Captain Howdy

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About Captain Howdy

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    Supa Groover

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  1. OK I'm out. When mods start deleting big chunks of threads that's my cue to leave. If I wanted that kind of Big Brother shit I'd go hang out in Hoffman. You can delete my account too. I won't be coming back.
  2. You've got it backwards: the story here is not that he made an inappropriate proposition: that happens in thousands of bars every night. The story is that he treated her badly once she became a paid member of his band: that's the #metoo part. But she kept going back for more abuse, so I have little sympathy for her. IMO #metoo is about men in positions of power abusing their power to to get sex from the women under them. The key word is power and it's why women often have to bend over backwards to depict their "victimizers" as powerful men. That's why Louis CK got a raw deal: he made an inappropriate proposition but he was not in a position of power to exploit anyone. Likewise, Coleman was not in a position of power over Grand -- at least not until she put him in one. It's not as if you have to fuck Steve Coleman to have a career in jazz. Steve Coleman is not the Harvey Weinstein of jazz.
  3. Your saying so doesn't make it untrue or misogynistic. Also, unless occasionally listening to jazz and posting here counts, you can't say I'm "in jazz."
  4. Perhaps the jazz world is is toxic and unwelcoming for women because everyone assumes they're all whores who got where they are on their knees. Grand used her pussy to gain entrance into the jazz world and then complains because her hard work, ability, and talent aren't taken seriously. She complains about the "systematic abuse of women all across the board" but does she ever stop to to consider that she's part of the problem? She writes "I'm letting it happen to other younger women, I'm letting people get away with things they shouldn't be getting away with." Yes, and why is that? Because when the next young woman approaches Coleman, he's going to expect the same thing from her that Grand willingly gave to him. If Grand had refused him, maybe he wouldn't expect it so readily. Grand teaches men not to respect women. Nobody respects a whore. "The strangest thing is that he's told many people about my ability and my talent; but to me, he would say that I would've never gotten to where I was if it wasn't for him and for his attraction for me. It was like all the hard work I put in didn't matter to him." "I was trying to keep a professional vibe while in public. I felt that people knowing that we were sleeping together would mean that they would not value me or respect my abilities..." "What hurt me and discouraged me the most was the fact that it seemed my hard work or ability did not matter when it came down to being a professional musician."
  5. I'm not victim blaming because there is no victim here. She could have walked away at any time long before they started having sex, back when he showed her photos of her he took while she slept, back when he told her hanging out "in my case and in the case of other young women, meant having sex with whoever you were hanging out with." And she could have walked away at any time afterwards. But she chose to keep coming back. "I felt I HAD to do this because I was getting to be in the best musical environment I could possibly be in, and I didn't wanna lose that. ... There was many times where I played into his game. Where I said what he wanted to hear. Where I initiated conversation with him, and when I tried to keep in contact when he had told me to leave him alone. I simply felt that if I lost contact with him, I would lose contact with music, with my purpose in life, and with my work." Women like this want to absolve themselves of all responsibility and blame all of their bad decisions on The Toxic Males. Also, note that according to her own narrative she had turned 18 by the time he convinced her to "be intimate with him."
  6. Any Idea Who's In This Lucky Millinder Band (1948?)

    It is indeed. Out of curiosity I tracked down the movie this was taken from. Here are the personnel for the Millinder band: BOARDING HOUSE BLUES (1948) (excerpts) Lucky Millinder & His Orchestra: Personnel (prob.): John Bello, Harold Johnson, Archie Johnson, Leon Meriam (tp), Alfred Cobbs, Gene Simon, Frank Mazzoli (tb), Burnie Peacock, Sam Hopkins, George Nicholas (as), Clarence "Bullmoose" Jackson, Sam "The Man" Taylor (ts), Ernest Purce (brs), Sir Charles Thompson (p), Bernard Mackey (g), Jerry Cox (b), Panama Francis (dr), Lucky Millinder (dir/vo). "Unidentified title" (2:28) "Sweet Slumber" (3:56) (Lucky Millinder) vocal by Paul Breckenridge "Let It Roll" (2:39) (Berry) vocal by Annastine Allen "I Love You, Yes I Do" (3:27) (Andy Gibson) vocal by Clarence "Bullmoose" Jackson "Do The Hucklebuck" (3:27) (Andy Gibson/Roy Alfred) Note that Annisteen Allen's name is misspelled.
  7. Any Idea Who's In This Lucky Millinder Band (1948?)

    Picture quality is better in this clip.
  8. Any Idea Who's In This Lucky Millinder Band (1948?)

    Scans are on now. If these URLs stop working, search for "lucky millinder" and select media type: image. Mine were added Jun 20, 201.7
  9. Any Idea Who's In This Lucky Millinder Band (1948?)

    If anyone is still interested I can post the scans from the Chronological Classics for 1943-47 and 1947-50 which include discographies. If you have a preference, let me know where you'd like me to upload them, as it seems they're too large to attach here. I tried uploading to but it's not cooperating. 1947-50 is up there, at least for the moment, but 1943-47 never showed up.