alocispepraluger102

in fairness to our board members, i started this thread wondering if anyone had heard from bill barton, wondering if he was ok. had i known where it would have led us, i would not have begun it.

i still go about loving the beautiful i see and hear with no respect for time or society, and with increasing isolation. that comes with growing old, i guess. strangely, i mix that romanticism with a generally despairing pragmatic, matter of fact, view of life. what i cannot reconcile, i haven't come close, is me, an agnostic leaning heavily to atheism and having a deep, deep love for the finest spiritual and sacred expression.

there is the unlikely, but completely plausible possibility, that another individual might have used bill's computer. i don't personally feel that to be the case here, but we should consider it.

mighty men might nomadic grachan moncur III

http://www.mrsec.com/2011/09/report-texas-lawmakers-about-to-get-involved-in-sec-expansion/ According to Orangebloods.com — the Rivals site covering the University of Texas — lawmakers in the Long Star State are on the verge of involving themselves in Expansionpalooza 2011. If they do, that could potentially be bad news for the SEC. Until late last week, Texas politicians had given Texas A&M a free-pass to exit and head east to the Southeastern Conference. But now legislators are worried that Texas and Texas Tech could bolt from the Big 12 and race west to the Pac-12. Some/many/most politicos in Texas don’t want to see that happen. So… According to Orangebloods: “Sources said the reason lawmakers are hot is that they received assurances from the Big 12, including (UT president Bill) Powers, that the Big 12 would survive without Texas A&M. And because of those assurances, lawmakers did not take an aggressive stand against Texas A&M withdrawing from the Big 12. But that may be changing. Sources said members of the Legislature are or will be reaching out to Texas A&M president R. Bowen Loftin to tell him the Aggies may no longer have the blessing of lawmakers to leave the Big 12, especially if it looks like the Big 12 will collapse.” In addition the site claims that Big 12 sources have said there is “an increasing likelihood of litigation” against the SEC. Good luck to the Big 12 on that front. The Big Ten began the expansion craze last summer. The Pac-10 then began flirting with Texas and others in an effort to swipe four- to six-teams from the Big 12, which would have extinguished the conference in one push. The Pac-1o was conducting an all-out raid last summer. By comparison, the SEC simply answered a phone call this July.......

speedo

(1024x768) off to the extended beer drinking marathon at martinis. see you on the other side!!!!!!!! on tap, in the can, or in the bottle-hank thompson

there are NO excuses for the lack of personal accountability and responsibility, as far as i'm concerned. we all have lots of excuses where we could justify lots of things, but most of us chose to accept personal responsibility and the consequences.

Well, as I am always hinting here, the problem of jazz is that it is boring to most folks, and rightly so. Interesting to musicians, and the recorded music is interesting to collectors (often people without any musical preparation). So it is for musos and - ok I won't provide a term but people who like lists of records, personnel, recording dates, and the corresponding lines of objects. It is basically rarely interesting as composition (instrumentalists mistakenly think they are composers and think that their passe musical ideas are different idiomatically rather than just being cliched and outdated) and does not really work well as either a popular or public music - i.e. not catchy, but no gravity either. I'm not applying this to the music of the 20s and 30s which worked differently and in a different context, and in terms of the 30s is still organically connected to a lot of what gets done popularly today. Much music is minor music, that's it, and it is all optional (Zappa's idea: the world's finest optional entertainment). Contrary to the presumed attitude of the jazz audience aloc described, jazz is not so highbrow, but it is fiddly, fussy and musician centred, and if you ever worked with musicians you'll know, uh, all about that... you are getting awfully close to the kernel, david, and in very few words. thanks.

one of jazz' biggest problems is that it is too often arrogant and exclusionary. walk in to the usual 15 people attending a jazz concert, and there is usually a certain arrogance, or at least intolerance of uninformed remarks, nonjazzmusicians, or questions. i'm guilty, and i don't even play....... if jazz is fucked up, you and i bear our individual burden of blame.

http://blogs.ottawac...azz-that-sucks/ 4) Trumpeter Nicholas Payton weighed in this morning, via Twitter: “I don’t see how any sensible person can look at all the bulls— masquerading as Jazz being celebrated today and not know why Jazz sucks.” Uh oh. His elaborations are here.

roses may soon bloom in this lowland again, and shed their blooms at autumn's call. earth reclaims man's spent structures as effortlessly as rose bushes shun their dying petals. when men choose to help, it is the better. (1024x768) http://www.youtube.com/watch?v=BorLMmHve44

everyone's gone to the moon (1024x768) (1024x768) i look for real things. not much is. not the the painted faces on tv spewing government and corporate mind control. not those politicians and preachers and lovers lies meant to seduce me. not the 'friends' and family who only want my money, nor the painted ladies with tonka toy emotions a sincere smile, or someone sobbing on my shoulder, a mahler symphony, a ben webster ballad, or even a sincere emotinal outburst from a loved one, or a lonely train whistle in the night, an old old hound dog, that glass of lovingly made bourbon, or for breakfast a fried egg sandwich at white castle... these are the things i live for. 99% of the rest is roadkill. everyone's gone to the moon jonathon king Streets full of people All alone Roads full of houses Never home Church full of singing Out of tune Everyone's gone to the moon Eyes full of sorrow Never wet Hands full of money All in debt Sun coming out in The middle of June Everyone's gone to the moon Long time ago Life has begun Everyone went to the sun Cars full of motors Painted green Mouths full of chocolate Covered cream Arms that can only Lift a spoon Everyone's gone to the moon Everyone's gone to the moon Everyone's gone to the moon More lyrics: http://www.lyricsmod...han_king/#share

You're welcome. (Now we'll start working on capitalization). ted, or Ted now you've gone a little too far, Ted. my good friend Goodspeak and myself had extended vitriolic exchanges lasting days over capitalization some years ago on this forum. it ended amicably. my beloved cat is now named Ms. Goodspeak.

i've corrected the matter, ted. thanks for reading, and your input.

in the field of light music of the 50s, british arranger johnny douglas, among a very few others, was a personal favorite. listening to some of his string music this morning, i am taken by the deight of his arrangers. he comes to mind as i listen to his delightful album of harold rome compositions. i never saw any of his name credited as arranger on the early melachrino and stapleton arrangements, but i'm sure, many, if not most, were douglas arrangements. the music was pleasant and singing, never dragging and lugubrious. douglas was one of the early arrangers of the living strings albms, when they were good, really good. on this september morning when one tends to survey some things, it's good to give johnny douglas a spin. his music was special to me. johnny douglas obit from the independent Railway man: Johnny Douglas's best known work was the score for The Railway ChildrenThe composer, arranger and conductor Johnny Douglas, who has died from prostate cancer aged 82, is best remembered for the evocative, nostalgic score he wrote in 1970 for Lionel Jeffries's screen adaptation of the Edith Nesbit classic, The Railway Children. But the range of this enormously gifted musician is indicated by the range of artists he worked with - among them Shirley Bassey, June Bronhill, Max Bygraves, Vera Lynn, Frankie Vaughan, Barbra Streisand, Harry Secombe, Kenneth McKellar, Frankie Howerd, Al Martino, Mantovani, Ann Shelton and Billy Cotton.Douglas was born in Hackney, east London, and, by the age of two, could pick out on the piano tunes played by his uncle. He took formal piano lessons from the age of four and, by 11, was studying scores and band parts while listening to recordings. By learning about instruments and their transpositions, he began to appreciate the finer points of composition and orchestration. As a scholarship boy at St Olave's and St Saviour's grammar school, Bermondsey, he formed a dance band, mainly of school friends, and developed it to such a high standard that it regularly won awards. His first professional job came in 1939, as pianist with the Neville Hughes Sextet. The outbreak of the second world war took him into the RAF, where again he formed a dance band. An arm injury put a stop to his piano-playing for a couple of years, and by the time he was fit again, arranging and composition work had become dominant. In the immediate post-war years, he was kept busy arranging for such band-leaders as Bert Ambrose, Ted Heath, Edmundo Ros and Cyril Stapleton. For Stapleton, he also continued as a pianist. From 1948, Douglas took a staff job with a music publisher, in order to be able to arrange for full orchestra, and, in 1952, he had his first big hit with the backing for Tex Ritter's recording of High Noon. In all, he provided the arrangements for around 500 titles on the Decca label. Already a seasoned radio broadcaster, in 1955 he was given a show with his own orchestra, In The Still Of The Night. Swing Song was another favourite BBC radio series in the 1960s, and, in the 1970s, he was a regular conductor on such Radio 2 programmes as The Terry Wogan Show and Charlie Chester's Sunday Soapbox. On television, he provided musical support to top international stars. In 1958, the grande dame of RCA, Ethel Gabriel, asked Douglas to provide arrangements for the album Living Strings Play Music Of The Sea, a project that gave him the long-sought opportunity to work with a full-sized orchestra as both arranger and conductor. RCA was delighted with the result, which began a quarter-century collaboration that saw the creation of more than 80 albums, one of which, Feelings, went gold. Douglas wrote the scores for some 36 pictures, starting in 1962 with The Day Of The Triffids, which he co-composed with Ron Goodwin (obituary, January 11 2003). Other notablecredits were Circus Of Fear (1966) and Run Like A Thief (1967); the score of The Railway Children was nominated for a Bafta award. The television films and series he provided music for included The Incredible Hulk (1982), Dungeons And Dragons (1983), The Transformers (1984) and GI Joe (1990). Douglas established his own easy-listening record label in 1983, taking its name, Dulcima, from a 1971 film adaptation of an HE Bates story, for which he had written the score. The freedom this new venture gave him to choose his own material, and have full control over its production, enabled him, in 1999, to commit to disc two symphonic poems, The Conquest and The Aftermath. Both were recorded by an orchestra largely made up of his numerous friends and colleagues. Sadly, Douglas's creative energies outran his physical health, but those who knew him will remember the kindly-looking, bespectacled man who succeeded in combining bonhomie and authority in the course of a 60-year musical career. He is survived by his wife Marion and daughters Norma and Martine; his son Martin predeceased him. · John 'Johnny' Douglas, composer, arranger and conductor, born June 19 1920; died April 20 2003 © 2011 Guardian News and Media Limited or its affiliated companies. All rights reserved.

AWESOME VENERABLE BEAST!!!!!!!! yours???? speeding, drunk, no tags, loud cherry bombs, loud stereo? Not mine, alas... I don't even drive (no need - most of Switzerland by now is kind of suburbia, you get trains and buses everywhere, at least once every hour). Read about it only - seems the steering wheel was too lose for today's rules... my 57 hudson wouldn't have passed swiss standards. the steering wheel had near a turn and half of play.

AWESOME VENERABLE BEAST!!!!!!!! yours???? speeding, drunk, no tags, loud cherry bombs, loud stereo?

it's so hard to say goodbye to yesterday this time-trashed morris minor was in the same spot when i was by this lot just off near north trimble a few years ago. "she is now gone for sure." i chanced by yesterday, and much to my delight, THERE SHE WAS(!!!!!), the ancient morris minor 1000 sedan,and the huge blue road coach with 1999 historic license tags, too!!!!! like a cat spotting a rottweiler, my head snapped round. i saw HER. there again were the parts men proudly built for her; some still gleaming. the men on another continent who built, drove, and loved..., and their cares and creations, are dust now, mostly. tree roots in cemeteries spike through their frozen hearts and thoughts as they sleep deep in their flimsy cradles; they are on their journies to wherever men of earth go. between you and me, if i happen by here in a couple of years, i hope she is.... Resized to 69% (was 1024 x 576) - Click image to enlarge Resized to 69% (was 1024 x 576) - Click image to enlarge Resized to 69% (was 1024 x 576) - Click image to enlarge Resized to 69% (was 1024 x 576) - Click image to enlarge Resized to 69% (was 1024 x 576) - Click image to enlarge boyz II men it 's so hard to say goodbye to yesterday.

angelo badalamenti

they would use motor boats to issue tickets in my town.

in the old style every time we say good bye http://www.youtube.com/watch?v=nJbXnqnKlMI

i heard that bit of extended buffoonery(and have it here on a drive), except i remember it going on for what must have been half an hour. if anything, you understated the absurdity of the routine. it seems to me, that without phil's ridiculous hyperbole, the station as we've come to know it would not exist. wkcr is like having pinto bean soup with the rocks left in. great art has strange and unlikely bedfellows.

sincere thanks for so eloquently expressing what i feel in my heart. i'm a contributor. i savor all i can, for wkcr as we know it could end on a moment's notice. i don't want to think about a time without wkcr.

let's take a look at our facebook selves. aren't we ridicule-ous(sic)???? of course, you and i aren't like THAT.