-police the industry's depictions of sex and violence. He was also a national commissioner of the Anti-Defamation League of B'nai B'rith and his wife, Gloria, was the first national chairwoman of its women's division. His childhood world of East Harlem was no Riverdale, U.S.A. His mother died giving birth to him in 1916 and his father succumbed to grief, abandoning his baby and dying soon afterward. Young John was raised by a foster mother and grew up to complete high school, where he knew a red-haired boy who became the prototype for Archie. Goldwater was six feet tall and husky with dark hair, more the Reggie type. With the Depression worsening, he left New York, hopping freight trains and bumming rides to the Midwest, where he worked for a time in Kansas as a news reporter. Assigned to school sports, he hung around with football teams, meeting the players and the girls they attracted, who would later supply him with ample comic material. After a few years he continued west to the Grand Canyon, where he worked at a lodge, but was dismissed for socializing with the female help, affording him more future material. The lodge paid his way to San Francisco, where he found work again as a reporter and saved enough to book passage on a ship back to New York. On board, he met two young women bound for the novitiate. Both fell for him, which later gave him the idea of the Betty-Veronica rivalry. Back in New York, he got a job on the docks and his experience with shipping gave him an idea. He went to a magazine publisher and offered to buy his outdated issues at a penny each. Then he shipped them abroad to an avid market. The business prospered and Goldwater soon joined with a pulp magazine publisher, Louis Silberkleit, to found a magazine publishing business in 1941, just as the war was restricting paper supplies. Their Archie venture, with illustrations by Montana, himself then a teen-ager, began as a four-page insert in another comic. It proved an immediate hit and Archie and his pals quickly got their own comic. In 1954, with national critics decrying brutality, vulgarity and sex in the comics, Goldwater helped found the Comics Magazine Association of America, whose Comics Code Authority persuaded magazines to voluntarily weed out offensive copy as well as ads for guns, knives and war weapons. He was president for 25 years. In 1973, he went further, licensing Archie for evangelical Christian messages. Although Jewish, Goldwater said the sentiments were in line with his wholesome family message. In 1983, the Archie comics company, then public, was acquired by a son, Richard, from Goldwater's first marriage, and by Silberkleit's son, Michael, and returned to private ownership. It now employs 32 writers and artists and publishes more than 30 comics. In addition to his wife and his son Richard, of White Plains, N.Y., he is survived by two other sons, Jonathan, of Scarsdale, and Jared, of Manhattan. This is not Goldwater's first obituary. When he was 48, in June 1964, The New York World-Telegram and Sun reported that he had died at age 89, confusing him with someone else with a similar name. In a letter to the editor, Goldwater responded, "This is a unique experience, and I guess that I am one of the very few men in the world who is able to laugh at his own obituary." # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ End of exotica-digest V2 #336 *****************************