JSngry

I smell Death Panels!!!!!

A lawyer.

You have no idea who you're talking to about that....

I give them all the love I have for them.

https://translate.google.com/translate?hl=en&sl=ru&u=https://www.discogs.com/Riche-Cole-%25D0%259E%25D1%2581%25D0%25B5%25D0%25BD%25D0%25BD%25D0%25B8%25D0%25B5-%25D0%25A0%25D0%25B8%25D1%2582%25D0%25BC%25D1%258B-Riche-Cole-In-Leningrad-Leningrad-Alto-Madness/release/3690729&prev=search

I'm sure if contracts ever really needed to be "produced", they would be.

IMHE #s seem to be a little more nuanced than just one flat figure:http://www.healthdata.org/covid/updates Location Predictions for cumulative COVID-19 deaths through the first wave from our April 29 release (today) Predictions from our April 27 release Change of average values since the April 27 release* United States 72,433 (59,343 to 114,228) 74,073 (56,563 to 130,666) ↓ 1,640 deaths Still, the range seems pretty low at this time (and seem to be off more in the revising!!!). We'll see. IMHE seems to be something sponsored by Bill Gates: http://www.healthdata.org/about/history I've no set opinion about Bill Gates, other than thinking that he's an uberbazookleaire who seems to think he can now do good for the world with his money. The operative word there is "can". Hey...potential vs kinetic. And, the IMHE's modelling technique is not universally praised by those in the epidemiology community, seems to be some serious questions about the assumptions used to build it: https://www.statnews.com/2020/04/17/influential-covid-19-model-uses-flawed-methods-shouldnt-guide-policies-critics-say/ This should, I think, be the appropriate attitude towards any of this: https://en.wikipedia.org/wiki/All_models_are_wrong

Well, lookie here! I'm telling you, this guy was corporate all the way. https://books.google.com/books?id=rQoEAAAAMBAJ&pg=PA28&lpg=PA28&dq=george+butler+minit&source=bl&ots=bzMTaSt7ip&sig=ACfU3U1jQfPq01iMcLv2DzutZxmBn6QPuA&hl=en&sa=X&ved=2ahUKEwiDwv3OmJjpAhUJTKwKHdj3A-YQ6AEwEHoECAoQAQ#v=onepage&q=george%20butler%20minit&f=false there's a precedent for the Butler/Ott collaborations. Here's another one: Now...Minit was originally a NOLA indie labeel that got bought by Imperial, who in turn got bought by Liberty as did BN), who in turn go bought by UA I can't find anything with butler's name on it pre-Minit, and there only once the label had been brought under the UA umbrella. I've seen allusions to Butler participating in the running of (and creation of!) Solid Sate records, but have seen nothing confirmed with hard proof. Maybe another one of those internet-only "truths"... What's interesting, though is that Butler attended Howard, where Donald Byrd both studied law and, later, taught music. They were about a year apart in age, and nothing indicates that they were at the school together. But a good corporate man knows how to leverage alumni connections...and Byrd was also very much into Black Business power, and was not at all a street cat with the street instincts of Lee Morgan. Maybe that explains all kinds of things?

Butler was a United Artists guy, seems like he was being "transitioned" (groomed"? to run Blue Note somehow. What if any input Wolff or Person had in that, I don't know. But here he is on UA in 1970: and on BN in 1971: The Mizells didn't get invoked at BN until late-1972, and there was no guarantee that was going to work as successfully as it did. Before that, though, here's what Blue Note was recording in 1971-1972 : https://www.jazzdisco.org/blue-note-records/discography-1971-1972/#720909 Of the stuff that was actually released at the time, Butler's name is on more of it than you might expect. Lundvall didn't step up in a jazz way at Columbia until 1976, and let's just say that...a lot had changed between 1971-72 and 1976. Now here's a salient point - at the time of Lee's death, what was his contract situation at Blue Note? Because if it was about to run out, and if he was in the right mood on any given day, I could totally see him bolting for a Strata-East type situation. I could also seeing that falling apart real quickly, or maybe never even getting of the ground at all. But the guy seemed to be really into the "self-determination" concept at least, and somebody like Clifford Jordan might well have been able to get his ear his ear. Also, Philly guys like the Heaths were in there, Sonny Fortune getting in there, for a quick minute, there were a lot of people getting in there. A quick minute or two was all it ended up being, but Lee's apparent empathy to that movement should not be underestimated. He was still young, had been through a lot career-wise, and really was looking to do business with a different set of assumptions in place. The other side of that coin, though, is that the business of Starta-East might well have been fraught with drama, ego, money games (like, how can we pay you when the distributors don't pay US, the usual rigged business system that made altruistic indie venture without a sustainable source of capital such an uphill battle/losing proposition ). In retrospect, the window the label had of releasing a large-ish amount of "name" product was a limited one - but that window synced up perfectly with the Lee Morgan of 1971-72. Maybe, as with Coltrane, Lee's death was a real-time tragedy, but it also looks like maybe there was also no good place left to go.

You'll find that Butler was onboard at Blue Note before Lee died...

Think about the implications of "a group of musicians" trying to buy the Lighthouse...I don't think it was Shorty Rogers and Bud Shank, if you know what I mean... In the context of the times, that would have very much been a part of the whole "self-determination" movement, as was Strata-East (or hell, Strata itself)...all kinds of things going on at the time.

Yeah, that's one of the great immediate thrills of the game, watching those two arcs, the gap between the runner and the destination base + the ball on the way to that base, gradually invert on each other (if that's the right way to put it). 90 feet keeps getting longer and longer the more of it gets eliminated as a well-thrown ball from several hundred feet away continues to make its way there! Something intrinsically...stimulative about watching those two ratios evolve against each other in a matter of seconds. Or am I overthinking it?

The same guy that did the Tripp interview has more from others: Just kinda, like, just dig in, you're gonna could be here for a while: https://www.youtube.com/user/temporalfissure/videos

We got a letter from an envelope that said IRS, with a letterhead inside that said The White House telling us our money was on the way, and it was indeed direct-deposited.several weeks ago...I didn't pay attention to the letter b/c the envelope itself didn't look like "real" IRS, but it appears that the money was already in the bank by the time I finally read the letter earlier this week. Does anybody here do handwriting analysis, btw?

Jazz & People's Movement notwithstanding? Have you ever read the last interview he gave, published posthumously in Down Beat? He was very much into the artist-controlled thing. As far as Strata-East being "musician owned and run", the interpretation of what that really meant kinda evolved over time. I can definitely see it not working out, but I can also easily see it happening - or trying to happen - before it didn't. Here's the DB interview. This guy sounds like he's just rarin' to go into "The New Land"..anybody of his stature who spoke like this in 1972 was not looking to make a move to a major label....where it all would have ended up is or course a moot point. But this is where he was at the time. http://theguardianlifemagazine.blogspot.com/2010/02/trumpeter-lee-morgans-last-word.html Interviewing Lee Morgan proved easy —not simply because he was loquacious, but because he knew his mind so well he would speak it without any hesitation, and do so with great insight and passion. He spoke of many aspects of music, but always in relation to one essential subject: the dilemma of jazz in America. To Morgan, this dilemma was two-fold, or rather two-faced: lack of respect, and a lack of proportion between black American art and the general American culture. Regarding the first lack, Morgan condemned indifference toward the music, reinforced by media tokenism, specifically the over-exploitation of Duke Ellington and Louis Armstrong as representative jazz personalities. “Duke Ellington on the Today Show with the Today house band — that is not Duke Ellington; to have Duke Ellington without Cat Anderson, Harry Carney, all the people’ you associate with Duke, his band — that is Duke Ellington. And the same thing applies to Louis, Louis is gone now, and I think one of the main reasons why Louis died, I saw him on his last engagement in New York, and he had to lay down between shows. The man had just had a heart attack; he shouldn’t have been playing. “This is the tragedy of the black artist: just to live halfway comfortably he must keep on working! That’s not to say they don’t have any money -- I’m talking about in perspective to their talent. These people should have shrines dedicated to them, just like they have shrines in Europe to Beethoven and Bach: Louis Armstrong especially ;and Duke Ellington as well.” About the second lack, Morgan noted the irony that jazz is revered internationally, and in fact is broadcast everywhere by the U .S. Information Agency, but is dismissed at home. “It’s black creative music, but something that’s not only black — it’s American black! That’s very important. I was reading about B.B. King. I think last year was the first time a black college ever invited him— because he played blues and blues was like the music of the devil! And over in Europe, you hear blues all day long – it’s a high art form!” With better recognition, Morgan believed black artists might hope for a better economic perspective. In sports, Mickey Mantle and Willie Mays each earned $125,000, because they were the best regardless of black or white, But in music, such racial equality does not seem evident: Herb Alpert became a multi-millionaire in a short time with “a nice little pop group”, while great black genius has been comparatively unrewarded, even after decades of creating. “I’m not trying to damn Herb Alpert, because it’s beautiful. I’d just like to see an equal proportion... I don’t resent nobody for what they get, as far as they are equal. Frank Sinatra is worth millions; Frank Sinatra is a hell of a singer, that I won’t deny. But at the same time, Betty Carter is starving to death -- here’s someone who’s been on the scene since the late 1940s -- because she refused to compromise, because she always wanted to sing jazz. Look at Billie Holiday and Judy Garland: they both had the same hang-ups, but one of them was singing Over The Rainbow and the other was singing Strange Fruit. In another view of this lack of recognition, Morgan equates jazz with symphonic music in America, both in respect and in finance, “Leonard Bernstein plays an elite music; everybody doesn’t have the temperament or the ear or the talent for listening to symphonic music or opera. And I would like to feel this way, I’ve never been drug about jazz not being heard all day long banging in your ears like you hear pop music, I would like to feel that jazz is an elite music! Most people who like jazz are the intellectual type people in college, because it’s a very sophisticated music. So if you’re doing something that only appeals to a minority, then the lovers of this music have to support it. “The symphonic orchestras have sponsors, people who give them endowments, and I think it should be the same way with jazz — because this is a national treasure! This is the only national art form that’s here, and they do everything they can to dismiss it and put it aside. It’s really a shame the way our country treats its artists. I’ve had people ask me: ‘If you feel that way, why don’t you go to Europe’ And I always tell them, ‘first of all, I like Europe, like to see it as a visitor —but this is my home! This is my culture!” Morgan was committed to several means of awakening recognition toward jazz: as a member of a group of musicians negotiating to buy the Lighthouse Club in California, and as a member of the short-lived Jazz & People’s Movement protesting media ignorance and indifference to jazz artists — Morgan was among the first to interrupt the taping of the talk shows in 1970-71. “Morgan was amazed by many responses to the JPM protest: that the networks considered a few black musicians in the studio bands sufficient recognition; that talk show hosts didn’t know even established artists like the MJQ or Thelonious Monk; that the programmers tried any and all ploys to avoid commitment; and most shocking of all, that so many considered the JPM actions as only a personal hype, “We’re saying that if each show (Carson, Griffin, Cavett, Frost) committed itself to use two artists a month’, that would he eight different artists each month. And we’re not talking about Thelonious Monk sitting down at the piano with Doc Severinsen’s bass player- if you have Thelonious Monk, have Theionious Monk’s band! And then after he plays, sit down and talk to him!… “We tried to arrange conferences; none of them would talk to us. So we went in and took over the (Griffin) show. The next day they had the chairman of the board down there to see us! But it’s unfortunate: as soon as you stop, if you don’t do it again, they go right back... The only reason Griffin came out to, see us was because we kept on blowing whistles, Rahsaan and myself. He immediately tried to divide and conquer — he offered of have our two groups on! “I told him I couldn’t care less if he ever had me on in fact, I would insist on not going on, at least not first, because right away, people have gotten so pessimistic that not only the public, but musicians as well thought we were just out there thinking about ourselves, I don’t care if you never show me! Put Dizzy on, Horace Silver, Sonny Rollins, McCoy Tyner, Blue Mitchell, Herbie Hancock-put somebody on! “And right away he came up with that regular thing: Louis Armstrong and Duke El1ington, And then he told me about James Brown, and right away we told him, ‘look, we’re talking about jazz!’ They insult the public, some of the stuff they put on. They spoon feed the public bullshit, and they’ve given them so much I’ve found myself humming tunes that I hate? Whether the efforts of Morgan and others, will ever succeed, whether the music will be finally respected and granted proper due within American culture, is certainly still a question unanswered. But at least, Lee Morgan knew the power of the music, even if unrecognised — and in that knowledge was a strength. “If it wasn’t for music, this country would have blown up a long time ago; in fact, the whole world. Music is the only thing that spans across all ethnic groups and all languages. Music is the only thing that awakens the dead’ man and charms the savage beast. Without, it this would be a hell of a world!”

Here's a delightful change-of-pace: For sale: https://www.amazon.com/Mahler-Lieder-Early-Recordings-1915-1949/dp/B0000TWALI Review: http://www.arkivmusic.com/classical/album.jsp?album_id=89474

But do you want to?

Yeah, they're dying! Ok, Boomer! NOW you're talking! Local-ish suppliers, fresh-ish product. No built-in addiction-driven dependence on mega-style production or delivery of something as basic/essential as simple food. That definitely seems sustainable for a little while or longer.

HAd a year or two of watching Cubs day games every day on WGN...lost count of how many DOAs I saw from runners trying to test that arm of his. Seriously/

One more reason to sign up for direct deposit.