AllenLowe

I've got a drawer full of 12ax7s, another full of 6v6s, another full of 5u4s, 5v4s and 5y3; a few 6L6s - all of the previous are 1950s and 1960s tubes, and it ain't a myth, they are better - sound better, and play longer (I'm using them in guitar amps) - getting expensive however, thpough there's still a few bargains on Ebay if you keep your eyes open -

I juts want to put in a word for Lee Harvey Oswald, as Clem mentioned that he has an October birthday - there is a record out there of his debate on a radio station in New Orleans, in 1963, so he should get some air play - particulary interesting is that on the record of the broadcast he says that he was in the Soviet Union "with the protection of the United States government."

Weeb Eubanks Earl Hines Cuts the Webbing On His Hands Hines, Hines, and Dad

Jim - I understand and basically agree with your arguments - I would add that you can reduce your costs by using all available tax deductions relative to your music and the CD self-productions costs - but you have to be scrupulous in your accounting, for both costs and profits, or the IRS will be all over your butt. Self-employment in this respect is a red-flag for audits. But if you're in a 28 percent bracket, for example, a $10,000 business expense can be reduced, in real cost, to about $7200 - take your gig mileage, etc etc etc and you can help yourself a lot. However, you may already be doing this - as for CDRs and downloads, this is one area in which I am determined to swim agains the market tide - we've talked before about what a disposable musical economy this is, too much being produced as downloads, which de-values the collective idea of a cd album project. To me, at this time, continuing to do it differently may help me to stand out from the crowd. I look at CDs like novels or collections of short stories or even short films. And in doing so I want to produce something permanent and lasting - and CDRs just do not do this for me - YMMV, as they say -

I didn't know Cecil had implants - that explains a lot -

best way is to use a record box - check Bags Etc or something like that on line - they are made of cardboard and do the job nicely -one LP can usually be mailed for approx. $6 I think, though I haven't done this in a while and postal rates have gone up -

yes, I agree - I would pay based on longevity and durabiility - a real CD is like (or at least we hope it's like) a good hard cover publication of a book - as opposed to, say, a photocopy, which is how I regard a CDR in terms of intrinsic retail value - -

you can tell by looking at the bottom - just compare it to one you know is a real one - as for CDRs, it is reprehensible to sell them without telling people what they are, and I personally would never pay more than maybe $5 or $6 for such - blanks cost 'em maybe 30 cents, and it's not like they have to do anything once it's in the duper - this is really a bad thing for a big lable like Nimbus to be doing - Swingtime was Bill Hebden's label, with the worst sound restoration work ever done - run from these CDs if you see them, CDR or not -

ahh, to live near a festival like this one, oh well, Portlan Maine is about 10 years behind the times, musically speaking - I did go on-line to listen to Gutbucket, however, and don't know if anyone saw them at the fest, but that is one tired-sounding group. Same old same old, so hip that they are so un-hip (in one posted video, the sax player jumps around like a rocker; I kept hoping he'd bust his mouthpiece). Did anyone get to hear them at the event?

there's Boots Mussuli - of course, all of these guys may just be passing -

" if real, the balls might be worth about $1,000 to $3,000 each" I wouldn't pay a nickel for OJ's nuts -

I sold my Shure 330 on ebay - got a lot more money for it than it was worth -

my favoroite is Night of the Iguana - also, great Richard Burton and Ava Gardner -

last chance - than we're going underground for a few weeks - "Look at us we're walking, look at us we're talking, those who never walked and talked before..."

I hope you do get to meet John Szwed - he's an old friend. Years ago I mentioned to someone who owned a record store and who knew Szwed, that John was a Yale professor - he looked at me in amazement and said "but he's such a nice guy!"

here's my plastic saxophone -

"This quote reflects something I said in another thread. Remember Jason?" I do; my advice: run the other way - I like Chuck, but he has some bad friends -

good man - I'll push this for one more day and than give it a rest until November 1 -

you're being too nice -

well, a few years ago I was discussing the bebop era with someone - and we figured out that virtually every great musician of that era was a junkie of some kind - so there may be something to that -

now I feel guilty - but at least she has good taste in some things -

I figure, if nothing else, I can use this topic to pass Sangrey in number of posts -

hey, do it, where's the money? SHOW ME THE MONEY!

well... I owuld be cautious with a book like this, and just to offer full dislosure, there is some bad blood between myself and Ingrid - she tends to have a classic academic perspective, long on sociology and short on real musical understanding, with a lot of PC stuff thrown in from the perspective of race. I listened to one of her lectures years ago on music and Civil Rights at some conference, and Dan Morgenstern, who sat beside me, whispered a correction in my ear every time she made a mis-statement. As for that bad blood, I have long battled against academia on the Jazz Research internet group (run by the esteemed and now absent-from-organissimo Michael Fitzgerald) and she got furious when I made certain criticisms of Sherry Tucker's book Swing Shift (which presents the novel theory that Billie Holiday was ashamed of her blackness) -

not a single bite yet on this one, so extend a bit -