Brandon Burke

Private press records are next to impossible for an organization like LC to keep up with.

My assumption is that they are not deaccessionaing sound recordings, at least not for a lack of space. As I type, they are packing up holdings in Motion Picture, Broadcasting and Recorded Sound to a new repository in Culpepper, VA. This new facility will also be home to the new A/V preservation lab.

I must say that I'm (pleasantly) surprised to see that The Third Man is such an overwhelming favorite. Helluva film. As it happens, UT has a significant portion of the David O. Selznick collection. The Communication Studies building has some great production stills from both The Third Man and Spellbound on display right now. Cool stuff.

All three Tati Criterions are being rereleased next month. Too bad for the suckers who paid $140 for them on ebay. You're right about Playtime being skipmy on the extras but Hulot's Holiday includes quite a bit (including the classic Jour de Fete short). Criterions I have actually purchased (so far...): * All three Tati titles: M. Hulot's Holiday, Mon Oncle, Playtime * Down By Law (my favorite film of all-time, actually.) * Both Sejun Suzuki titles: Tokyo Drifter, Branded to Kill * Hitchcock Spellbound * The Third Man * Rififi * Big Deal on Madonna Street * Billy Liar * Do the Right Thing (ridiculous amounts of extras here.) * Both Wes Anderson titles: Rushmore, The Royal Tennenbaums (ditto.) * Fishing with John (I revisit this one rather often.) * Carnival of Souls * I am Curious Yellow/Blue [box set] (liner notes by.....Gary Giddens?!)

Some other all-time faves: Bukka White - Legacy comp. Mississippi John Hurt - 1928 Okeh ...and virtually anything on Yazoo Records esp. the Before the Blues series.

Say.....for the record, what exactly do you have? Is it a loose sheet of paper or an entire volume? When did the damage occur? Did it affect all areas of the sheet/volume? If it is a volume, are the pages indeed stuck together? That kind of stuff......

A close friend of mine just recommended it to me the other day. It's on my list too.

Hey, I swear I'm working on this but time is tight. We have a a ton of tapes to digitize right now. I can tell you that the LAST thing you want to do is puit anything in the oven. At least as far as paper is concerned. Placing paper in an oven is a method of artificial aging so, by definition, it's not a restoration method. Roughly speaking, what you're going to want to do is remoisten the paper and press it. DO NOT proceed until you've have more concrete documentation, however. I have been unable to find treatment links online, otherwise I'd have sent you something by now. You will only want to moisten the paper enough to be cold to the touch. I mean, barely noticable. You would achieve this by placing it in a damp environment or in contact with a damp item NOT by spraying it with a spray bottle, etc. Anyways, I'm working on it. Sorry........

I can help you with this but I'm out the door to a dinner party. Gimme some time.....

Tempest....

I was telling my friend Amy all about this film the other day over email and realized that I hadn't seen it in a couple of years. Rented it the other night and can safely say I'm as impressed now as I was the first time. Highly recommended....

Looks like there's a release date now. I'm telling you, this record is fantastic. I'm excited for it to finally come out so others can enjoy it as well. AMM at the Roundhouse

Same location. Same sign. Same everything.

Good news for Austinites. The Daniel Johnston mural pictured below was in danger of being torn down since The Sound Exchange, the record store whose southern wall it consumes, closed down over the summer. The restaurant that's moving into that space was planning on tearing down that wall on Tuesday but announced Wednesday that, due to public outcry coupled with a story on the local news, it will preserve the mural and construct windows instead on either side.

You're right. Hole in the Wall closed shortly after I moved here but recently reopened and, from what I understand anywyas, it's just the same as before. That might be a good place to check out as well. Good call....

The Elephant Room would be good, and it's a nice venue for sure, but it probably depends on how "post-" you guys get. I've seen some heated bop there but nothing that ever went too far *out*. Other than that, groups who play free tend to get gigs at coffee shops and private venues here. Sound familiar....?

* Kansas City Royals * KU basketball * metafiction * cinematography * documentaries * plants * my mashed potatos * my chili * found photographs * my folks * my brother * my buddies * finishing school ASAP * hot sauce * nice bourbons * hoppy beers * warmth * cold weather (ironically)

I've been trying to get my hands on Super Joe: The Life and Legend of Joe Charboneau for ages. What a fascinating guy. Over the fall, I read Cult Baseball Players which includes a number of essays by folks such as Gammons, McCarver, Joe Morgan and David Mamet.

Also check out the tune "Hotter Reggae Music" on the Blood & Fire comp Darker Than Blue for a great example of the deejay-to-rap transition. Here you have a Jamican vocalist borrowing "Rapper's Delight" in the middle of an otherwise standard reggae song. It all makes sense.... By the way, how brilliant is that Blood & Fire artwork....

Well, I'm not a particularly big fan of deejay stuff but there are a few I really enjoy. I mentioned it above simply as a historical timeline kind of thing. Either way, anything in the Blood & Fire catalog (deejay or otherwise) is worth owning. Among their deejay releases are: Jah Stitch - Original Ragga Muffin I-Roy - Don't Check Me With No Lightweight Stuff U Brown - Train to Zion These are all great. I think I prefer the Jah Stitch best and then U Brown next. If I remember right, the Stitch and Brown sets are blessed with the mixing talents of King Tubby, Prince Jammy and/or Scientist. So you can't lose there. Also of note (if you have a record player) is Fire Corner by The Dynamites. Includes some very wierd King Stitt vocal tracks as well as some semi-*out* horn solos. Reminds me of Sun Ra. So there you go...

The vocals don't bother me at all. I rather like his southern swagger. As for comparisons to Prince, they're simply unavoidable. Choosing which is "better" is kind of a moot point IMHO. Prince did it first (and quite a while ago by now) so....end of story. Big Boi's vocal delivery/flow/whatever drives me up the wall. I can't even listen to that disc. Too many 16th notes. He needs to either mix it up or something. Sounds the same on every single song. Well, to these ears anyway. I know it makes me an old-timer but I'm waiting patiently for Pete Rock Soul Survivor 2 to drop in the late winter/early spring. There's also a new C.L. Smooth solo LP coming out as well featuring tracks produced by Pete. And Planet Asia still hasn't released a proper full length after all this time. There's also that Quest reunion record but The Love Movement was absolutely dreadful so I'm not holding my breath for Low End Theory Revisited. Lastly, though I haven't cared about them in about 10 years, word is that the new Beastie Boys LP is being produced by Prince Paul. Sounds interesting....

Yes, that was pretty funny. I bought that new record and like it--well, Andre's side anyways--but doesn't anyone else think it sounds too much like a Pro Tools/synth record? I miss the days of dusty soul samples. [sigh...]

Something that needs to be said about hip hop/rap music--I wasn't entirely comfortable with one of the definitions given above--is that the music of hip hop culture is a direct result of Jamaican dancehall deejays making their way to NYC. Now, in Jamaica the term "deejay" does not refer to someone mixing records on turntables but rather to someone on a microphone interjecting lines during and in between songs as a way to keep the crowd into the proceedings. Eventually, deejays like Big Youth, U-Roy and King Stitt became artists in their own right. This tradition (again) eventually made its way to NYC where, like in Jamaica, the deejays (or "toasters" as they were originally called) became top billing. Needless to say, the US version of ther term "DJ" won out and toasters became "rappers" in the States. AMG's genre bio (here), while short, is relatively accurate despite the fact that they list DJ Shadow among the other deejays. Shadow, as some of you might know is an instrumentalist, making his classification as a deejay (which by definition is a vocalist), completely baffling. All of this is to say that rap music is repetitive because its mother and father are Jamaican dancehall culture and James Brown. End of story. Teenagers in Brooklyn were NOT listening to Last Poets records in the late 70's folks; that is unless their parents were college educated liberals. This is an absolutely fascinating topic. Hip hop culture is a really beautiful thing in my opinion. Grounded at its very core in community.

I agree and while there may be no crying in baseball there are certainly a lot of assholes. I think he should be allowed in the HOF but excluded from any future baseball involvement (i.e. coaching, ownership, etc.). I mean the dude broke a SERIOUS record. End of story.

Yesterday's haul from an unamed flea market north of Waco. All are 45s in at least VG condition, though the vasy majority are VG+ or better. All were $1 a piece. * James Brown "I'm a Greedy Man (pts. 1 & 2)" * James Brown "Talking Loud and Saying Nothing (pts. 1 & 2)" * James Brown "Make it Funky (pts. 1 & 2)" * James Brown "My Part/Make it Funky (pts. 3 & 4)" * James Brown "Get on the Good Foot (pts. 1 & 2)" * James Brown "Santa Claus go Straight to the Ghetto"/"Sweet Little Baby Boy" * James Brown "It's a New Day (pts. 1 & 2)"/"Georgia on my Mind" * James Brown "There it Is (pts. 1 & 2)" * James Brown "Hot Pants (pts. 1 & 2)" * Marvin Gaye "You're the Man (pts. 1 & 2)" * Eddie Harris "It is In (mono)"/"It is In (stereo)" * Gwen McRae "Rockin Chair"/"It Keps on Raining" * The Soul Searchers "We the People (pts. 1 & 2)" * Kool & the Gang "The Frog"/"Good Times" * The Politicians "Free Your Mind"/"Love Machine" * Quincy Jones "Passin the Buck"/"Money Runner" * Cymande "The Message"/"Zion I" * Curtis Mayfield "Get Down"/"We're a Winner"