robertoart

Sometimes getting the 'stream' can be frustrating, but I expect for a Grand Final it should be more easily available. I often watch this way if my team (Richmond Tigers) play interstate, and if it's not on TV. Hawthorn should win, if they play to talent and form. But Sydney are a great side, so it has the potential to be a cracking game. You have excellent taste in sport, if a 'footy tragic' like myself may say so Last year was a super game as well. It was also the cause of much comment because of the pre-match performance by Meat Loaf Talkback radio was in uproar for weeks after the game. I don't think old 'Meat' will be let back in the country again - for not being able to sing in tune on our biggest day.

There is a photoshop image waiting to be made for that I wish he had of been one of the Spinal Tap drummers.

I think you are being very generous in your interpretation here. As far as misappropriated by the Right - if the shoe fits... Sometimes the idea of 'progressive aesthetics' can be co-opted to provide the 'aesthetic-poetry' for 'survival of the fittest' 'social' ideologies - from where Rand was undeniably coming from. Leni Riefenstahl used fascist aesthetics to similarly create the visual poetry to support the Nazi ideology. She also has her defenders who try and separate her power as a visual organiser, from the fascism it sought to enable. One of the aims of Post-Modernism wasn't merely appropriating - but also to deny artists the ability to get away with such things 'merely in the name of Art'. Artists had to begin to take responsibility for the meaning of their work, and what that work represented beyond the aesthetics. I'll give Rand the benefit the doubt and say that perhaps she had 'the trickle down effect' in mind. But I doubt that. I think we're also falling down a common intellectual trap door: thinking I can speak as an artist\servant\self-expresser\communicator---the last the most important to me---who plies his craft every day. The more I think the less I play---b/c the less focused I am. I think these discussions are fine--I started this one, right? They are postmortems, though. I think it's not my place to give my philosophy to people except by playing. If it's happening and has feeling they'll know---just as if I'm blocked and the flow is blocked. Through the years I've learned to trust peoples' higher capabilities. Though I'm disappointed often when they act low something always brings me back to the way I need to think to be successful at what I'm trying to do. The main thing is: the 'thinnin', Babalouie, is cool---but is best done after, not during. Way less baggage that way, We may have to disagree on the qualities and motives of Rand. However, as a Jazz musician (especially in this day and age), are not the choices you make, re- style, repertoire, sound etc., not 'representing' a certain aesthetic and 'conceptual' position, and any 'communication' you make - with an audience - or other musicians - will be filtered by it. Perhaps in essence, it's nothing more than, 'this is the sound and style I love', 'this is me, and I hope you like it and are moved by it' etc. But it's also more than that, because what music styles or traditions you choose not to play (or be associated with), are also statements in a way. So I think there is a certain amount of aesthetic-polemical intent in all the musical choices one remains committed to. And I guess this is true for passionate listeners as well - it's just that there is probably less on the line. So yes, it's about honest and direct (and sincere) communication, but there's always a sub-text to 'what' you play. Then again, I remember reading Scofield say something like, 'I never worried too much about trying to emulate anything, because in the end your playing always sounds like the things you like the most'. That's paraphrasing his exact quote, but it basically what he meant.

If you type in 'AFL Grand Final 'live steaming' into google just before the start of the game, you should get a nice surprise. Otherwise there will be live radio coverage here. My link Go Swannies!

Love Butch Morris's playing. I still listen to Interboogieology and the other Black Saints with Murray regularly. Hope things get better.

So what about about this one? Guilty pleasure for anyone I love the EW&F song Can't Hide Love. And I love Carmen's version in particular.

He never said that in the interviews I read In the ones I read he left out that bit. Just used to say he wanted to leave the big city behind and be a sign painter again. Everyones got a spin I suppose. I've got a guitar instruction video he did a few years before he died. He seemed like a kind and gentle soul - for such a monster player. He plays the Red guitar on it that was made especially for him for an early colour TV performance. It's probably on youtube.

And he left the music world for a considerable amount of time, to return to sign painting. Apparently because he didn't like the lifestyle and social milieu of being a jazz musician back in the day. I suppose other musicians of his time made a similar choice when they became 'studio musicians' or joined TV bands.

I think you are being very generous in your interpretation here. As far as misappropriated by the Right - if the shoe fits... Sometimes the idea of 'progressive aesthetics' can be co-opted to provide the 'aesthetic-poetry' for 'survival of the fittest' 'social' ideologies - from where Rand was undeniably coming from. Leni Riefenstahl used fascist aesthetics to similarly create the visual poetry to support the Nazi ideology. She also has her defenders who try and separate her power as a visual organiser, from the fascism it sought to enable. One of the aims of Post-Modernism wasn't merely appropriating - but also to deny artists the ability to get away with such things 'merely in the name of Art'. Artists had to begin to take responsibility for the meaning of their work, and what that work represented beyond the aesthetics. I'll give Rand the benefit the doubt and say that perhaps she had 'the trickle down effect' in mind. But I doubt that.

Do tell. Did you 'encounter' him at some point?

Dr John and his 'stick/shtick' always put me in mind of the Wrestler 'Dusty Rhodes'. I just think Dusty Rhodes is funnier.

I always thought Romanticism was an Aesthetic/Philosophical tradition associated with the Sublime and The Enlightenment. A substitution of the 'awe and terror' of nature for the newly diminished 'awe and terror' of 'God'. I guess in the context of what A Lark Ascending is saying however, it is/was the precursor of the valorising of the 'artist-individual' over the art, so to speak. And the natural progression from this lead to Modernism in Aesthetics and Existentialism in Philosophical thought. Is this not where the heroic individualism of the Artist as a special kind of maverick took root? Ayn Rand and her 'ideas' being possibly the vilest outcome of the 'Individual against the world' kind of outlook.

I've got an ... er ... 'soundboard recording' of a James Blood Ulmer gig with Amina Claudine Myers and Jerome Brailey. Perhaps, because some of Blood's tunes revolve around a similar kind of 'drone', they start playing a number...and Amina Claudine Myers starts playing a different tune to the one Blood Ulmer's playing. Which - if you know the material they were doing at the time (the 'Blue Blood' album) -is quite easy to see happening. When Blood realises what's happened, he announces to the band (and audience), "it's the wrong song-it's the wrong song". They keep playing - and then Blood says to the audience - "ahh, we'll try and make something of it anyway"

I'm not so sure Brian and keith ever were, kind of creepy that No Lifeguard on Duty sign in the background...do love the way they played together though. I must revisit some Jones era Stones with adult ears and a better stereo system. I've always been a Taylor/Richards fan though. Love Mick Taylor's big Blues-Rock tone and beautiful phrasing. My only post-teen listening with Brian, was at the time of the Rock n Roll Circus issue. For me the highlight of that film (and the later bonus footage), was the chance to see the great Jesse Ed Davis with Taj Mahal. I also bought the Luc Goddard flick with the Sympathy For The Devil sessions, hoping the Keith Richards guitar solo overdubs were in the film. One of my favourite Rock guitar leads. Alas not to be. But fun to see nevertheless. And to jsangry... I will match your Keith Richards finger... and raise you Mick Taylor's Afro

Not enough.

Back when they were as thick as thieves.

Oh I see. It's a yout(h). I'm also glad that Herman Munster wasn't a Klansman, but just played one in a telemovie.

In the spirit of the Led Zep thread, here's some sage soul searching from Keef!

Apparently, even 'Since I've Been Loving You' was a rip off of ZZ Tops 'Jesus Just Left Chicago' With Moby Grape factoring in there also... Oh dear! They were incorrigible.

Apparently, even 'Since I've Been Loving You' was a rip off of ZZ Tops 'Jesus Just Left Chicago'

What's a 'towhead' fasstrack?

My thoughts also, don't want to be in a movie theater with a bunch of people trying to recapture the supposed feel of a Zep concert -- been there, done that, back in the 70s. No way that feel will ever come back, it was almost an act of rebellion to attend one of their concerts back then (well, as teenagers, at least we thought it was). Will by the DVD though.... I literally don't have the time. Anyway, I saw the the original Song Remains the Same at the Zigfield Theatre in NYC when it came out. It was a party. Back in the days when seeing film of 'certain Rock Gods' was not an everyday thing I saw it first when I was Seventeen. A few years after the bands demise. Seeing Jimmy Page play the 'violin bow' seemed so 'deep' back then 'Since I've Been Loving You' is still one of my favourite blues/rock solo's though

Tyler is a Jagger wannabe --- big lips and all!!! Now there's another white guy singing the pseudo blues. I remember reading many years ago that Tyler was an early adopter of Lip plastic surgery, or something like that, to accentuate the Jagger look. That could just be a dirty lie though. I read it in Creem magazine.

Oh HELL yeah! Bloody fashionista's.

The ubiquitous Iron City session sure gets around I remember trying to sus out the five-four Iron City when I first heard about it getting a release on this label. Back in the days before I rediscovered the joys of vinyl. Picked up the original Cobblestone vinyl a few years ago and felt like I was sitting in the room with the band Back to your scheduled programming.