7/4

same here...

Honestly, Halverson is the one who I need to hear more of. .

Obviously they're all progrock bands. That's not what the story was about...it was about how a local - who is my low cost guitar tech - thinks that everything I listen to must be Jazz, because he doesn't know any better. He hears music through the ears of guitar magazines. As for Radiohead, Clem....you're way more fixated on them than I'll ever be. I don't even have the Radiohead collection that someone loaned me anymore. It's history man.

Let's blow shit up... .

exotic.

Exactly. Clem seems to think it's a crime.

This would be the appropriate day for Iraqis to celebrate in the streets. Sing, dance a little...wave American flags. Pose for the cameras a bit... .

Is there an ointment for that Schaap malady? .

They blow shit up and wave flags here for the holiday. .

I think all three of those guitars players are interesting...Morris is the most interesting of the three. .

Who's bragging? Nothing wrong with being musically curious. .

Let's celebrate by invading another country! .

Well, he will after he gets the munchies... There ya go...

That doesn't sound believable at all.

This is a bullshit separation; even speaking extemporaneously, wtf? Henry Cowell has plenty in common with each, which doesn't mean anyone has to like all three (although many contemporary heads dug Yes and HC and, in fact, some HC members are known Yes fans). Chris Cutler, among other things, was later Pere Ubu's ROCK drummer, although of course he does many other things. If if makes you feel good to not be a "prog" guy, have at it, but it's really bullshit. All three groups have more in common than they do apart, at least until the fluke of Rush's arena superstardom, and '80s Yes Top 40 success. I'm shocked an erstwhile "musician" would be dead to this. Henry Cowell was an interesting composer, an important teacher AND nascent gay rights figure; in some ways (but not all, when they got to "Western Civilization") HC copping his name was a jive English "art fag" move that never even approached the cultural implications it could have, although later all members pushed the politics further. Henry Cow sounds nothing like Yes or Rush, no matter how you twist it. Name the Henry Cow tune that sounds like Roundabout or Close to the Edge. Fred Frith that sounds like Steve Howe or and of the guitar players Howe resembles? Same goes for the drumming or singing. List the examples Clem... There's nothing wrong with a passing familiarity with pop culture. Those with contempt sound like assholes. I'd say I have as many Henry Cow albums as Yes albums and listen to them all about as much. Fish Rising or the Fish? I actually am a progrock guy, polish your glasses bonehead.

See? Pomeranian has cheezeburgers. .

The dog was stoned! What's wrong with you people? Pomeranian has cheezeburgers!

well, yeah...not all of us do. .

...intense, sad, but real. I know a couple of people that are dying. .

I read it again a few years ago....strange book. ..

Documentary tells full story of Hunter S. Thompson The filmmaker drew from a stash of recordings made by the man himself. By Mark Olsen, LAT July 3, 2008 OF COURSE, there were the drugs. And the drinking. And guns. And more drugs. Given his notorious lifestyle, it can be hard to keep in mind that Hunter S. Thompson was first and foremost a writer, a frontline chronicler of the promise and adventure of the 1960s and the burnout and aftermath of the 1970s. The revitalization of Thompson's literary and cultural legacy is at the center of "Gonzo: The Life and Work of Dr. Hunter S. Thompson," the new documentary by Oscar-winning filmmaker Alex Gibney. When he was drafted onto the project by producer Graydon Carter, Gibney says he was passingly familiar with Thompson's work but had never actually met the man himself, who took his own life in 2005. "I wasn't going to be able to be the insider," Gibney recalls. "I was the outsider. But one of the things I could do that was valuable was to remind people how good the writing was. I think Hunter the character had overwhelmed Hunter the writer. Everybody knew him as this wild and crazy guy who just did lots of drugs, and had forgotten why they paid attention to him in the first place." To create his portrait of the writer, Gibney drew from a wealth of sources, including Thompson's unpublished manuscripts, personal letters and photographs; interviews with his contemporaries and family members; and chunks of a 1978 BBC documentary -- which some might recognize as an extra on the DVD for the film adaptation of "Fear and Loathing in Las Vegas." But to those steeped in Thompsonalia, the film's biggest get may be the audiotapes that came from Thompson's ever-present recorder. They include an excerpt from the recording of an out-of-control mid-'60s party at the Northern California ranch of writer Ken Kesey that was chronicled in Thompson's book "Hell's Angels" and Tom Wolfe's "The Electric Kool-Aid Acid Test." The stash of Thompson's vintage audio recordings was excavated by archivist Don Fleming, hired by Gibney to comb through the boxes and boxes of material Thompson had carefully organized before his death. (And yes, for those of a certain age, Don Fleming is the one and same who has been a member of such stalwart indie-rock outfits as the Velvet Monkeys.) Thompson's archive "just totally blew our minds," Fleming says. "We were hoping to get a few tapes with him on it, but this was a whole different level than what we expected. "Basically he recorded everything from '64 until he died. He never stopped. And they were all dated, they all had titles. It's not just random tapes, it's very deliberate. He certainly made a lot of written notes as well, there's a bunch of journals, but he really did use the cassette deck as a tool for the way he created his work. A lot of it shows up verbatim in the text of his books." For Gibney, the challenge in focusing on Thompson, who is somehow both overexposed and underappreciated, was to create a film both for fans and neophytes, as well as a cleareyed tribute to that which will last. The words come before the myth. "It's a story about an artist, a writer," Gibney says. "The lesson is there's a benefit to following your path and finding your own voice and being fearless. The other lesson is it gets very hard, when you have some success, to have any perspective on yourself. That's more a life lesson, but the artist lessons are don't be precious, think about the way the world works and find your own way through it."

Not fascinating at all. Pretty boring.

In my opinion, Metheny has wasted his time with the entire Pat Metheny Group for several years now. He is so much more interesting to me as a player in settings other than the Pat Metheny Group. His current trio is one of the most promising contexts for his playing, I think. That pretty much says it.

a 50th anv. somethin' or udder maybe... .

irony.