alocispepraluger102

THE NFL HAS DELIBERATELY AND INSTANTLY MORPHED INTO A BUSH LEAGUE, JUST A STEP OR TWO ABOVE THE WWE. THEIR NEXT MOVE WILL BE CERTAINLY TO SILENCE THE RAMPANT PLAY BY PLAY CRITICISM BY FOLKS WHO CALL THE GAME.

link "The university spends tens of thousands of dollars alone branding Gee around his signature bow ties. Since 2007, Ohio State has spent more than $64,000 on bow ties, bow tie cookies and O-H and bow tie pins for Gee and others to distribute, the newspaper found."

had the call been reversed, seattle fans may have rioted.

sickening--the packers were very classy in a bogus defeat.

No one other than the club owners are getting paid. This was discussed sometime last year in a thread. There should be something that will go to the musicians. I don't want to sound like a righteous saint, who I'm not, but until the artists get something, I won't join. It's only fair. the 'heroic' idea of 'keeping the music alive' wears thin after a bit. even a $20 per musician "internet tip" would be something. Allen (or whoever said this--it's confusing), you are dead wrong about this. I don't care who said what in what Internet thread. They are also wrong, period. No one, owner-wise, is 'getting paid'. Spike is operating at a loss and trying all sorts of things to keep the club alive. Musicians will share in the profits down the line, and get paid for every gig except matinees, which are door gigs--and everyone doing those knows the deal going in. That's ending anyway, b/c no one comes and it's time to try something else. There was a meeting for musicians who perform at Smalls last winter. I attended, with lots of others--including representatives of local 802. The subject was the very one of how to compensate musicians for their appearance on the web stream. Spike is a good guy and a mensch. No one is profiting off of musicians at Smalls. And if it closes there will be only one fairly priced venue, Fat Cat, for non-name but worthy musicians to play jazz in NY. And who's going to pay musicians for streaming if the public doesn't support it? Will it fall from the sky like manna? So please, with all due respect---and you know I have quite a bit for you, a little less ill-advised complaining and more support would help. A lousy $5/month isn't much to ask, is it? your point is well taken, joel. you have my sincere apologies. jerry

as i wrote before: to me, the music sharing system SPOTIFY is an only slightly altered reincarnation of the defunct NAPSTER. SPOTIFY claims 11 million users.

alex is getting the most out of his ability; he is, with lots of dedication, far far better than i ever expected him to be coming out of utah. would that the brownies had one alex smith.

i haven't unplugged yet, but i made the y investment 3 years ago. your family made a wise choice, jim. if there's tv you really want to see, most ymcas have many free tvs and wifi, to boot. i usually prefer listening to radio broadcasts of sporting events to watching. they are less confining, with less bs, and much less hype.

3:15 PM: The Oakland Raiders announce receiver Darrius Heyward-Bey was released from the hospital Monday morning after suffering a concussion & neck strain during Sunday's game against the Pittsburgh Steelers.

i find the spotify search mechanism occasionally finicky. i would rephrase the searches, if unsuccessful, in numerous ways.

IF YOU DO AUDIOBOOKS, HERE ARE 5200 PUBLIC DOMAIN TITLES. LINK Novel — Pride and Prejudice by Jane Austen Non-fiction — Capital, Volume 1 by Karl Marx Poetry — The Rime of the Ancient Mariner by Samuel Taylor Coleridge Drama — The Importance of Being Earnest by Oscar Wilde Logic — Prior Analytics by Aristotle Children's literature — Children's short works collection Spanish — Don Quijote by Miguel de Cervantes French — La femme de trente ans by Honoré de Balzac Chinese — Lun Yu (The Analects) by Confucius Finnish — Rautatie by Juhani Aho

interview with spike---LINK You were born and raised in New York City and part of the inaugural class of the New School jazz program. What was the scene like at New School at that time, and in New York? The new school – I went to New School September of 1986. Earlier that year I had read in the New York Times that Arnie Lawrence was going to start a jazz program in New York and they were looking for players to come and audition. I made an appointment and my adjudicator was Tommy Flanagan. I remember that the tune that I played was “Take The A Train,” only on the second chord of the A section, instead of playing D7b5, I was playing D-7b5. It was stupid, I didn’t know what I was doing. I remember playing (sings the melody), and then Tommy walked over to the piano, and in the kindest manner, said, “Don’t you mean this?” and played this chord on the piano and it was just like the most beautiful chord I had ever heard in my life. It was all like that. The first class was very small – only 30 students. It was really a unique experiment in education, led by a wonderful guru Arnie Lawrence, that I was lucky enough to be a part of. Brought a lot of people together. Some of the original guys in my class were Larry Goldings, Peter Bernstein, Brad Mehldau, Sam Yahel, Roy Hargrove. Quite a collection of guys. That band Blues Traveler, the Spin Doctors. It was just one classroom and Arnie would bring in Jimmy Cobb, or Donald Byrd, or Milt Jackson, or Art Blakey, or Cedar Walton. It would be one jazz legend after another coming in and hanging all day. We’d rap with them and play with them. Jimmy Cobb would get on the drums and start playing, and if you wanted to play with him, you would just play. There was no lesson beyond that. It was quite amazing. (Peter Bernstein stops into the club, and interrupts to say hello) It was a very open forum. The biggest impact on me was the fellow students, even though I had some teachers who were quite influential. I studied with Walter Davis, Jr., and Jackie Byard. Also had some lessons with Kenny Werner when he was still a young guy just coming up. I was his first student he ever had at the New School; I learned a lot from that guy. I love Kenny. It was quite an environment. The other thing with New York at that time was that it was still a thriving jazz scene. There must have been a hundred jazz clubs – major ones, little ones, all over town. One of the first gigs I had was at the Village Gate, running their jam session every Sunday afternoon. A lot of musicians came through there. I was an arrogant young man and had my ass handed to me on a platter quite a few times.

baltimore raven fans tonight shout bullsh-t to the scab refs. http://www.youtube.com/watch?v=Kz_JHWRQGgE

his last live recording

schaapy just announced that he TEACHES at julliard.

:rhappy:

barry's incredible london jazz composer records are on intakt. i ordered several items from the maya label and had to contact barry's wife by email to order them. swiss banks don't take u.s. postal money orders, checks, or credit cards. i think i sent the money eventually by exorbitant western union to switzerland and they had to drive xx miles to town to get it. the money took so long to get there that maya homburger(barry's wife) thought me a prankster and got understandably impatient and cranky. i think bob rusch may carry intakt and maya. the music was worth every penny. Is that for the recordings of Les McCann, Hank Crawford, David Newman, Roy Ayers, Herbie Mann etc or other stuff? MG MG, I'm thinking Mose Allison, Herbie Mann, Roland Kirk; and the Herbie Mann labels Vortex and Embryo which had Miroslav Vitous, Chick Corea, Attila Zoller and others. limelight issued the worst sounding recording i have----- milt jackson at the museum of modern art. embryo issued some excellent and very creative recordings.

of current labels, patrik landolt/barry guy's little known label intakt consistently produces stellar projects.

photos

I don't listen to musicians at all - I just follow labels MG goldy raises a fine point, in jest. don't tell me we don't have some old, hopefully, reformed, prestige, riverside, and mosaic freaks. back in the early 70s, i had this ecm hangup for a year or so--i wouldn't buy anything else. i'm cured. these days you couldn't give me an ecm recording unless it's an old vinyl. throughout most of my life, you couldn't give me an A&M or CTI recording.

an attorney friend, a retired air force officer, tells me of the measures many service wives went to, to extract benefits from their dead or missing hubbies. many of the wives had gotten divorces from their service partners in mexico, and conveniently suggested they were null, upon a soldiers death. many wives were golden; just as many were opportunists.

San Francisco Giants manager Bruce Bochy on suspended player Melky Cabrera getting his name withdrawn from the 2012 NL batting title chase: "Good for Melky .... It shows something about his character." :rolleyes: :rolleyes: :rolleyes:

Hey, you can have Delmark instead of Deutsche Grammophon, which ain't a jazz label. Or I'm going to put Syllart back in I'm not familiar with the whole range of Rounder - only have a couple of jazz albums on that label. Oh, and Columbia (not your choice, I know, Bebop) is hardly a jazz label. Only a tiny proportion of its output has been jazz, compared to Atlantic, Savoy and Chess. MG Columbia may not be primarily a jazz label, but look what you get! ! Louis Armstrong, Billie Holiday, Benny Goodman, Miles Davis, Monk, Mingus, Stan Getz, Ellington, Muddy Waters, Bessie Smith,Coleman Hawkins, Ben Webster, and countless others. amen.

for honkers and screamers, are you sure you don't want 60s and 70s impulse?