JSngry

I'd like to see The Bird & The Bee hook up with Perfume: http://www.youtube.com/watch?v=515NYeSCjas

Multiple choice: Who, Charles Tolliver? Yuck. You ever tried getting corpse vomit out of carpet? You must not remember the 70s... All of the above.

They have a song called "Fucking Boyfriend". How 'bout that. Listened to the myspace samples. Ok for what it is, actually a little/lot better than it has to be. But if there's any hits involved (questionable, since the songs are too complex, entering into primo Brian Wilson territory that still befuddles everybody except the handfull of people who get it in the first place, but w/that deadpan little-girl delivery, hey, anything can happen), it's most likely one-hit-wonderland. But if it puts $$$ in the coffers, hey that's the object of the game. Hell, in a perfect world, they'd put out a Monday Michiru album. But this ain't a perfect world, is it...

LTB is a kitchen magician! I weighed 145 when we met, and, well, you've seen me since then... The way to a man's heart may not always be through his stomach, but if you don't get there eventually, it's a lost cause.

Nigella's serving hands:

An example of Nigella's meringue:

Definitely!

Good to hear from you Danielle, was wondering where you'd gone off to. Now I know! About the audition? Nope. What's done is done. Time to move on. About the future, yeah. Plenty to look forward to. Take the judges' critiques seriously. They're not going to make stuff up. Learn what you need to improve on, and get busy about doing so. Just remember that progress more often than not comes very slowly. This is not the type of thing to be getting into if instant gratification is what you're looking for. Also remember that every day, every second you spend on your instrument matters. If you're focused and are actually working on correcting shortcomings instead of just repeating them expecting them to miraculously fix themself (a trap a lot of people fall into), then no matter how gruelling the process might seem at the time (and trust me, there are times when it will be tortuous), eventually you'll get over whatever hump it is you're working to get over. Of course, there's always another hump waiting for you, but let's keep it positive for now. Also - if you were competing against all-grade high schoolers, hey, that's a tough nut to crack right there. You got kids who've been busting their ass for longer than you have. So of course they're going to be ahead of you. But you can bust your ass as hard (or harder) than them and move on up. In a few years, you'll be where they are now, and if you've done the right work the right way, it'll be your turn to be on top. If, otoh, you were competing against your grade-level only, hey - at least now you know what the competition is, and where the bar is set going forth. That's useful to know. But always, always shoot higher than that. So that's it right there - you went to a competition and didn't get what you went for. That hurts, I know. But you got what you need to take the steps to see to it that it doesn't happen again. So go for it, and make it so!

Is your drive still under warranty, extended or otherwise? If so, problem solved! If not, time to get a new drive. Copy protection sucks, but it don't cause drives to fail.

Boris Rose Boris Karloff Frankenberry

I've heard a live thing from the late-60s/early-70s that I swear had Turrentine on it (or somebody who sounded like Turrentine coming thru the AM radio). something about miniskirts. That was damn good.

Well, some people are opposed to Disco just on principal... For my tastes, "Da Ya Think I'm Sexy?" was not at all a bad record. Empty as hell, but shit, it's Rod Stewart doing Disco. Anything more than empty would be dishonest! Seriously, there was so much trash done in the name of Disco, that it's easy to lump it all together. But if you got a taste for slink, you can tell what's got it and what doesn't. And this one had it more than most, albeit techno-slink (which to some might be an oxymoron, but count me as a fan of the whole Donna Summer/Georgio Moroder bag, at least while it stayed fresh), and no, it wasn't truly slinky. But again, look at who was doing it, how bad it easily could have been, and yeah, it ain't too bad. But I don't go out of my way to hear it, if you know what I mean... What was slimy (much more than the to-varying-degrees studio-stunted-slink of the grooves) on those mid/late-70s things was the lyrics. Pure smarm, and everybody concerned ought to be ashamed when they come up for air from counting the money. I mean, "Tonight's The Night"? "Spread your wings, my virgin child"? GACK. Millie Jackson did the same type song a few years earlier and made it real. This is just the faux-sensitive boasting bullshit of a cockhound cherrypopper, and fuck that. "Hot Legs", otoh, I throughly despised until I saw him doing it w/Tina Turner on SNL. Then it made sense, and it was good. But that was a one-off, wasn' it...

You got a DVD w/the Dejohnette, Corea, Holland, and Shorter band? What's that all about?

Intresting point about Hayes, one I'd not considered. Re: the hi-hats on all 4 beats, didn't Donald Bailey drop something similiar on "Messy Bessie" from Back At The Chicken Shack"? Not sure how that fits chronologically w/when Hayes did it, and the net result was more of a proto-"Funky Drummer" kind of thing than what Tony would get into, but at least it shows that a few drummers were starting to think about doing something different... Also interesting is the revival of the "steady four" in the drums, which bebop had rather adamantly discarded. But putting it on the hi-hat produces a decidedly different effect, in terms of both sonics and feel (if you want to make that differentiation, which I'm not sure that I do, at least in this case), than does having it on the bass drum. I'd be interested in hearing from some drummers about Tony's kit tuning, pre-Lifetime. When I previously referenced the Dawson/Haynes connection, that was what I was thinking about, that really tight sound out of the kit. Of course, Tony's cymbal sounds were where he really innovated, imo. The sound(s) he got out of those Ks were heretofore unheard in jazz (or any music that I'm aware of), and it was that sonic combination of really "tight" drums w/really "swooshy" cymbal sounds that made him such an immediate ear-opener for me. First the sound, then what was being done with it.

Ok, I've been checking out these non-stop house mixes from http://www.routesinrhythm.com/routes/index.html and they're all one continuous track. Needless to say, some tracks I like more than others, so I'd like to insert track #s in the files to facilitate skipping those I don't want to hear. Any suggestions? As always, thanks in advance!

Don't know if the was the very first, but North Texas was surely among the very first: http://www.jazz.unt.edu/?q=node/119