JSngry

Residuals are a standard part of a jingle contract where you get so much per airing. Kinda like royalties for record sales, only residuals seem to be paid with far more consistency and integrity. But unless AP got royally screwed, he should have made big bucks off of the residuals from those ads, because there was a whole series of them, and Lowenbrau rode a wave of popular consumption behind them. It was a very effective campaign. Pretty sure that the jingle got popular first, and then the record company decided to make the record.

A Man With Options A Man Without Love Francis Lai

I'm thinking there's gotta be some ugly budget-driven scheduling weirdness going on right now...we frequently don't see the mail truck until 7 PM or later, and in the nearly 25 years we've lived at this address, the delivery has never been past 4:30 PM except when a truck broke down, and that had only happened, like, 2-3 times. Ever.

I only really know both as LPs, and for me, Charisma was all about Side 2, and Sixth Sense all about Side 1. Back in the day when turntable would allow you to repeat an LP side endlessly (though any number of ways), those tow sides got that treatment more than anybody who really took good care of their records would let happen. But hell yeah to both, and let's look at how when you see Jackie McLean and Lee Morgan together on any 1960s Blue Note that you don't already have and you wonder if you should get it, the only correct answer is DUH!

My late father-in-law was a welder. In West Virgina mines, working for Union Carbide. I don't think he ever even heard of Bob Dylan. For that matter, there was this guy named Ben Kinder who was a welder for Texaco, when I worked the summer roustabout gig. He used to bend my ear about how much he dug Ken Griffin. I don't think he ever heard of Bob Dylan either, although since Ken Griffin recorded for Columbia, he might have seen the name on some inner sleeves. But Ben didn't seem like the kind of guy to keep his inner sleeves, if you know what I mean. And there was this really weird guy in Longview named Teel who worked at a welding supply company, which is where we'd all go to have all our gauges tested,, because, you know, shit can blow up if you don't watch it. Teel was so weird, I don't know if he had heard of Bob Dylan or not. I'd not be surprised by it one way or the other, nor, for that matter, would I be suprised by anything about Teel. This guy was weird. East Texas weird, ok? You jsut walked in and said "Hey, Teel", got your gauges tested, and got the hell out of there tout suite. And I'm not saying this because he had real squinty eyes and an magnifying glassed size overbite either. That cat was weird. That's the great thing about welding - it's a unifying force in a world otherwise full of and fraught with divisions.

whoa... I was not prepared for this at all...nor for there being a service dog on the front row which I didn't see until standing for the ovation at the end...I was tear-streaming anyway (not something I admit as a matter of course, but I get this involuntary tearing-up thing when something of great power moves me, not "crying" or anything, just tears), and then there's this dog with a dignified smile jsut standing there awaiting its opportunity to serve. Such beauty. And holy shit, what music, and, I guess, performance (having the lyrics visible at all times was an invaluable aid to focusing on the overall sound of what was happening without having to guesstimate what the narrative thrust really was). Definitely a damn good performance, though, and without any real reference point, all I can say is that...gut punch. Also, and this is an important realization I'm coming to, hearing this sort of thing live is so much impactful to me than is hearing it on recording, just because of the "space" that the sound occupies. I was in not particularly good seats (third row, stage right, up close but sorta off to the side) but the singers...no amplification, and to hear a voice sounding like that just "in the air"...whoa.. Factor in choruses, rich, varied orchestration, dynamics out the ass, everything that is going on, and there's this huge series of sound events that is not coming out of speakers into a listening area, it's filling the space in a freakin' concert hall, right? It's an instrument itself, the hall is, and it's more truly hi-fi surroundasonic than anything you can put in your own house. Of course, recordings are more than essential these days, and as a result, so much music is created with that in mind in terms of performance timbres and dynamics, whole 'nother world, whole 'nother set of practices, whole 'nother everything, but still..the best reproduction in the world is not the same as being in a bigass hall hearing unamplified music like this played and sung by people who know how to work the space and air of a room the way it had to be done once upon a time. Just...an incredible sensation, for me, anyway. Again, no point of reference for actually knowing this, but I gotta think this was an inspired performance, it sure as hell got me where I live, and I went in very hesitant about the whole vocal/chorus thing, Beethoven 9 and some live pre-war Wagner being, until this, the only things that don't get me all uh-oh-ish (and Brenda, after much deliberation, stayed home because she's even more trepidatious about that whole thing that I am). To that end, just like I don't call coaches "Coach", I'm loathe to call a conductor "Maestro", just because. But dammit, this Jacques Lacombe...the Maestro brung it good, surely. This is just a reaction to the performance...as far as the music itself, that's a whole separate set of considerations, and again...whoa...even more so. Harmonic surprises out the ass, to put it mildly and just for starters. But that's a technical/inside-baseball consideration unless and until the performance compels otherwise, and when it does...whoa. All this plus a surprise appearance of a sweetass elderly service dog on the front row (if you don't own a Golden, that's ok, but if you don't love them, you're just wrong). You'll leave the house for something like this, you sure will.

Pony Poindexter Pliny The Elder Plunky & the Oneness Of Jujuj

I would hope that Prysock got mad large residuals. If not, grrrrr....... Probably worth noting that although Sinatra's Top 40 presences were periodic, his airplay was not. There used to be a whole lot of stations that played "Adult Pop" and Sinatra's presence there was pretty much always. Those Reprise albums - the album albums, not the singles albums, were not going unheard, nor were the records by the likes of Al Martino, Jerry Vale, Matt Munro, all those guys. But Top 40 was more than sales, Top 40 was STARDOM, and you know how that goes, mo' money for mo' peoples, yeah yeah yeah right on. "New York New York" sucks, as Sinatra Song and as otherwise. "This Town" is the real deal. Both were hits, but the sucky one has become the iconic one. Go figure.

Going out on a limb with tonight's DSO offering: BERLIOZ La Damnation de Faust (Sung in French, with English surtitles) Jacques Lacombe conducts Ruxandra Donose, mezzo-soprano (Marguerite) Charles Castronovo, tenor (Faust) Laurent Naouri, bass-baritone (Mephistopheles) Mark McCrory, bass (Brander) Karen Wemhoener (Voix Celeste) Dallas Symphony Chorus: Joshua Habermann, director Children's Chorus of Greater Dallas: Cynthia Nott, director

Minding your own business and having somebody pop up out of nowhere and fuck you up at random just because you're there and just because they can is never cool.

Jackie. On both.

The Knack My Sharona Sharonda Pittman

Daughter Judy Jack Daugherty Jana Weckerly

Some of the Angels fans on Halo Heaven were pretty pissed off yesterday about the prospects the Angels let go to get Simmons, but hell, prospects don't always pan out. and really, you got a young guy to replace an older guy for the next ? years, and besides, it's about an even swap offensively, and a definite upgrade defensively, so hey. Angels still need more than they got, but there's a lot of time between now and Opening Day.

From yesterday's rehearsal, a pretty much spontaneous extrapolation of a verbalized concept, (which itself was thought of less than 24 hours previously) the germ of which will be obvious (for those for which such things matter) from both title and music. Really, the recording was going to be a short reference/study document after having discussed the elements involved, but things started happening, and it turned into an accidental take. As with all the stuff being posted on the Soundcloud, downloads are free if you want 'em.

Not sure if this has been formally mentioned, but as well as being a Jazz Broadcaster, Promoter, Producer, he was also a Club Owner, correct? The Crescendo was his joint, iirc. Definitely a significant venue for many!

It's my hat, it's my penis, and it's my pain. In America, this is how men make money.

I know pain - and I don't want any more of it. Especially when I cath.

The Liverpool Beats Anne Beatts Michael O'Donohue

Yes, RIP.

Hadda Brooks Bobby Few Too Many Cooks (to name)

Ex-Wife The Gay Divorcee Mary Macgregor

Still feeling that I heard something quite special with the Dover Quartet last night.

Spider Sabich Claudine Longet The Longines Symphonette Society