carnivore

Aimee Semple McPherson William McGonigle Dr. Mac

Hamburger Lamburger Lumumbaburger (Mad Magazine c. 1956)

Joe Harriott Bertie King Carl Barriteau

Vidal Sassoon Siegfried Sassoon Sieglinde

Peter Gunn Gus Cannon Maximilian Schell

Kisten Wiig Old Christine P.H. Newby

I'm pretty certain that it was Kurtzman who went on to publish a new magazine - 'Help' which had some great stuff in it...'See the Merino With His Long Shaggy Hair' and parodies of 'Fumetti'

Fred Niles Lord Cherwell Tiberius

Old Bob Gropes Andre Preview Andy Pandy

Don Marquis Marquis de Sade Krafft Ebing

Charles Havers Jean Esbitt Dans Le Monde

The Yama Yama Man The Raspberry King Blind Lemon Jefferson

Jeru Jerry Jerome Jerome Pasqual

Winken Blinken Nod

Red Nichols His Five Pennies The Ten Black Berries

Lavrenti Beria Genrikh Yagoda Nikolai Yezhov

Little Lord Fauntleroy Little Jimmy Dickens Little Jack Little

Oliver Hardy Fatty Arbuckle Billy Bunter

Fast Eddie Speed Webb Zippy the Pinhead

Duff Cooper Chips Channon Hore-Belisha

Hakan von Eichwald Charles Redland Arne Hulphers

- yes of course he did and a combination of Louis and the very early Kenton band - Harlem Folk Dance, Body and Soul, for instance might have worked but I wasn't advocating Louis with other people's bands and it's plain that that's not what you had in mind when you threw Kenton into the mix was it? ('pretty good if generic swing band'? - you certainly know how to damn with faint praise, don't you...) as it turned out rather than Kenton, Louis actually wound up with something more approximating Gus Arnheim.... but that doesn't really address the point which you still don't seem to be able to understand - forget all the stuff about 'African American entertainment etc etc' - are you seriously claiming that 'Pops wouldn't have been Pops' if better arrangers than the likes of Chappie Willett had supplied some charts? Armstrong the brilliant improviser of the 20s was still alive, well and comparatively young in the thirties and deserved better than the combination of worn-out popular songs and novelty items, mostly scored in stock arrangement fashion, that he was saddled with. Material that was more challenging would almost certainly have been good for Armstrong and his body of work. Some of us on the list have listened as widely - and thought about jazz as deeply as have you. Just came to different conclusions I guess.

Emily Post Billy Mayerl Phil Gramm

which is, of course absurd and you seem to be missing my original and somewhat more modest point which was that it would have been interesting and possibly very productive if Armstrong had recorded with charts by the likes of Jimmy Mundy, Eddie Durham, Sy Oliver, gosh - maybe even Duke himself, Jerry Gray, Eddie Sauter and so on.....(yes - I know he recorded with Oliver later on). There's little in Louis' recorded output from this period that I haven't heard many times over (even Elder Eatmore) - probably more times than you've had hot dinners - and as far as I'm concerned they are mostly good, sometimes great performances by him - and I get it that Glaser and Kapp were marketing what they thought of as a a pop star. But Louis was also more than that and to say that the arrangements are not always top notch and equal to his talent hardly seems to me to amount to 'misunderstanding the entire nature of African American entertainment' I trust you're not out on that slippery slope that resounds to the slogan "It's All Good" which we hear increasingly these days. Finally - to throw Kenton into the mix is, with respect, a bit pathetic.

Psyche Eros Voluptas