JSngry

Barbara Feldon One of the things that is not among my 99 problems Neil Sedaka

The couple that owned this place Charming older gentleman owner from Syria a young man waiter who tries but just isn't cutting it

Tom Hanks The Khans People Who Collect Ankhs

http://bird.parkerslegacy.com/dialcclass.html I've been informed that a "good portion" of this material is available here http://www.amazon.com/Honor-Rudolf-Kolisch-Arnold-Schoenberg/dp/B000099T1G Was able to find the Cage here: http://www.amazon.com/Cage-Sonatas-Interludes-Prepared-Piano/dp/B000005TXF/ref=sr_1_1?ie=UTF8&qid=1411259779&sr=8-1&keywords=ajemian+cage Carpe diemed on them both now, so...what else, if any, is currently available, how, and where, please?

Crimean Mean Girls Mad Men

Check it out - John Cage on Dial! http://bird.parkerslegacy.com/dialcclass.html Yes, let us have a box of these, please!

Oh my my...

Oh my.... http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&ved=0CDEQFjAC&url=http%3A%2F%2Fwww.schoenberg.at%2Flibrary%2Findex.php%2Fattachments%2Fsingle%2F304&ei=L_EdVLn7E4SZyAS0rIKgDQ&usg=AFQjCNFhmIjeqDyoBNdHrJkuLdRYm7x8nQ&bvm=bv.75775273,d.aWw http://www.dynamicsounds-assoc.com/104536.pdf

What is this about Dial classical...same Dial or different?

Billy Dee Williams Danielle Spencer (Dee on What's Happening!! who is now a veterinarian) A Dead Dog, from whose eye yellow matter custard is dripping

Bob Einstein The Girls On The Beach American Spring

That concert was on TV at least once. I saw it and maybe video-taped it. Maybe not, though. But yeah, it's weird on several levels. Why it's not seen a legit commercial release is beyond me, must be some legality quirks underfoot or some such.

I'm still trying to imagine the conversation in the Radio Shack offices when they green-lighted that 90 minute Arthur Fielder LP.

Agree. What makes the 'technology' so frustrating is not completely the constant parade of new stuff, but the fact that the "old" stuff (2 or more years 'old'!) becomes obsolete and unusable for any number of reasons. It's like the old concept of planned obsolescence has come back to haunt us. It only becomes unusable if the hardware breaks or if you lose the supporting software. That's why I'm still using iTunes 10 for my Classic, at some point I started hearing about changes/eliminations/etc and I just said, ok, here's where I hold it, right here where everything works how I like it. For what I need it to do, it ain't broke, so I an neither fixing nor replacing it. Unless the device breaks or Apple's installed some stealth self-destruct thingies in the code, I'm good to keep on keepin' on As Is unless and until.

Kind of a morbid obsession with me, these things are...Sirius is perhaps the ultimate example. I'd not recommend it to anybody who didn't already have a pretty good grasp of what Coleman Hawkins had done in his life, but to hear where he was at when that life was coming to an end...wow. It's not pretty, hell, it's pretty damn sad, or at least sobering, but...that's life, ok? Same thing with Pres' last date in Paris, and, I think, Bird's last studio date, the one where he was all broke up and played the Cole Porter songs, especially "My Heart Belongs To Daddy"...intense life experiences being breathed in those sounds, intense. I could even include some cuts off of Lady In Satin...but not the whole album. But "I'm A Fool To Want You"...yes, definitely. But that's not her last, correct? Almost last, though. Re: Ayler, there's some very brief snippets of late-ish color footage in the My Name Is Albert Ayler documentary that are mesmerizing both musically and visually. If you're looking for "People Who Made Great Records Up Until The Day They Died", this will not be any help to you, I'm afraid. However, "When I'm Called Home", Stan Getz with Abbey Lincoln, yes, that.

My very first exposure to the name "Kenny Wheeler" was in a perhaps unlikely place: Then, around the same time, in the cutout bins: And then, nothing, really, until he showed up on Five Pieces 1975 and, ok, this guy's got no problems playing music of any sort that I can see, and that's really how it seemed up until the end, the guy had no problems playing music of any sort. A rare and beautiful quality, that is. RIP, hello, goodbye.

Class Bead Games was a 2-LP set in its original release. I think I have a Don Ellis Columbia record where one side is at or a little over 30 minutes...but not the other one. Still, if you can do it on one, you can do it on both. But I guess they didn't like to do it, because you had to pull the bass down to make it all fit or something like that, maybe compress the dynamic range. All of which sounds so quaint today, eh? That quality concerns were at least a factor in the reluctance to stuff in as much as possible. As to the original matter, here's this: http://en.wikipedia.org/wiki/LP_record#Playing_time I mean, Arthur Fielder, 90 minutes on a single LP? Geez!

Anubody else doing the new/last season of Boardwalk Empire? I've read some online reviewers pissed about the "rambling" or whatever, but I'm not getting that at all. So you only got seven episodes to wrap it all up. That's still, like, three movies + change. Lots of stories can be told, effectively told, in that time. People just gotten all even-driven and shit, want instant spectacles that rush you there, hit you all at once, and then drop you off back at the house for a quick bite and/or nap before here comes the next one. Not a fan of that, I'm just not. Take your time, like they used to say.

I just assumed that those were the same concert, but they're not. Different nights.

RIP, skills, serious skills, I'm one of those who actually liked Grass, and only fairly recently discovered A Wilder Alias, for which I was not ready to expect that! Is it true that they (J&R) did the "Feeling Groovy" Cheerios jingle, or were somehow involved in the creation of it?

When it comes to "narratives", follow the money and go from there. Not that that's bad (it's not) or good (it's not), it just is. I mean, do people get by in this life on just because? And lest this be perceived as a flip/shallow remark, consider that the entire concept of economic empowerment/self-sufficiency is still the driving force of our time, of most if not all times, and hello Malcolm, hello real Black Nationalism, not just about "racial pride" and such, hello HELL no, about far much more than that. People needing to follow that money back into their own house, hello that, ok? It's a big world and at the same time, still, a very, very local one unless and until somebody gets the word out, and why do they do that if they're already content with where they are? Again, neither bad nor good. And consider the possibility that some people don't really have a need to be heard yet other people have a need to get them heard. Me myself, I don't put much stock in "narrratives" per se, because all they are are stories told by folks who are trying to get you to see things their way at the expense of you seeing it somebody else's way, or to at least get a part of your market share as to how to see things. I'm kinda like, fuck that, ok, because everything that happened DID happen, ok, and everything that IS happening is happening, ok, so no matter how much of it I get hip to, it's never all of it, right? Because if it was, oh, then I would not be "here". Simple as that. Consider this as well - I've recently been hearing about "quantum computers", so if quantum reality is going to be digitized and codified the same way Newtonian reality has been (and yeah, I know it's not that simple, but I am), then all that means is that there's some other sort of new dimensionality physics that we've yet to discern move ahead/in to. Only it's not really "new", right? It's just not yet been perceived by "us". So ok, Paul Motian si, Paul Motian no, whatever, all you really need to know is Paul Motian, and everybody else for that matter, because that is what really happened, and that is what really is happening, and that will always be what is happening - everybody, everything, always. A "narrative" only serves to steer you, and steers end up in the slaughterhouse. Not that you won't end up there anyways, but at least make the effort, am I correct? So ok, Chinary Ung, important? Not important? How about I don't care, this is a very new name to me and I like what I am hearing, so...one more everybody in the everything at the all the time. It never stops, really. It really never does.

Ok, she spells her first name with only one "l". Oops. She's not coming to Dallas, I guess due to that same injury. No announcement on the DSO website, just now on those dates it's gonna be Augustin Hadelich. I'm sure everybody who's already bought tickets won't mind. Me, I haven't, so I apprecaite it, actually, makes my choice a lot easier. "Conservative" choice..on her website she's was slated to play it elsewhere, not just here. But this is the DSO, which, from a business standpoint, exists as a "cultural" institution in the sense that they're here to reinforce the known for people who are reinforced by them doing so. The TI Classical Series, that's what this was a part of, the TI Classical Series. Same thing for ticket prices. The DSO does not exist to encourage people with low or limited incomes to come out to the gig, except, sometimes, on Sundays, or if you want to get really, REALLY bad seats, or interesting ones, like in the Choral Terrace behind the orchestra. So, it gonna cost what it gonna cost, dig? And "next time" it will no doubt cost even more. Appreciate all the responses. I think I'd have paid the price and gone, just to do it. When there are no really valid excuses, I'm of the school that says if you got a chance to hear somebody of this tier live, hey. That's why I went to see Sinatra at Cesar's in 1981, and that ended up being a damn spectacular performance, which I guess not all of them were at that time. Not that I'm comparing Hilary Hahn to Sinatra. I didn't have to think twice about hitting that Sinatra gig.

Ry Cuming Clessie Cummins Cummitt M Leapheart

Studio date: http://www.intaktrec.ch/233-a.htm