Christiern

Sorry, Greg. Yes, it's the slot on the right upper side. Some models come equipped with the superdrive (i.e. CD/DVD burner).

I assume you mean in design... Yes, but OS X is also way ahead of Microsoft, stability being one of its assets.

7/4: Still expensive. It's not a PC from Dell. Quality always costs more. 7/4: Does it require a new operating system to make all your old software obsolete? It comes with Apple's OS X (Panther) but Connectix's Virtual PC (now owned by Microsoft) will allow you to run Windows and its applications. 7/4: Or when the new OS is released, is this machine obsolete? When the new Mac OS (Tiger) is released, it will work seamlessly on the new iMacs. GregK: Where do you put CDs? Chris, will you be getting one? I guess those are two questions, Greg. I had shelves built for my CDs (several thousand were stolen from me, but there are still a few thousand left). I can't afford a new Mac right now, but you can be sure that I will eventually get a G5. Having bought computers since 1978 or 9, I have learned always to wait when something new is introduced--prices come down, problems are corrected.

Any discounts offered? Ever seen a Rolls Royce sale? B-)

It has a keyboard that neatly slides under the computer. It comes with 17" or 20" screen, and starts at #1,299. Very fast very quiet, very ahead of any PC I have seen. BTW, the stereo speakers are at the bottom, facing the desktop and designed to bounce the sound up at you.

Affordable and amazing....

Successful radio show, hit pop recordings, but absolutely no jazz value, IMO.

Actually, he never existed. Ira Gitler made him up.

....and I believe Haagen Dazs is actually an American company (not that it matters ). I did not mean to imply that Häagen Dazs is in any way Danish. It is an American product which, when it was launched, was marketed as "the real Danish ice cream" and featured a map of Denmark ion the advertisements. Denmark called it false advertising (which it was) and filed a complaint, so Häagen Dazs (which sounded Danish to the guy who came up with it, but fooled no Dane) became "the real ice cream." Like I said, it is good, but the rich, creamy stuff I grew up with is better.

Funny, but I avoid Breyers. I find it too watery--let it melt and you will see how diluted that cream is. Häagen-Dazs is far superior, IMO, but nothing beats the ice cream one can get in the country--I grew up on Danish ice cream (no air pumped into it), so I guess I'm spoiled.

A few years back, before she became a movie star, Queen Latifah did a screen test for the role of Bessie Smith (she would be perfect, IMO); she sang from Bessie's repertoire and did a superb job.

This is the model I have--it has great sound and has proven to be very reliable. It is amazing how long it will run on its rechargeable AA battery.

Well, Bev, I've heard talk of infectious jazz, but I don't know of anyone who has died from it. Getting back to your question, I think we may inherit an adventurous spirit, which easily can translate into a love for jazz.

Love that boot, Patricia! No, I never wore platforms. Chaney, my moustache changed with my sideburns and coiffure. Never was much into jewelry, except a watch, but I did wear a medallion or something around my neck for a while. BTW, Ira Gitler is still wearing his! Here's a different hair style--it is from 1976, when my partner, Verta Mae Grosvenor and I did a weekly cable TV show called "Doin' It."

Yes, Patricia, that is an ankh--I still have it. I'll try to dig up a photo of me in a less "conservative" outfit. I had a weird suede suit and my hair was longer, but I never went for the love beads. I think I'm wearing something rather awful in the Mingus "Triumph..." documentary.

Hate to admit it, but this is how I looked when disco reigned and I thumped the light fantastic at Studio 54, Xenon, Electric Circus, etc.

How perceptive of you, Al. Yes, I have to admit that he was an inspiration,

I thought it might be interesting to see what my fellow posters either once wore or wanted to wear. While rummaging in a closet this morning, in search of some Lonnie Johnson tapes, I came across a 1972 issue of Ebony magazine. Flipping through it was a nostalgia trip, but nothing I saw is a match for the following. In fact, Eleganza was the place to send your money if you wanted to wear the right (?)threads. In case it is too small to read, here is the enticing ad copy: Sensational new California inspiration, guaranteed to make people turn and stare at any man who wears it! The light weight coat, of 65% rayon, 27% acetate, 8% mohair, is FORTY-THREE inches long, sweeping from a 9" pointed collar to a broad two button double breasted front, down to a slim, tapered open bottom for a truly striking effect. Matching slacks have 2 1/2" Continental waistband; 21" flare bottoms; front western pockets; slash back pockets. A868 Burgundy with Gray trim. A869 Black with White trim. A870 Black with White trim. Coat sizes: S,M,L,XL. Slacks waist sizes: 28 to 36. $39.95 ppd., or $5 deposit on C.O.D., you pay postage. Satisfaction guaranteed. See our collection of dramatically styled apparel and imported footwear.

Sad to say, if you check Sr.'s record as DA, you will find that he is not such a desirable person. I don't recall the details, but there was a decidedly racist incident. BTW, I think Jr.'s music is a rather large yawn.

I have a couple of lower-priced (under $400) dedicated slide scanners (one is Olympus), but neither gives me satisfactory results. Far better is my Epson 2550 PHOTO scanner, which I use in combination with Photoshop. I have scanned hundreds of old slides, dating back to the early 1950s and Photoshop makes minor "repairs" a breeze. Once you have the scans, arranging them in a reasonable, accessible order and moving them to a DVD is very easy with Mac's iDVD application--I'm sure there is something equivalent for the poor man's Mac

Not to be confused with Ray McKinley...

From Newsday: Tony Mottola, guitarist, dies at 86 August 10, 2004, 7:42 AM EDT DENVILLE, N.J. -- Tony Mottola, a guitarist who played with Frank Sinatra and on NBC's "The Tonight Show" over the course of a 50-year career, has died. He was 86. Mottola died Monday at Saint Clare's Hospital of complications from double pneumonia and stroke. Longtime friend and colleague Bucky Pizzarelli described Mottola as being able to read any piece of music put in front of him. "He could interpret something and it was really Tony Mottola," Pizzarelli told The Star-Ledger of Newark. "He put a stamp on it. His sound was very warm, tender and expressive. He never hit a bad note in his life." Mottola's career began in 1936 when he toured with George Hall's orchestra. He made his recording debut in 1941 in duets with Carl Kress. Mottola recorded with Sinatra a few years later. In 1951, he became music director for the CBS-TV drama series "Danger." He was a regular member of Skitch Henderson's orchestra on "The Tonight Show" from 1958 to 1972. Mottola also received an Emmy for his score to "Two Childhoods," a television documentary about the early lives of Hubert Humphrey and James Baldwin. From 1980 until his retirement in 1988, Mottola toured with Sinatra and was spotlighted in duets with the singer. Mottola performed for a month at Carnegie Hall with Sinatra and then went on to perform at the White House. Mottola played nearly every day at home after retiring, his son said. "He felt music kept his mind sharp," said Tony Mottola Jr. of Montclair. Mottola and his wife Grace, known as Mitzi, were married for 62 years. He is also survived by his son, three daughters, seven grandchildren and six great-grandchildren.

August 9, 2004 Village Voice Reduces Staff and Evidently Morale, Too By JAMES BARRON The Village Voice says it eliminated the executive editor post held by Richard Goldstein as part of a restructuring to focus on its online edition. Complicated internal doings, angry employees hinting that things are not what they seem: It sounds like the stuff of a story for The Village Voice. But this is a story about The Village Voice, which made its reputation as an outspoken liberal weekly newspaper with famously cantankerous writers. As it approaches its 50th anniversary next year, its publisher says that advertising "could be better," though its editor in chief says it is profitable. And it is coping with the Internet and newfangled competitors like craigslist.com, whose listings have done for a new generation of apartment-hunters what The Voice's classifieds did for their parents, or even their grandparents. The latest change at The Voice was on the masthead. Last Monday, one of its executive editors, Richard Goldstein, left the staff. A spokeswoman for The Voice said he had been "laid off as part of a restructuring of the editorial department." Several of The Voice's best-known writers said his departure came after a tense and unhappy time. Mr. Goldstein, who had been an editor at The Voice for nearly 30 years, took issue with the idea that he was laid off, saying he was fired. He also said his departure had nothing to do with the layoffs last month. Among those let go were Sylvia Plachy, a photographer; Thulani Davis, a senior editor; Alisa Solomon, a staff writer; and Nita Rao, a fact-checker. The publisher of The Voice, Judy Miszner, said the layoffs were part of a restructuring that involved more than just the editorial department. "I want to describe it as a restructuring of our business, which is an ongoing thing relative to the changing environment and changes in how our audience is looking for information," she said. For his part, the editor in chief, Donald H. Forst, said the restructuring came about not because The Voice was in financial trouble - it is not, he said, nor is it for sale. "The restructuring situation is tied into our efforts going from a weekly product to, with the Web, daily journalism electronically, in which we're putting stuff up on a daily basis, sometimes on an hourly basis," he said. "The restructuring is putting new resources there, to the Web site, while at the same time maintaining the paper." Separate, apparently, from the restructuring and the six layoffs was the departure of the editor hired to oversee The Voice's editorial presence on the Web, Matt Haber. Mr. Haber, who had been The Voice's online managing editor for only five months, said he was fired last week. Mr. Forst said that Mr. Haber had been replaced by Nick Catucci, who had worked for The Voice as a freelancer. Also separate from the layoffs was the resignation of Cynthia Cotts, who wrote the column Press Clips. Mr. Forst said that she would be replaced, and that he was looking for an investigative reporter as well. Still, he said, the editorial staff is a bit slimmer now than it was a year ago, with 60 to 65 people now, down from "70, 72, something like that" on staff last summer, and two executive editors. "I had two executive editors, and I only needed one," Mr. Forst said, adding that he let Mr. Goldstein go because he believed the other executive editor, Laura Conaway, "was more valuable, at this point, to me." The executive editor is the No. 3 position in The Voice newsroom. Mr. Goldstein would not discuss his departure, except to say that it came after the layoffs and was not part of the restructuring. Ms. Miszner would not say whether he had been offered a severance package. Mr. Goldstein joined The Voice in 1966 after his student days at Columbia University. "I went right to The Voice," he said, and told the editor, Dan Wolf: "I want to be a rock critic." The response: "He said, 'What's that?' I said, 'I don't know.' He said, 'Try it.' " Mr. Goldstein left The Voice to be an editor at New York magazine. In the mid-1970's, Clay Felker, the editor of New York, became editor of The Voice and brought Mr. Goldstein back as a senior editor. Later, Mr. Goldstein was arts editor and executive editor. He originated the paper's "queer issue," about gay life, and helped coordinate its coverage of gay issues and AIDS. His departure upset some of the Voice's best-known writers. "Losing Richard Goldstein is a huge blow to The Voice," said Tom Robbins, a staff writer. "He was part of the fabric. It's unfathomable to me how The Voice couldn't figure out a way to keep him as a part of The Voice."

I first heard a Rev. Gates recording in the late 1940s and became an instant convert, as it were. Great recording on which the congregation has to share top billing, IMO.

Danny was always a walking jazz history book, but I don't think he played a special role in sparking interest in post bop among young musicians--remember, N.O. was/is a city in which one could not live without being keenly aware of jazz and its history. Black kids, especially, grew up with the sounds of jazz. So, it is not interest in jazz, per se that this is about, rather a post-disco interest in modern jazz and the perceived cool image of being a contemporary non-local performer.