From: owner-exotica-digest@lists.xmission.com (exotica-digest) To: exotica-digest@lists.xmission.com Subject: exotica-digest V2 #540 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 Thursday, November 11 1999 Volume 02 : Number 540 In This Digest: Re: (exotica) 5 CD Outer Space/Sci-Fi Box Set Re: (exotica) That early? Re: (exotica) Wait Until Dark (exotica) MOOG CD's!! (exotica) Re: That Early? (exotica) Re: That early? SV: (exotica) 5 CD Outer Space/Sci-Fi Box Set Re: (exotica) Didn't RealAudio ask for it? (exotica) Across 110th Street Re: (exotica) Re: That early? Re: (exotica) MOOG CD's!! Re: (exotica) That early? Re: (exotica) That early? Re: (exotica) That early? Re: (exotica) That early? Re: (exotica) Re: That early? Re: (exotica) Syd Dale (exotica) Astroslut cd Re: (exotica) That early? Re: (exotica) Didn't RealAudio ask for it? Re: (exotica) The Heintje/Heino story, pt. 2 (exotica) RE: exotica-digest V2 #539 (exotica) Re: exotica-digest V2 #539 Re: (exotica) That early? ---------------------------------------------------------------------- Date: Wed, 10 Nov 1999 17:11:22 -0500 From: nytab@pipeline.com Subject: Re: (exotica) 5 CD Outer Space/Sci-Fi Box Set I'm having a mental disconnect when I read the last sentence of each of these 2 paragraphs. - --- Jack Diamond wrote: > Slated for May 2000, Rhino Records is releasing > a 5 CD Box Set of THE BEST OUTER SPACE/SCI-FI > Music that has NEVER been reissued ANYWHERE. > > It's going to be "SO OVER THE TOP", according to Rhino > and they are going to be including "Welcome To Tomorrow" > from the Attilio Mineo "Man in Space With Sounds" reissue. BTW, I've heard that Ellipsis Arts is going to release a 3 CD set of classic electronic music. Anyone know any details? - -Lou lousmith@pipeline.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: Wed, 10 Nov 1999 22:16:00 +0000 From: M H Jemmeson Subject: Re: (exotica) That early? Rcbrooksod@aol.com wrote: > > << Don't forget someone like Claude Debussy, who was influenced by Indonesian > Gamelan music (among other things) at the end of last century. > >> > > And Stranvinsky (sp??) music caused riots in the streets of Paris. The mention of all these Classical composers reminds me: I was listening for the first time to Felix Mendelsohn and his Hawaiian Serenaders earlier today, and he was the grandson or great grandson of the other Felix Mendelsohn (as in Fingal's Cave etc)... A bit sunnier in Hawaii than the Hebrides perhaps... # 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: Wed, 10 Nov 1999 17:47:42 -0500 From: "Br. Cleve" Subject: Re: (exotica) Wait Until Dark At 3:57 PM -0500 11/10/99, William Walton wrote: >Speaking of soundtracks, has "Wait Until Dark" EVER been released on any >listening format? just one track from it, on a 45 (also on the Mancini box set). Not the amazing theme song, unfortunately. br cleve # 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: Thu, 11 Nov 1999 13:05:32 +1100 From: "Keith E. Lo Bue" Subject: (exotica) MOOG CD's!! >>What? No Moog Machine? No Sir Christopher Scott? No >>Electronic Concept >>Orchestra? Or Claude Denjean? John Keating? Marty >>Gold? Zeet Band? >>I'm sure this is a fine/fun compilation but personally >>I would rather have >>one made by the moog collectors on this list. Hint, >>hint. >>Nat You rang?? I've got three knockout moog comps that I've put together from my massive moogy collection: MOOG SOOP MOOG SOOP 2 (Moog Power) MOOG SOOP 3 (This Is Stereorama) They're each over 70 minutes, and packed with most of the stuff on that published comp, but with tons of REALLY rare goodies and Electro-chestnuts. Sure, Hot Butter made Popcorn famous, but there are two EARLIER versions by the tune's composer that blow it away! If anyone on the list would like a copy of any or all of them, here's how you can do it. 1) Email me to get my address. NOTE: You'll have to send them to me down here in Australia, since I've moved from the states... 2) Send me the appropriate number of blank CD-R's. 3) Please send me one or two extra blank CD-R's for each one you want, as the packaging I've made uses expensive paper and lots of color ink. This amounts to 'payment' for me, but no money need change hands. 4) Please send adequate $ for return shipping back to you. I guarantee these CD's will blow over the comp mentioned in previous postings. BTW, I haven't done ANY 'audio-clean-up' to the vinyl...in fact, the comps begin with the sound of the stylus hitting the record, and each disc ends with the needle coming up! Gives you that veriteeee experience. ALSO, I'm still waiting for all my stuff to arrive by boat from the US, so I'll be out of dubbing commission for at least 4-6 more weeks. Slow, but worth the wait. Seeya! Keith ******************************* http://www.lobue-art.com The Artwork and Workshops of Keith E. Lo Bue ******************************* # 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: Thu, 11 Nov 1999 03:21:33 +0100 From: "Kristjan Saag" Subject: (exotica) Re: That Early? Mo cited and wrote (Nov 10): >Well..., this article says that in the 10s of this century >Hawaiian music was a national (USA) craze... - ----- >Could it be that using the phonograph records for a type of music that = was >unknown for the people at that time, would perhaps help to moderate = its >negative appeal and indeed help to spread the medium together with = the >music? If you'd put some wild hula-dance on a record, it would just = be silly >fun, because people wouldn't know how it sounded live = anyway/snip - --- My theory is: Hawaiian music was fool-proof to play on the early = phonographs - you never had to worry about the record swaying... Kristjan # 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: Thu, 11 Nov 1999 03:37:55 +0100 From: "Kristjan Saag" Subject: (exotica) Re: That early? TB wrote (Nov 10): >Additionally, people who did not attend symphonic concerts still knew = they=20 >were "supposed to " appreciate classical, romantic and baroque music. = >Now they could appreciate it in their homes -- AND, play it over and = over >again. - -- Baroque music on record, at that time, was extremely unusual. (In the = 1913 US record catalogue: two titles by Bach...) The = Bach-Haendel-Vivaldi etc vogue came much later. And symphonies were hard to record with acoustic equipement - it wasn't = until electric recording began (around 1925) that symphonies were = released on a larger scale. Kristjan =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: Thu, 11 Nov 1999 04:06:41 +0100 From: "Sandberg Magnus" Subject: SV: (exotica) 5 CD Outer Space/Sci-Fi Box Set Welcome to tomorrow! :) M Lou wrote: >I'm having a mental disconnect when I read the last sentence of each of = these 2 paragraphs. >NEVER been reissued ANYWHERE. > and they are going to be including "Welcome To Tomorrow" > from the Attilio Mineo "Man in Space With Sounds" reissue. # 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: Wed, 10 Nov 1999 21:17:46 -0800 From: Paul Moshay Subject: Re: (exotica) Didn't RealAudio ask for it? > and the way that when CD's came out they were so much more expensive than > vinyl when all sources indicated they were far cheaper to produce. While I cannot speak authoritatively on manufacturing costs in the early/mid eighties, I do know 1988 a CD and LP cost about the same to manufacture (inclusive of collateral packaging standard then). Yes, longboxes remember them? The figure was right around $ 1.65 The thing was, and still is, that the cost of physical manufacture of the delivery media is relatively inconsequential when considering selling music is much like selling soda pop. The far more significant costs are in marketing to distinguish your 'brand' from the gazillion others in the marketplace. Additionally, nearly all albums are commercial failures (I am talking majors here, since they are the focus of the CD price gouging complaint). Real indies usually maintain a different biz model. Where do you think the advances, recording budgets, and tour support from that favorite act of yours that happens to be on a major/major affiliated label? I can think of probably 20 acts over the last ten years that happened to be on majors that I liked, which were beneficiaries of moderately well funded marketing campaigns yet their albums didn't sell in even in the "double digits". Budgets directed towards developing new acts have to come from somewhere. That somewhere is the profit margin on whatever number of chart hits the label can produce quarterly. Do I think front line CD prices of $17.98 are excessive...absolutely. At the same time when I hear intelligent people talking about the business of selling records, as if its a commodity like Soy Beans, I find myself entirely bewildered. Microsoft charges freakin' something like $400 for MS Office. At their production levels, that CD probably cost about 23 cents to press :) Paul Moshay . # 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: Thu, 11 Nov 1999 09:38:33 +0000 From: Subject: (exotica) Across 110th Street I own a copy of this LP and I have to say that I would not recommend it. For a blaxploitation film (a very violent and gruesome one at that), this is a mushy and overly soft soundtrack. Too much soul and not enough funk, lacking the wah wah, breaks, clavinet and bass of a proper blaxploitation soundtrack. Talking of blaxploitation, the Gordon's War bootleg is still around with Hot Wheels (The Chase) on it - Now there is a tune worth owning! Charlie charles_moseley@mckinsey.com +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ # 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: Thu, 11 Nov 1999 10:57:51 +0100 From: Mo Subject: Re: (exotica) Re: That early? Thanks! It's great to get some real information about this. I see my theory confirmed by this. Kristjan Saag wrote: > Baroque music on record, at that time, was extremely unusual. (In the 1913 US record catalogue: two titles by Bach...) The Bach-Haendel-Vivaldi etc vogue came much later. > And symphonies were hard to record with acoustic equipement - it wasn't until electric recording began (around 1925) that symphonies were released on a larger scale. > My theory is: Hawaiian music was fool-proof to play on the early phonographs - you never had to worry about the record swaying... Mo # 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: Thu, 11 Nov 1999 10:59:01 +0100 From: Mo Subject: Re: (exotica) MOOG CD's!! Dear Keith > >If anyone on the list would like a copy of any or all of them, here's how > you can do it. > > 1) Email me to get my address. > NOTE: You'll have to send them to me down here in Australia, since I've > moved from the states... > 2) Send me the appropriate number of blank CD-R's. > 3) Please send me one or two extra blank CD-R's for each one you want, as > the packaging I've made uses expensive paper and lots of color ink. This > amounts to 'payment' for me, but no money need change hands. > 4) Please send adequate $ for return shipping back to you. Thanks for the offer; I'd sure like copies of those; but does it make sense to send you both CDs and money? It will only increase the total costs, as CDs are kind of heavy and will need quite much postage. Instead I'd propose to send you just money, enough to pay all your expenses. I would do that by airmail and it would arrive within 2 weeks. > BTW, I haven't done ANY 'audio-clean-up' to the vinyl...in fact, the comps > begin with the sound of the stylus hitting the record, and each disc ends > with the needle coming up! Gives you that veriteeee experience. Sounds woofy! Mo # 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: Thu, 11 Nov 1999 11:00:56 +0100 From: Mo Subject: Re: (exotica) That early? M H Jemmeson wrote: > I was listening > for the first time to Felix Mendelsohn and his Hawaiian Serenaders > earlier today, and he was the grandson or great grandson of the other > Felix Mendelsohn (as in Fingal's Cave etc)... > A bit sunnier in Hawaii than the Hebrides perhaps... Where did you get that? Is it on CD? Never heard about it. Mo # 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: Thu, 11 Nov 1999 11:02:15 +0100 From: Mo Subject: Re: (exotica) That early? Rcbrooksod@aol.com wrote: > In a message dated 11/10/99 1:30:23 PM Eastern Standard Time, > Kalnenekweirdomusic@wxs.nl writes: > > << Don't forget someone like Claude Debussy, who was influenced by Indonesian > Gamelan music (among other things) at the end of last century.>> > Yes and no. There are definitely influences, but the music is basically still "classic". No jazz, no beat, no drums, no screaming voices... Or do you know something I don't know? Mo # 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: Thu, 11 Nov 1999 11:02:38 +0100 From: Mo Subject: Re: (exotica) That early? Rcbrooksod@aol.com wrote: > and believe me, there is some crazy sounding recordings on 78's from the > teens and 20's. stuff that would be considered in the exotica genra today > for sure. > > there are some great crying, laughing and yelling records where the people > did just that. I just ran upon a really great song by the Comedian Harmonists (a German group that was pretty popular even overseas), called "Blume von Hawaii". It's from the 20s and starts with a wild rum intro that could make Perez Prado turn green. The history of Exotica is indeed a constant evolution. Mo # 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: Thu, 11 Nov 1999 07:16:17 EST From: Rcbrooksod@aol.com Subject: Re: (exotica) That early? In a message dated 11/10/99 2:18:47 PM Pacific Standard Time, michael@jemmeson.freeserve.co.uk writes: << I was listening for the first time to Felix Mendelsohn and his Hawaiian Serenaders earlier today, and he was the grandson or great grandson of the other Felix Mendelsohn (as in Fingal's Cave etc)... A bit sunnier in Hawaii than the Hebrides perhaps... >> I have lots of 78's by Mendelsohn and the Hawaiian Serenaders. I hate to say it but most of them sound the same. And while I obviously love Exotica music, I do not particularly like Hawaiian music (OK, maybe one or two tunes occasionally). I had Denny's "Hawaiian Tattoo" playing in my office yesterday and one of my staff came in and said "Oh, you are listening to Hawaiian music to get ready for your trip." (I am going to Hawaii in Jan). Now this same staff member hears me listening to other Denny music all the time but never associates those tunes with Hawaii. And of all the different types of songs, tunes, etc. that Denny did, "Hawaiian Tattoo" is the only one that really sounds Hawaiian. On a slightly different note, I have a version of Bing Crosby's "Sweet Leilani" on some CD comp and it I can't stand it at all. Funny how taste can vary so peculiarly, TB # 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: Thu, 11 Nov 1999 07:24:32 EST From: Rcbrooksod@aol.com Subject: Re: (exotica) Re: That early? In a message dated 11/10/99 6:39:53 PM Pacific Standard Time, kristjansaag@swipnet.se writes: << Baroque music on record, at that time, was extremely unusual. >> I was breaking the term Classical Music down into Classical, Romantic and Baroque because I do not like when people lump all three categories into "Classical Music". And there was a comment that it was hard to record symphonic performances. I disagree. A single microphone pick up could be placed at a strategic acoustical point in the concert hall and very easily record the mono version. (BTW, they would often have a few mikes and then take the one they like the best) tb # 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: Thu, 11 Nov 1999 12:25:26 GMT From: Peter Hipwell Subject: Re: (exotica) Syd Dale > From: G.R.Reader@bton.ac.uk > > > Can anyone tell me about Syd Dale? I'd always had them down as one of the > swathe of Orchestras doing fairly run of the mill stuff English big band > stuff and not particularly worth searching out. The only things I've seen > knocking about down here have been Syd Dale does Glenn Miller and such like. Syd Dale does Glenn Miller? Are you sure you're not getting him confused with the tiresome Syd Lawrence? > His tracks on the Russ Meyer Comp were better than most of the other tracks, > but then, cover aside I think that its a piss poor comp. > > But a friend gave me a compilation with 3 tracks, 'Portobello Market', > 'Boogaloo' and 'Lucky Seven' and they are really good. Particularly > Portobello, punchy brass, great rhythm section, bongo's and a crunchy fuzz > guitar lick. > > So, whats the good stuff? Any comments? > Yeah, I first cottoned onto his name via the Sound Gallery (he's got a track on there somewhere, or my mind's going). I don't think I've actually ever seen an album with "Syd Dale" in big letters on the cover, he always only appears in the small print. Having said that, I've only got a couple of commercially released albums by him. "Swinging Christmas" or somesuch by "The Dali Caldis Ensemble" (totally appalling), and "The Chaplin Collection" on Windmill Records. The Chaplin record is music from Chaplin's films, BUT given a fantastic cheese-funky 70s spin, hammond organ, wah-wah guitar, the works, something not made entirely clear by the sparse liner notes. You may well have skipped over this one, especially if you've got the dull Johnny Howard Chaplinmusic LP. Snap it up if you find, hear the jet-propelled "Smile" (with jet-propelled chorus) and its scorching hammond organ solo, "Carefree", "Paperhangers"... it's a goodie, absolutely no reverence at all for the originals. But Dale was mainly involved in recording library music. On the website for the "Sound Stage" company, there is this snippet: "Between 1963 and 1964 Syd Dale contributed to more than 300 commercial recordings and by the end of the decade had established himself as one of the best and most valued composers for the first of the new production music companies. So as to represent his own compositions in the early 70's Syd decided to "go it alone" and founded Amphonic Music. In 1980 the label "Sound Stage" was established to provide the highest quality recordings." So, the compilation (Boogaloo something, right?) is taken from the Amphonic music library, which Dale actually owned as well as composed for. I only have only Amphonic LP, by the Otto Klemperer Band (The OK Band), which is Dale-composed and good in parts (titles like "Marching Mr. Magoo", compositions described in terms such as "hippy hoedown with calliope music"). I also have a couple of earlier recordings from the mid 60s, 10" LPs of library music on the Audio Music label (IIRC). One of these is "suspense" music, y'know for eerie and threatening situations, with lots of solo bass, drones, chilling silences. The other is mostly happy light jazz, very much of its vintage, but with one monsterthunderbastardmother track called "Percussidness". This is incredible, starts off bonkers with a kettledrum beat, then we get a cowbell joining in and the melody on heavy-heavy fuzz guitar (and this is 1965 or so) and/or brass, back to a kettledrum break and so on. Totally mental piece, totally brilliant. Anyway, that's probably more than enough on Dale. Seems like most of his work was library music, tough to get hold of. Let me know what you find, I'd be interested to know 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: Thu, 11 Nov 99 13:32:39 +0100 From: Bissia Subject: (exotica) Astroslut cd I'd like to have it to but I do only Vinyls ! Is that possible ? >6) You really DO want the Astroslut cd. Mine arrived today and it's a >blast(off). That Quinn Martian is such a prankster. # 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: Thu, 11 Nov 1999 14:17:56 +0100 From: Mo Subject: Re: (exotica) That early? Rcbrooksod@aol.com wrote: > And of all the different types of songs, tunes, etc. that Denny did, > "Hawaiian Tattoo" is the only one that really sounds Hawaiian. > Yeah, of all things the one instrument that M.D. hardly ever uses is the Hawaiian guitar... Mo # 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: Thu, 11 Nov 1999 09:49:18 -0500 From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) Didn't RealAudio ask for it? >Some time last night, the agile-minded and genial Paul Moshay wrote: >i don't think the more fair distribution would go as far as the artist >receiving a majority of profits, for the average artist at least. Agreed. Quite reluctantly. But that's the way it'll probably shake out. >how does making your music available to freely copy infinitely at no >cost, benefit an artist monetarily? if artists feel they do not get >a fair shake from the familiar record deal, how is giving away their >recorded songs unprotected from unlimited piracy going to better >their situation? Two words: Audience building. Three more words: Extremely high risk. For an artist in it for the long haul, MP3 files at least a way get the music out there. Then when artists have new product, they may be able to exert tighter controls. I'm probably naive here. I don't mess with MP3s so I don't really know the technology. Disclaimer here: I don't do MP3s because of piracy--that's my decision and I don't impose it on anyone. But this from someone who suffers pangs of guilt when swapping tapes of new CDs with pals or buying used books still in print. I remain guilt free only when music or books I buy are not otherwise available. I liken MP3s to building audience by tour...but much more efficiently in terms of time and costs than actually touring. (Won't say the obvious about the Net reaching wider audiences...whoops, just did!) Or maybe a better analogy would be distributing promo CDs to the college/noncommercial radio markets. Aren't those markets a shrewd way for emerging, offcenter artists to build their followings? I assume these distribution channels are ahead of the curve with music--their noncommercial formats allow programmers to play the music commercial radio won't. A tune hits on college/noncommercial markets then possibly the commercial stations pick it up...or a musician can at least earn enough to continue doin' music. An recent NYT story reported that the biggest market for MP3s are college students, who have the Net connections and time to scour the net for pirated music files and the equipment to capture it. Don't college students also buy the widest variety of music? Perhaps in this way, posting MP3s samples from a CD then becomes a method for artists to reach their biggest potential market of listeners while sidestepping the majors and other commercial distribution channels. Another thought about risk: Risk is the artists' meat and drink. Good creative work requires risk. I once worked with a PhD in education who did a lot of research on teaching creativity. He concluded that creativity--talent--can't be taught, but risk-taking could. Perhaps MP3s are a calculated risk musicians should take to build their audiences. >is the unstated notion that giving away the music, acts would make >money selling concert tix or teeshirts, etc. ? this is the part that >bewilders me. in a pure digital transmission world without copyright >piracy protection, where does the artist 'earn a living' exactly ? >i'm confused, enlighten me. Just tried, Paul. Must say, I can't help but laugh that a Wharton MBA poses this question to an Michigan MFA in, for god sakes, poetry. Really appreciate your generosity. :) I have no illusions about ever making a living on my poetry. But the odds are better for musicians, painters, photographers, filmmakers, novelists--they have a shot at big enough markets of people who are willing to pay for their creations. And I hope Nat is right with his point that people actually want objects. It means artists have access to another source of income through royalties. >possibly, though most artists are not successful economically and the >ones that are have generally have short lifespans... pop music is like >talking about perishables in a sad sense. therefore majors know that >and that there are thousands of artists out there willing to sign for >a shot at mass success that they would almost never have otherwise. Tis true, tis sad. >>> of music industry don't include a provision for 10, 20, or 30 percent of >>> the aggregate demand for prerecorded music in the us to be satiated >>> by piracy. ... > >bear in mind that >many majors also support their acts lifestyles to one degree or another >with the notion that it is worth it to allow them freedom to write/record/ >tour...and keep their lives intact while doing so. Please school me on this, teacher. I know publishing, not music. Are these payments like the advances publishers pay to writers? Or are they ongoing life-support payments beyond royalties? Sort of on the principle that the public will support a rock star if the musician is publicized as living like a rock star? >labels' will eventually have to give a bigger share of profits to artists' >i believe. the bigger acts' ability to run their own careers over the net >without label support.... Yeah! >if the major/indies cannot exploit the masters' of their artists' >releases they pay to create, they'd put their money in other ventures. Perhaps. But that would entail pricey rebuilding and repositioning of the majors as brandnames. By "other ventures" do you mean different artists? Or different lines of business? >Up to a "certain" executive level in these companies these are really >music people that like yourself want to earn a living by doing something >they love...but that can't continue if as a company they're giving away >their output. Agreed. Mimi # 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: Thu, 11 Nov 1999 09:53:24 -0500 From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) The Heintje/Heino story, pt. 2 Sorry, digesters and bandwidth guardians. Taking lots of space. Promise to shut up now. beside, I'm lovin' the That Early thread. Mo wrote: >I like this idea too much! I wish I >could write screen plays. I see it all in front of my inner eye... >Little Heintje grows up in a very flat part of Holland.... I'll be happy to write the screenplay, Mo. But to do the job this biopic would demand, I'd suggest a bit of tweeking for the tale. The most compelling part of the Heintje/Heino story is yet to be told. I'm talking about Heintje/Heino in love. A little-known aspect of his biography involves the former Maharajah of Rajput, or rather, his son, Prince Ben-Al Bezuise, revered throughout the world among dog breeders for his championship apricot toy poodles. The story I heard is, they met in Paris while Ben-Al was on a dog-buying trip....Andy Warhol was sponsoring a Happening and issued a special invite to Heino/Heintje and Ben-Al Bezuise, sensing the two would spark with the rare chemistry of true love. Besides, Andy wanted a personal introduction from Heino to his wigmaker--even in New York, a good wig was hard to come by in those days. Fab visuals with the Velvets grinding away in the background and some of Andy's special silver helium balloons floating nearby. Of course Andy's matchmaking worked in an explosion of toy poodles,lust, wiggery, and yodeling music in both the Alpen and Himalayan styles. Imagine the footage we could get! I suggest we shoot this scene from the POV of the barkeep who witnesses the historic meeting. And the followup--a soft-focus montage of the formidable Ben-Al, garbed in a vivid kaftan, trailing a small flock of poodles on their leads as Heintje/Heino coos endearments to all. Ben-Al plucking a sarangi as Heintje/Heino growls in the recording studio. The two of them in a high-style kitchen perfecting HH's recipes for almond cake and dog biscuits. But alas, HH and B-AB shared only two brief years of bliss. No matter how he plied HH's mother with gifts of blue-blood dogs and frothy beverages of geniver shaken--not stirred!--with pomegranate juice, no matter how much he praised her Limburger served on rye rusk crackers, Ben-Al can't defrost the ice blasted at him by HH's mother. In fact, the guy who told me the story said Mama detested her son's companion. She was maddened by jealousy that another had supplanted her in her son's affections, according to my source. Mo, this part of the story troubles me. I can't believe a good Dutch mama would be anything other than loving, generous, warm to Ben-Al. On the other hand, well-constructed drama requires conflict, so for the needs of the picture, this is how I see the breakup scene: Cut: the dramatic showdown between Ben-Al Bezuise and Mama, positioned amid the tulip beds, backlit by a sunset marred with gathering storm clouds...they scream, the mother and the lover battling for Heintje/Heino's heart, while HH weeps, his wig askew. The 25 poodles yap in distress. Thus ecstasy came to an end. Heintje/Heino soothed his broken heart by escaping into his music, becoming an even huger star than before, conquering the German charts and sweets markets at the same time with records and his Heino Brand Mandelkuchen. Mama retreated to her cottage until she took up with the Italian cheese maker, eventually inventing Umido del poodles, a new cheese that is even stinkier than Limburger. As for the postscript about Ben-Al Bezuise, we'd need to shoot on location in Vegas, where Ben-al currently is housekeeper for and caretaker of Sigfried, Roy and their white tigers. Surely Ben-Al will sign on as a consultant if we pay him enough. Perhaps sweeten the deal with an uncredited cameo? Isn't it time to break the silence about this neglected segment of the Heintje/Heino story? There's only one problem: I think it may be apocryphal. Still, I'll have my girl buzz your girl so we can take a meeting and work out the particulars. Mimi # 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: Wed, 10 Nov 1999 17:37:24 -0500 From: George Hall Subject: (exotica) RE: exotica-digest V2 #539 Arjan Plug wrote... > > << Well..., this article says that in the 10s of this century > > Hawaiian music was a national (USA) craze.... > > >> > > > > Oh yeah, and I have tons of old 78s to prove it. The Hawaiian ukulele > > actually was played in many other orchestral arrangements. > > There was a Dutch CD compilation called "Haring & Hawaii" (herring & hawaii) > published in 1992 chronicling the history of hawaiian music in the > Netherlands. The earliest recording on it is a 1941 tune by the Kilima > Hawaiians although the accompanying book that was published simultaneously > starts as early as 1925. Mostly traditionals as I can gather from the > credits, very few originals. Haven't a clue if it sounds like the real thing > though! > > Arjan > Not Only But...by the 20's, the Hawaiian music craze had gone as far as Nigeria, where records imported from Europe were enjoyed by middle class black families who could afford a record player, years later leading to King Sunny Ade w/a steel guitar. > Anyone knows if there ever was a soundtrack release of "Across 110th > Street"? I only know Bobby Womack's title track of the movie (which can be > found on the Jackie Brown OST) and wondered if the rest might be in the same > superior class. > Yes, on Rykodisc, who've released a number of great titles - -Johnny Mandel's "I Want to Live," Quincy Jones' Heat of the Night & Mr. Tibbs as a 2-fer, etc.... Hopefully these will stay in print following the label's move to NYC (where it's been folded into parent company Palm Pictures). The Womack tracks are all pretty great, & jazz great J.J. Johnson's incidental music is the highest quality wacka-wacka cop-jazz. # 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: Wed, 10 Nov 1999 19:58:56 -0800 From: "Stephen W. Worth" Subject: (exotica) Re: exotica-digest V2 #539 I'm a big fan of Hawaiian Guitar from the 20s and 30s... It's a great blend of jazz and native Hawaiian sounds... not at all fake. Here are some of my favorite CDs... - ------------------------------------------------------------- Sol Hoopi "Master of the Hawaiian Guitar" (2 vols) Rounder Records 1024 and 1025 This is the guy that introduced me to the sound. I saw a Betty Boop cartoon called "Betty Boop's Bamboo Isle" and I was blown away by the sound of the guitar in it. The cartoon credited an obscure hula vaudeville act from the early 30s, but I later found out that Sol Hoopi was the guy playing the music. He is definitely the king of Hawaiian guitar. - ------------------------------------------------------------- Roy Smeck plays Hawaiian Guitar, Banjo, Ukulele and Guitar Yazoo 1052 This guy is a jazzy showoff with lightning fast fingers. He definitely is a lot of fun to listen to. - ------------------------------------------------------------- Hawaiian Music: Honolulu - Hollywood - Nashville 1927-1944 Fremeaux & Assoc. (2CDs) FA035 This is one of the best compilations. It has authentic stuff, tin pan alley stuff and some of the Western Swing spinoffs. As a complilation, it succeeds at showing how this music affected completely different branches of music. - ------------------------------------------------------------- On the Beach at Waikiki Harlequin HQCD57 Tickling the Strings Harlequin HQCD28 On a Coconut Island Harlequin HQCD46 These three collections are great too. They include cuts unavailable anywhere else. Lots of great stuff by the Moe Family, Sol K Bright, Felix Mendelssohn (the Hawaiian one, not the Viennese one), and even Louis Armstrong's foray into the genre. - ------------------------------------------------------------- Great stuff! Check it out... See ya Steve Stephen Worth bigshot@spumco.com The Web: http://www.spumco.com Usenet: alt.animation.spumco Palace: cartoonsforum.com:9994 Spumco International 415 E. Harvard St. Ste. 204 Glendale, CA 91205 # 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: Thu, 11 Nov 1999 12:02:07 +0100 From: Ton Rueckert Subject: Re: (exotica) That early? >> << Well..., this article says that in the 10s of this century >> Hawaiian music was a national (USA) craze.... >> >> >> >> Oh yeah, and I have tons of old 78s to prove it. The Hawaiian ukulele >> actually was played in many other orchestral arrangements. > >There was a Dutch CD compilation called "Haring & Hawaii" (herring &= hawaii) >published in 1992 chronicling the history of hawaiian music in the >Netherlands. The earliest recording on it is a 1941 tune by the Kilima >Hawaiians although the accompanying book that was published simultaneously >starts as early as 1925. Mostly traditionals as I can gather from the >credits, very few originals. Haven't a clue if it sounds like the real= thing >though! I've heard the Kilima's and they don't sound very authentic to me, I guess= =20 you can't expect anything else from a comp called Herring & Hawaii... Anyway, mentioning the Kilima's made me remember how I used to sneak out=20 of school in the early 70's to play billiards with veterans of the last Dutch colonial wars in Indonesia in the late 40's, police actions as they were euphemistically called, in a small harbour cafe (yes, Vader Abraham's "Kleine cafe aan de haven" was a perpetual hit there). That's where I first heard Krontjong .=20 Here's what MELANIE TANGKAU says about it on the Dutch Pasar Malam=20 (traditional Indonesian market) website: krontjong (keroncong in=20 Indonesian) is a typically Eurasian music style, with European and Asian roots; its birth at the end of the sixteenth century probably makes it=20 the first east-west-world music in history. The genre is related to the Argentinian tango and the mornas from the Cape Verdi Islands (made famous by Ces=E0ria =C9vora). Toegoe, then a small village outside of the capital= =20 Batavia, today a district of metropolitan Jakarta called Tugu, was the=20 birthplace of krontjong.=20 There are two articles explaining the history of krontjong (it seems to=20 have the same roots as Hawaiian music...) in more detail, in Dutch alas,=20 but I'm willing to translate if there's any interest... Cheers, Ton *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** Ton Rueckert Mozartstraat 12 5914 RB Venlo The Netherlands *** *** mojoto@plex.nl http://www.plex.nl/~mojoto Ph 31/0 773545386 *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ Beware! Your bones are going to be disconnected. ~~~ ~~~ ~~~ http://www.geocities.com/BourbonStreet/4264/music/Xbe3975.ram ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ # 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 #540 *****************************